How The Day Runs Down

by John Langan

(The stage dark with the almost-blue light of the late, late night, when you've been up well past the third ranks of late-night talk shows, into the land of the infomercial, the late show movies whose soundtrack is out of sync with its characters' mouths and which may break for commercial without regard for the action on the screen, the rebroadcast of the news you couldn't bear to watch the first time. It is possible—just—to discern rows of smallish, rectangular shapes running across the stage, as well as the bulk of a more substantial, though irregular, shape to the rear. The sky is dark: no moon, no stars.

(When the STAGE MANAGER snaps on his flashlight—a large one whose bright beam he sweeps back and forth over the audience once, twice, three times—the effect of the sudden light, the twirl of shadows around the theater, is emphasized by brushes rushing over drums, which give the sound of leaves, and a rainstick, which conjures the image of bones clicking against one another more than it does rain.

(Having surveyed the audience to his apparent satisfaction, the Stage Manager trains his light closer to home. This allows the audience to see the rows of tombstones that stretch the width of the stage, two deep in most places, three in a couple. Even from his quick inspection of them, it is clear that these are old tombstones, most of them chipped and worn almost smooth. The Stage Manager spares a moment for the gnarled shape behind the tombstones, a squat willow, before positioning the flashlight on the ground to his left, bottom down, so that its white light draws a cone in the air. He settles himself down beside it, his back leaning for and finding a tombstone, his legs gradually crossing in front of him.

(It has to be said, even with the light shining right beside him, the Stage Manager is not easy to see. A reasonable guess would locate him somewhere in his late forties, but estimates a decade to either side would not be unreasonable. His eyes are deep set, sheltered under heavy brows and the bill of the worn baseball cap on his head. His nose is thick and may have been broken in some distant confrontation; the shadows from the light spilling across his face make it difficult to decide if his broad upper lip sports a mustache; although his solid chin is clear of any hair. His ethnicity is uncertain; he could put in an appearance at most audience members' family reunions as a cousin twice-removed and not look out of place. He is dressed warmly, for late fall, in a bomber jacket, flannel shirt, jeans, and heavy boots.)

Stage Manager: Zombies. As with most things in life, the reality, when compared to the high-tech, Hollywood-gloss of the movies, comes as something of a surprise. For one thing, there's the smell, a stench that combines all the worst elements of raw sewage and rotted meat, together with the faint tang of formaldehyde. Folks used to think that last was from the funeral homes—whatever they'd used to pickle dear Aunt Myrtle—but as it turned out, this wasn't the case. It's just part of the smell they bring with them. Some people—scientists, doctors—have speculated that it's the particular odor of whatever is causing the dead to rise up and stagger around; although I gather other scientists and doctors have disagreed with that theory. But you don't have to understand the chemistry of it to know that it's theirs.

For another thing, when it comes to zombies, no one anticipated how persistent the damned things would be. You shoot them in the chest, they keep on coming. You shoot them in the leg—hell, you blow their leg clean off with your shotgun at point-blank range, they fall on their side, flop around for a minute or two, then figure out how to get themselves on their front so they can pull themselves forward with their hands, while they push with their remaining leg. And all the time, the leg you shot off is twitching like mad, as if, if it had a few more nerve cells at its disposal, it would find a way to continue after you itself. There is shooting in the head—it's true, that works, destroy enough brain matter and they drop—but do you have any idea what it's like to try to hit a moving target, even a slow-moving one, in the head at any kind of distance? Especially if you aren't using a state-of-the-art sniper rifle, but the snub-nosed thirty-eight you bought ten years ago when the house next door was burglarized and haven't given a thought to since—and the face you're aiming at belongs to your pastor, who just last Saturday was exhorting the members of your diminished congregation not to lose hope, the Lord was testing you.

(From high over the Stage Manager's head, a spotlight snaps on, illuminating OWEN TREZZA standing in the center aisle about three-quarters of the way to the stage. He's facing the back of the theater. At a guess, he's in his mid-thirties, his brown hair standing out in odd directions the way it does when you've slept on it and not washed it for several days running, his glasses duct-taped on the right side, his cheeks and chin full of stubble going to beard. The denim jacket he's wearing is stained with dirt, grass, and what it would be nice to think of as oil, as are his jeans. The green sweatshirt under his jacket is, if not clean, at least not marred by any obvious discolorations; although whatever logo it boasted has flaked away to a few scattered flecks of white. In his outstretched right hand, he holds a revolver with an abbreviated barrel that wavers noticeably as he points it at something outside the spotlight's reach.)

Owen: Oh, Jesus. Oh, sweet Jesus. Stop. Stop right there! Pastor Parks? Please—don't come any closer. Pastor? It's Owen, Owen Trezza. Please—can you please stay where you are? I don't want to—you really need to stay there. We just have to make sure—Jesus. Please. Owen Trezza—I attend the ten o'clock service. With my wife, Kathy. We sit on the left side of the church—our left, a couple pews from the front. Pastor Parks? Can you please stop? I know you're probably in shock, but—please, if you don't stop, I'm going to have to shoot. It's Owen. My wife's expecting our first child. She has red hair. Will you stop? Will you just stop? Goddamnit, Pastor, I will shoot! I don't want to, but you're giving me no choice. Please! I don't want to have to pull this trigger, but if you don't stay where you are, I'll have to. Don't make me do this. For Christ's sake, won't you stop? I have a child on the way. I don't want to have to shoot you.

(From outside the range of the spotlight, the sound of inexpensive loafers dragging across the carpet.)

Owen: Pastor Parks—Michael—Michael Parks, this is your final warning. Stop right there. Stop. Right. There.

(The shoes continue their scrape over the carpet. From the rear of the theater, a terrible odor rolls forward, like the cloud that hangs around the carcass of a deer two days dead and burst open on a hot summer afternoon. Owen's hand is shaking badly. He grabs his right wrist with his left hand, which steadies it enough for him to pull the trigger. The gun cracks like an especially loud firecracker and jerks up and away. Owen brings it back to aim.)

Owen: Okay—that was a warning shot. Now please stay where you are.

(The rough noise of the steps is joined by the outline of a figure at the edge of the spotlight's glow. Owen shoots a second time; again, the gun cracks and leaps back. He swings it around and pulls the trigger four times, straining to keep the pistol pointed ahead. Now the air is heavy with the sharp smell of gunsmoke. Hands at its sides, back stiff, swaying like a metronome as it walks, the figure advances into the light. It is a man perhaps ten years Owen's senior, dressed in a pair of khaki slacks and a black short-sleeved shirt whose round white collar is crusted with dried blood. Except for a spot over his collar, which is open in a dull, ragged wound the color of old liver, his skin is gray. Although it is difficult to see his face well, it is slack, his mouth hanging open, his eyes vacant. The hammer clacks as Owen attempts to fire his empty gun.)

Owen: Come on, Pastor Parks. I'm sorry I called you Michael. Come on—I know you can hear me. Stop. Please. Stop. Will you stop? Will you just stop? For the love of Christ, will you just fucking STOP!

(PASTOR MICHAEL PARKS—or, the zombie formerly known by that name—does not respond to Owen's latest command any more than he has those preceding it. Owen's hands drop. A look passes over his face—the momentary stun of someone recognizing his imminent mortality—only to be chased off by a surge of denial. He starts to speak.

(Whatever he was about to say, whether plea or threat or defiance, is drowned out by a BOOM that staggers the ears. Simultaneously, the back of Pastor Parks's head blows out in a spray of stale blood and congealed brains and splinters of bone that spatters those sitting to either side of the aisle. The minister drops to the floor.

(The Stage Manager has risen to his feet. In his right hand, he holds out a long-barreled pistol trailing a wisp of smoke. For what is probably not more than five seconds, he keeps the gun trained on the pastor's unmoving body, then raises the revolver and returns it to a shoulder holster under his left arm. Owen Trezza continues staring at the corpse as the spotlight snaps off. The Stage Manager resumes his seat.)

Stage Manager: No, there are some marksmen and -women about, that's for sure, but it's equally sure they're in the minority. Most folks have to rely on other methods. A few would-be he-men have tried to play Conan the Barbarian, rushed the zombies with a hatchet in one hand, a butcher knife in the other. One particularly inspired specimen, a heavyset guy named Gary Floss, rip-started the chainsaw he'd bought to take down the line of pines in front of his house. (This was a mistake: then everyone saw what lousy shape Gary kept his house in.) The problem is, that hatchet you have in your right hand isn't a weapon; it's a tool you've used splitting wood for the fireplace, and while it's probably sharp enough for another winter's worth of logs, it's not going to separate someone's head from their shoulders with a single blow from your mighty arm. The same thing's true for the knife sweating up your left hand: it's cutlery, and if you recall the effort it takes to slice a roast with it—a roast that is not trying to find its way inside your skull with its persistent fingers—you might want to reconsider your chances of removing limbs with ease. Even if you have a razor-sharp ax and an honest-to-God machete, these things are actually rather difficult to use well. The movies—again—aside, no one picks up this kind of weapon and is instantly skilled with it; you need training. In the meantime, you're likely to leave your hatchet lodged in a collar bone, the pride of your assorted knives protruding above a hip.

As for Gary Floss and his chainsaw—you want to be careful swinging one of those around. A man could take off an arm.

(To the right and left of the theater, the snarl of a chainsaw starting. It revs once, twice, a third time, changes pitch as it catches on something. It blends with a man's voice shrieking—then silence.)

Stage Manager: What works is fire. Zombies move away from fire faster than they move towards a fresh kill. The problem is, they're not especially flammable—no more than you or I are—so you have to find a way to make the fire stick. For a time, this meant Billy Joe Royale's homemade napalm. A lingering sense of civic responsibility precludes me from disclosing the formula for Billy Joe's incendiary weapon, which he modified from suggestions in—was it The Anarchist Cookbook ? or an old issue of Soldier of Fortune? or something he'd watched on the Discovery Channel, back before it stopped broadcasting? (It's the damnedest thing: do you know, the History Channel's still on the air? Just about every other channel's gone blue. Once in a while, one of the stations out of the City will manage a broadcast; the last was a week and a half ago, when the ABC affiliate showed a truncated news report that didn't tell anyone much they hadn't already heard or guessed, and a rerun of an episode of General Hospital from sometime in the late nineties. But wherever the History Channel is located, someone programmed in twenty-four hours' worth of old World War II documentaries that have been playing on continuous loop ever since. You go from D-Day to Pearl Harbor to Anzio, all of it in black and white, interrupted by colorful ads for restaurant chains that haven't served a meal in a month, cars that no one's seen on the road for as long, movies that never made it to the theater. Truth to tell, I think the folks who bother to waste their generator's power on the TV do so more for the commercials than any nostalgia for a supposed Greatest Generation. These days, a Big Mac seems an almost fabulous extravagance, a Cadillac opulent decadence, a new movie an impossible indulgence.)

That's all a bit off-topic, though. We were talking about Billy Joe and his bathtub napalm. By the time he perfected the mixture, the situation here had slid down the firepole from not-too-bad to disastrous, all within the matter of a couple of days. Where we are—

Son of a gun. I never told you the name of this place, did I? I apologize. It's—the zombies have become so much the center of existence that they're the default topic of conversation, what we have now instead of the weather. This is the town of Goodhope Crossing, specifically, the municipal cemetery out behind the Dutch Reformed Church. Where I'm sitting is the oldest part of the place; the newer graves are . . .

(The Stage Manager points out at the audience.)

Stage Manager: Relax, relax. While there's nowhere that's completely safe anymore, the cemetery's no worse a danger than anyplace else. For the better part of—I reckon it must be going on four decades, local regulations have decreed that every body must be buried in a properly sealed coffin, and that coffin must be buried within a vault. To prevent contamination of groundwater and the like. The zombies have demonstrated their ability to claw their way out of all sorts of coffins time and again, but I have yet to hear of any of them escaping a vault. Rumors to the contrary, they're not any stronger than you or me; in fact, as a rule, they tend to be weaker. And the longer they go without feeding, the weaker they become. Muscle decay, you know. Hunger doesn't exactly kill them—it more slows them down to the point they're basically motionless. Dormant, you might say. So the chances are good that anyone who might've been squirming around down there in the dirt has long since run out of gas. Granted, not that I'm in any rush to make absolutely sure.

It is true, those who passed on before the requirement for a vault were able to make their way to the surface. A lot of them weren't exactly in the best of shape to begin with, though, and the ordeal of breaking out of their coffins and fighting up through six feet of earth—the soil in these parts is dense, thick with clay and studded with rocks—it didn't do anything to help their condition, that's for sure. Some of the very old ones didn't arrive in one piece, and there were some who either couldn't complete the trip or weren't coherent enough even to start it.

(Stage right, a stage light pops on, throwing a dim yellow glow over one of the tombstones and JENNIFER and JACKSON HOWLAND, her standing behind the headstone, him seated on the ground in front of and to its right. They are sister and brother, what their parents' friends secretly call Catholic or Irish twins: Jennifer is ten months her brother's senior, which currently translates to seventeen to his sixteen. They are siblings as much in their build—tall yet heavy—as they are in their angular faces, their brown eyes, their curly brown hair. Both are dressed in orange hunting caps and orange hunting vests over white cable-knit sweaters, jeans, and construction boots. Jennifer props a shotgun against her right hip and snaps a piece of bubblegum. Jackson has placed his shotgun on the ground behind him; chin on his fists, he stares at the ground.)

Jennifer: I still say you're sitting too close.

Jackson: It's fine, Jenn.

Jennifer: Yeah, well, see how fine it is when I have to shoot you in the head to keep you from making me your Happy Meal.

(Jackson sighs extravagantly, pushes himself backwards, over and behind his gun.)

Jackson: There. Is that better?

Jennifer: As long as the person whose grave you're sitting on now doesn't decide your ass would make a tasty treat.

(Jackson glares at her and climbs to his feet.)

Jennifer: Aren't you forgetting something?

(She nods at the shotgun lying on the ground. Jackson thrusts his hands in the pockets of his vest.)

Jackson: I'm sure there'll be plenty of time for me to arm myself if anything shows up.

Jennifer: Don't be so sure. Christine Compton said her family was attacked by a pair of eaters who ran like track stars.

Jackson: Uh-huh.

Jennifer: Why would she make that up?

Jackson: She—did Mr. Compton kill them?

Jennifer: It was Mrs. Compton, actually. Christine's dad can't shoot worth shit.

Jackson: Regardless—they're both dead, these sprinting zombies. Again. So we don't have to worry about them.

Jennifer: There could be others. You never know.

Jackson: I'll take my chances. (Pauses.) Besides, it's not as if we need to be here in the first place.

Jennifer: Oh?

Jackson: Don't you think, if Great-grandma Rose were going to return, she would have already? I mean, it's been like, what? ten days? two weeks? since the last ones dug themselves out. And it took them a while to do that.

Jennifer: Right, which means there could be others who'll need even longer.

Jackson: Do you really believe that?

Jennifer: Look—it's what Dad wants, okay?

Jackson: And we all know he's the poster-child for mental health these days.

Jennifer: What do you expect? After what happened to Mom and Lisa—

Jackson: What he says happened.

Jennifer: Not this shit again.

Jackson: All I'm saying is, the three of them were in the car—in a Hummer, for Christ's sake. They had guns. How does that situation turn against you? That's an honest question. I'd love to know how you go from that to—

Jennifer: Just shut up.

Jackson: Whatever.

(The siblings look away from one another. Jackson wanders the graves to the right, almost off-stage, then slowly turns and walks back to their great-grandmother's grave. While he does, Jennifer checks her gun, aims it at the ground in front of the tombstone, and returns it to its perch on her hip. Jackson steps over his shotgun and squats beside the grave.)

Jackson: Did Dad even know her?

Jennifer: His grandmother? I don't think so. Didn't she die before he was born? Like, years before, when Grandpa Jack was a kid?

Jackson: I guess. I don't remember. Dad and I never talked about that kind of stuff—family history.

Jennifer: I'm pretty sure he never met her.

Jackson: Great.

(Another pause.)

Jennifer: You want to know what I keep thinking about?

Jackson: Do I have a choice?

Jennifer: Hey, fuck you. If that's the way you're going to be, fuck you.

Jackson: I'm sorry. Sorry, geez.

Jennifer: Forget it.

Jackson: Seriously. Come on. I'm sorry.

Jennifer: I was going to say that, for like the last week, I haven't been able to get that Thanksgiving we went to Grandpa Jack's out of my head. That cranberry sauce Dad made—

Jackson: Oh yeah, yeah! Man, that was awful. What was it he put in it . . .

Jennifer: Jalape~no peppers.

Jackson: Yes! Yes! Remember, Grandpa started coughing so hard—

Jennifer: His teeth shot out onto Mom's plate!

Jackson: Yeah . . . (He wipes his eyes.) Hey. (He stands, stares down at the grave.) Is that—what is that?

Jennifer: What?

Jackson: (Pointing.) There. In the middle. See how the ground's . . .

(Jennifer positions her gun, setting the stock against her shoulder, lowering the barrel, and steps around the headstone.)

Jennifer: Show me.

(Jackson kneels, brings his right hand to within an inch of the ground.)

Jennifer: Not so close.

Jackson: You see it, right?

(Jennifer nods. Jackson rises and steps back onto his gun, almost tripping over it.)

Jennifer: You might want to cover your ears.

(Jennifer fires five times into the earth. Jackson slaps his hands to either side of his head as dirt jumps up from the grave. The noise of the shotgun is considerable, a roar that chases its echoes around the inside of the theater. There's a fair amount of gunsmoke, too, so that when Jennifer steps back and raises her gun, Jackson coughs and waves his arms to clear the air.)

Jackson: Holy shit.

Jennifer: No sense in doing a half-assed job.

Jackson: Was it her?

Jennifer: I think so. Something was right at the surface.

Jackson: Let's hope it wasn't a woodchuck.

Jennifer: Do you see any woodchuck guts?

Jackson: I don't see much of anything. (He stoops, retrieves his shotgun.) Does this mean we can go home?

Jennifer: We should probably wait a couple more minutes, just to be sure.

Jackson: Wonderful.

(The two of them stare down at the grave. The stage light pops off.)

Stage Manager: Siblings.

Right—what else can I tell you about the town? I don't imagine latitude and longitude are much use; I'm guessing it'll be more helpful for me to say that New York City's about an hour and a half south of here, Hartford an hour and a half east, and the Hudson River twenty minutes west. In an average year, it's hot in the summer, cold in the winter. There's enough snow to give the kids their fair share of snow days; you can have thunderstorms so fierce they spin off tornadoes like tops. At one time, this was IBM country; that, and people who commuted to blue collar jobs in the City at places like Con Ed. That changed twice, the first time in the early nineties, when IBM collapsed and sent a host of middle-aged men and women scrambling for work. The second time was after 9/11, when all the affluent folks who'd suddenly decided Manhattan was no longer their preferred address realized that, for the same amount of money you were spending on your glorified walk-in closet, you could be the owner of a substantial home on a reasonable piece of property in place that was still close enough to the City for you to have a manageable commute.

Coming after the long slowdown in new home construction that had followed IBM's constriction, this sent real estate prices up like a Fourth of July rocket. Gentrification, I guess you'd call it. What it meant was that your house significantly appreciated in value in what seemed like no more than a month—it wasn't overnight, no, not that fast, but fast enough, I reckon. We're talking thirty, forty, fifty percent climbs, sometimes higher, depending on how close you were to a Metro-North station, or the Taconic Parkway. It also meant a boom in the construction of new homes—luxury models, mostly. They didn't quite achieve the status of McMansions, but they were too big on the outside with too few rooms on the inside and crowded too close to their neighbors, with a front yard that was just about big enough to be worth the effort it was going to cost you to yank the lawnmower to life every other Saturday. If you owned any significant amount of property, the temptation to cash in on all the contractors making up for lost time was nigh irresistible. That farm that hadn't ever been what you'd call a profit-machine, and that had been siphoning off more money that it gave back for more years than you were comfortable admitting, became a dozen, fifteen parcels of land, a new little community with a name, something like Orchard Hills, that you could tell yourself was an acknowledgement of its former occupant.

What this expansion of houses meant was that, when the zombies started showing up in significant numbers, they found family after family waiting for them in what must have seemed like enormous lunchboxes.

(From the balcony, another spotlight snaps on, its tightly focused beam picking out MARY PHILLIPS standing in front of the orchestra pit. Although she faces the audience, her gaze is unfocused. She cannot be thirty. Her red hair has been cut recently—poorly, practically hacked off in places, where it traces the contours of her skull, and only partially touched in others, where it sprouts in tufts and a couple of long strands that suggest its previous style. The light freckles on her face are disturbed by the remnants of what must have been an enormous black eye, which has faded to a motley of green and yellow, and a couple of darker spots, radiating out from her right eye. She is wearing a white dress shirt whose brownish polka dots appear to have been applied irregularly, even haphazardly, a pair of almost-new dark jeans, and white sneakers clumped with mud. She keeps her hands at her sides in tight fists.)

Mary: I was in the kitchen, boiling water for pasta. We'd had a gas delivery a couple of weeks before—it's funny: everything's falling to pieces—this was after the first outbreak had been contained, and all the politicians and pundits were saying yes, we'd had a close call, but the worst was past—what had happened in India, Asia, what was happening in South America—none of that was going to happen here. No matter that there were reports the things—what we were calling the eaters, because zombies sounded too ridiculous—the eaters had been sighted in a dozen different places from Maine to California, none of them previously affected. You heard stories—my next-door neighbor, Barbara Odenkirk—she was the HR director for an ad agency in Manhattan, and she commuted to the City every day, took the train from Beacon. The last time we talked, she told me that there were more of them, the eaters, along the sides of the tracks every trip. She said none of the guys on the train acted particularly concerned—if an eater came too close to a moving train, it didn't end well for them. I asked her about the places alongside the tracks, what about them, the towns and cities and houses—I'd taken that same ride I don't know how many times, when Ted and I first started seeing one another, and I remembered all the houses you saw sitting off in the woods. Oh, Barbara said, she was sure the local police were on top of the situation. They weren't, of course, not like Barbara thought. I don't know why. When that soccer game in Cold Spring was attacked—we were so surprised, so shocked, so outraged. We should have been packing our cars, cramming everything we could fit into our Volvos and BMWs and heading out of town, tires screaming. Where, I'm not sure. Maybe north, up to the Adirondacks—I heard the situation isn't as bad there. Even the Catskills might have been better.

But the gas truck pulled into the driveway the way it did every six months, and the power was on more than it was out, and we could drive to Shop Rite—where, if the shelves were stocked thinner than we'd ever seen them, and the butcher case was empty, not to mention the deli and fish counters, we could fill our baskets with enough of the foods we were used to for us to tell ourselves that the President was right, we were through the roughest part of this, and almost believe it. Ted had bought a portable generator when the first outbreak was at its height, and it looked as if Orlando would be overrun; everyone else was buying whatever guns they could lay their hands on, and here's my husband asking me to help him unload this heavy box from the back of the car. He was uptight—I think he was expecting me to rake him over the coals for not having returned from Wal-Mart with an armful of rifles. I wasn't angry; if anything, I was impressed with his foresight. I wasn't especially concerned about being armed—at that point, I still believed the police and National Guard were capable of dealing with the eaters, and if they weren't, I was surrounded by neighbors who were two steps away from forming their own militia. The blackouts, though—we were lucky: the big one only lasted here until later that same night. According to NPR, there were places where the lights were out for a week, ten days. But there were shorter outages every few days, most no more than five or ten seconds, a few a solid couple of hours. Having the generator—not to mention the big red containers of gas I had no idea how Ted had obtained: rationing was already in effect, and most gas stations were pretty serious about it—that generator gave me a feeling of security no machine gun could have matched. To tell the truth, I was more worried by Ted's insistence that he could hook it up himself. Being in IT does not give you the magical ability to master any and all electrical devices—how many times had I said that to him? Especially when Sean Reynolds two houses over is an electrician who loves helping out with this kind of stuff. But no, he's fully capable of doing this, which is what he'd said about the home entertainment system he tripped half the circuit breakers in the house setting up. What was I supposed to do? I made sure to unplug the computers, though, as well as the entertainment center.

Somehow—with a lot more cursing than I was happy with the kids hearing from their father—he succeeded, which is why, on that particular afternoon, I was standing at the kitchen stove waiting for a pot of water to boil. Robbie had asked for mac and cheese again, and I wasn't inclined to argue with her, since Brian would eat it, too, and we had more than enough boxes of it stacked in the pantry. It was the organic kind that only needed a little bit of milk added to make the sauce, which I thought was more economical; although the stuff had cost more to begin with, so where's the sense in that? The power had gone out an hour earlier, and while we tried to use the generator prudently, starting it up now didn't seem especially extravagant. I waited until I was ready to start dinner, then ran out onto the back porch, down the stairs, and under the porch to where Ted had installed the generator. When Ted was home, the moment he heard that lock click, he dropped whatever he was doing to dash into the kitchen and asked if I'd made sure it was safe to go outside. No matter what I replied, he'd insist on checking, himself—as if he could see better through his glasses than I could with 20/20 vision. I got that it was a guy thing, and in its own way, I suppose it was kind of sweet. Really, though—unless there was an eater standing outside the door, I didn't think I had anything to worry about. They weren't much for running—most of them had trouble walking. Okay, high school track was ten years and two kids in my past, but I was still in good enough shape from chasing after those kids to leave Ted eating my dust. Granted, my husband's idea of exercise was putting away the dishes; the point is, I wasn't concerned about being caught by an eater. From what I'd heard on the radio, they were most dangerous in large numbers, when they could trap you. Sure, there were woods at the edge of the backyard that could've hidden a decent-sized group of them, but I was fairly confident my well-armed neighbors would mow the lot of them down the second they staggered into the open. We were pretty anal about checking the tree line; I tried to do it at least once an hour, usually on the hour when the hall clock played its electronic version of the Westminster Chimes, but some of the neighbors were at their windows every fifteen or twenty minutes. Matt Odenkirk had a pair of high-powered binoculars—they looked like they cost a bundle—and he would stand on his back porch staring into the woods for minutes at a time. It was as if he was certain the eaters were out there, doing their best to blend in with the foliage, and all he needed was to catch one of them moving to reach for the equally-expensive-looking rifle balanced against the railing and be the hero of the neighborhood. Which never happened. I don't think he fired that gun once—I don't think it was in his hands when—when they—when he—

The generator started no problem; I was out and in the house almost before the kids realized. I turned on the stove light and filled a pot with water from the cooler—which always drove Ted crazy. «That's for drinking-only,» he'd say. «Use the water from the filter jugs for cooking.» But our water tasted funny; I'm sorry, it did, and no matter how many times you passed it through those jugs, it was like drinking from a sulfur spring. «What do you mean?» Ted would—he'd insist. «It tastes fine.» Okay, I'd say, then you can drink it, which he would, of course, to prove his point. When he wasn't home, though—on a day like today, when he'd driven in to IBM because they were open—I can't imagine what they could have been doing, what business they could have been conducting, with everything the way it was—on a day like today, we used the bottled water for cooking.

I lit the burner, set the pot on it, and switched on the transistor radio. Usually, I kept the radio quiet, because who knew what the news was going to be today? Granted, NPR wasn't as bad as any of the TV channels, which, as things had deteriorated in Florida and Alabama, had taken to broadcasting their raw footage, so that when Mobile was overrun, you saw all the carnage in color and up close and personal. But NPR had sent a reporter to Mobile, and when the National Guard lines collapsed, she was caught on the wrong side—trapped inside a car. The eaters got her, and you heard pretty much everything. First, she's saying «Oh no, oh please,» as they pound on the car windows. Then the windows shatter, she screams, and you can hear the eaters, the slap of their hands on the upholstery as they grab at her and miss, the rip of the reporter's clothes where they catch her, and their voices—I know there's a lot of debate about the sounds they make, whether they're expressions of coherent thought or just some kind of muscle spasm, but I swear, I listened to that broadcast all the way through, and those were voices, they were saying something. I couldn't make out what, because now the reporter was shrieking, emptying her lungs in panic and pain. I thought that was as bad as it would get—as it could get—but I was wrong. There was a sound—it was the sound a drumstick makes when you twist it off the Thanksgiving turkey, a long tearing followed by a pop—only, it was . . . wet. The reporter's voice went from high to low, from scream to moan, and that moan—it was awful, it was what comes out of you the moment you set one foot into death and feel it tugging the rest of you after. The rest—one of the eaters figured out how to open one of the car doors. Whatever the reporter was wearing rasped on the seat as she was dragged out, her moan rising a little as she realized this was it, and then there was a noise like the rest of that Thanksgiving bird being torn apart in all directions, this succession of ripping and snapping, and then you hear the eaters feeding, stuffing pieces of the reporter into their mouths, grunting with pleasure at the taste. It—

Robbie was old enough to understand what was on the radio, and even Brian picked up on more than you expected. I didn't want to expose them to something like that. As it was, they heard too much from the other kids in the neighborhood, especially the McDonald girls. Alice, their mother, was one of those parents who likes to pretend they're treating their kids with what they call respect, when really, all they're doing is exposing them to all kinds of things they're too young to handle. A parent—a mother isn't supposed to—that's not your job. Your job—your duty, your sacred duty—it is your sacred duty to protect those children, to keep them safe no matter what—you have to protect them, no matter—

Well, I was. With the generator running, I could let them watch a DVD, which had gone from a daily occurrence—sometimes twice-daily—to a treat like going to the movies had been when I was their age. They were so thrilled Robbie was willing to sit down to The Incredibles , which Brian adored but didn't do anything for her. So with the two of them safely seated in front of the TV, I was safe to turn on the radio, low, and try to catch up with what news I could as the water came to a boil.

And you know, the news wasn't bad. I wouldn't call it good, exactly, but the National Guard seemed to be making progress. They'd held onto Orlando; although apparently Disney World was the worse for it; and had caught a significant number of the eaters on one of the major highways—I can't remember the number; it may have been Highway 1—where they'd brought in the air power, let the planes drop bombs on the eaters until they were in so many microscopic pieces. Given what we learned about them in the weeks after, this was about the worst thing that could have happened, since it spread bits of them and their infection to the four winds, but at the time, it sounded like a step forward. There was talk of retaking Mobile; a team of Navy SEALs had rescued a group of survivors holed up in City Hall, and a squad of Special Forces had made an exploratory journey into the city that had brought them to within sight of the harbor. Of course, the powers-that-be are going to tell you that things are better than they are, but I was willing to believe them.

I heard the truck pull up outside, heard the slow rumble of its engine, the squeal and hiss of its air brakes. I noticed it, but I wasn't especially concerned. The Rosses had sold their house across the street to a couple from the City who supposedly had paid them almost a million dollars for it. The news made our eyes goggle; Ted and I spent a giddy couple of hours imagining how we might spend our million. Once we went online to check housing prices in the Adirondacks, though, all our fantasies came crashing down. Up north, a million was the least you'd pay for a place not even half the size of ours. We knew Canada had closed the border, but we looked anyway. With the state of the U.S. dollar, it was more like 1.5 million for the same undersized house. It appeared we would be staying where we were. And we'd have new neighbors, whose moving truck had arrived.

Sometimes, I think about that driver. I don't know anything about him—or her, it could have been a woman; although, for some reason, I always picture a man. Not a kid: someone in his fifties, maybe, kind of heavyset, with a crew cut that doesn't hide the gray in his hair. He's been around long enough to have seen all kinds of crises, which is why he doesn't panic, keeps working through this one. No one else at the delivery company wants to make the drive upstate with him, risk the wilds to the north, but he's happy to leave the City for a day. Everybody's on edge. There are soldiers and heavily armed police clustered at all the docks, the airports, the train stations, the bus terminals. Everyone who arrives in the City is supposed to be examined by a doctor flanked by a pair of men who keep the laser-sights of their pistols centered on the traveler's forehead for the duration of the exam. The slightest cause for concern—fever, swollen and tender glands, discolored tongue—is grounds for immediate quarantine. Protest, and those men to either side of the doctor are expressly authorized to put a pair of bullets in your head. What's worse is, with the police largely off the streets, groups of ordinary citizens have taken it on themselves to patrol the City for eaters. They've given themselves license to stop and question anyone they consider suspicious, and if you ask what gives them the right, they'll be only too happy to show you the business ends of their assorted pistols and rifles. There's been at least one major shootout between two of these patrols, each of whom claimed they thought the other were eaters. Cops had to be pulled off port duty to bring it under control, which they did by shooting most of the participants.

I can't imagine anything happened to the driver while he was in the City. My guess is, he passed through the checkpoints and was on his way without a hitch. It was a nice, early fall morning, the air cool but not cold, the leaves on the verge of losing their green, the sun bright but not oppressive. Maybe he had the radio on, was listening to one of the AM stations out of the City. He heard the news out of Florida and thought, I knew it . He decided to take the next exit, stop at a Dunkin' Donuts for a celebratory coffee and a Boston Cream.

As he steered into the parking lot, maybe he noticed the absence of any other cars. Or maybe he saw the lights on in the donut shop and assumed he'd arrived during a lull in business. He parked the truck, climbed down from the cab, and walked toward the glass door. There are times I see him striding up to the counter, his eyes on the racks of donuts on the wall opposite him, not aware of anything unusual until he sees that all the racks are empty. In what feels to him like slow-motion, he turns to the tables to his right and takes in the floor slick with blood, the remains of the last patrons scattered across the tables. Then I think, That's ridiculous—there's no way he would not have seen all of that right away . The second he swung open the door, he would have smelled it. Chances are, he wouldn't have had to go that far—he would have seen the blood splashed across the windows and immediately turned around. Either way—whether he bolts out of the place or walks away without going in—he would be distracted, shocked by what he's (almost) seen. Maybe the closest he's been to something like this has been an image on the TV. It's the reason he doesn't pick up on the feet dragging across the tarmac until the eater is out from around the front of the truck and practically on him. The driver's eyes bulge; if he's never been this close to such carnage, you can be sure he's never had an eater lurching towards him, either. His feet catch on one another and he trips, which causes the eater to trip and fall on top of him. For one horrifying moment, he's under the thing, under that stink, the teeth clacking in his ear as it tries to take a bite out of him, those hands pawing at him. He drives his right elbow back and up into its face. Fireworks of pain burst in his arm but the eater rolls off him. He scrambles to his feet, kicking at the eater's hands as they try to drag him down again, and climbs up and into the truck's cab. Maybe he jumps when the eater slaps the door, almost drops the keys his fingers can't fit into the ignition. The eater pounds the door, throws itself against it, actually makes the truck rock ever-so-slightly. The key slides into place, the engine turns over, and the driver grinds the gears putting the truck into first. He speeds out of that parking lot so fast the rear end of the truck bashes a telephone pole, throwing open one of the rear doors and tumbling a couple of plastic crates out onto the road. His foot doesn't leave the gas pedal. Let them take it out of his pay. His heart is hammering, his hands trembling on the wheel. If he smokes, he's desperate for a cigarette; if he quit, he wishes he hadn't; if he never has, he wishes he'd started.

It wouldn't have been until that Dunkin' Donuts was a good thirty, forty minutes in his rearview mirror that the driver would have felt his right elbow throbbing. When he glanced down, he saw blood on the seat and floor. He turned his arm over. His stomach squeezed at the torn skin bright with blood, the pair of broken teeth protruding just above the joint. His foot relaxed on the gas; the truck slowed to the point it was barely moving. His vision constricted to a tunnel; he wondered if he was about to faint. He took the wheel with his right hand, reached around with his left, and felt for the jagged edges of the eater's teeth. The blood made them slippery, hard to keep hold of. He dug his fingers into his skin, seeking purchase, but that only squeezed out more blood. There was no choice; he had to stop. He clicked on the hazards, steered to the shoulder, and set the brake. He did not turn off the engine. He leaned over and slid the First Aid box out from under his seat. His fingers slipped on the catch. Once he had it open, he found the bottle of sterile saline and the stack of gauze bandages. He sprayed half the bottle over his elbow, unwrapped a couple of bandages, and wiped his skin. There was a pair of tweezers in the box; despite his shaking hand, he succeeded in tugging one, and then the other, tooth from his arm. Their extraction caused more bleeding. He dropped the tweezers on the floor, next to the teeth, and emptied the remainder of the saline on his elbow. There were enough gauze pads left for him to wipe his elbow off and improvise a bandage using the roll of surgical tape.

No one really understood what brought the eaters out of the ground, up off their tables in the morgues and funeral homes, in the first place. There was all kinds of speculation, some of it ridiculous—Hell was full: Ted and I had a good laugh over that one—some of it more plausible but still theoretical—NPR had on a scientist from the CDC who talked about a kind of super-bacteria, like a nasty staph infection that could colonize a human host in order to gain more flesh to consume; although that seemed like a lot for a single microorganism to accomplish. Besides, none of the eaters the government had captured showed the slightest response to any of the antibiotics they were injected with. I wondered if it was a combination of causes, several bacteria working together, but Ted swore that was impossible. Because the IT thing made him an expert in bacteriology, too.

What we did know was that, if an eater got its teeth in you, even if you escaped becoming its next meal, you were finished all the same. It just took longer—between thirty minutes and forty-eight hours. The initial symptoms were a raging fever, swollen and tender glands, and a tongue the color of old meat; in short order, these were followed by hallucinations, convulsions, and death. Anywhere from five minutes to two hours after your heart had ceased beating, your body—reanimated was the technical term. It was incurable, and if you presented to your doctor or a hospital ER with the telltale signs, you were taken as fast as possible to a hospital room, hooked up to monitors for your heart rate and blood pressure, and strapped onto a bed. If there was an experimental cure making the rounds that day, it would be tested on you. When it didn't work, you would be offered the services of the clergy, and left for the inevitable. An armed guard was stationed outside your door; after the monitors had confirmed your death, he would enter the room, unholster his pistol, and make sure you didn't return. At first, the guards were given silencers, but people complained, said they felt better hearing the gunshot, knowing they were safe.

I don't know how much of this the driver knew, but I'm guessing he'd heard most of it, which is why he didn't take himself to the nearest hospital as soon as he realized what had happened to him. Instead, he switched off the hazards, released the brake, and headed back out onto the road. It could be he was thinking he had to make this last delivery while he could, but I doubt it. He was already dead; his body simply needed to catch up to that fact. His mind, though—his mind was not having any of this. As far as his mind was concerned, he'd scraped his arm, that was all, hardly enough to have turned him into one of those things, and if he went on with this day the way he'd intended, everything would be fine. If he had to roll down his window, because the cab had grown so hot he checked to be sure he hadn't turned the heater on high, he must be fighting off the cold that was making the rounds at work. That same cold must be what was causing the skin under his jaw to feel so sore. The temptation to tilt the rearview mirror so he could inspect his tongue must have been almost too much to resist.

If the driver heard anything moving in the back of the truck, he probably assumed it was more of the plastic crates come loose, maybe a piece of furniture that had broken the straps securing it. Of course, by then his fever would have ignited, so the eaters could have banged around the inside of that container for the hours it took him to complete what should have been a sixty-minute trip and I doubt he would have noticed. Or, the sounds might have registered, but—you know how it is when you're that sick: you're aware of what's going on around you, but there's a disconnect—it fails to mean what it should. How else do you explain what led this guy to drive a large moving truck full of eaters into the middle of a neighborhood—into the middle of our neighborhood—my neighborhood, the place where I lived with my husband and my kids, my girl and my boy—how else do you explain someone fucking up so completely, so enormously?

That's right—the truck that came to a stop outside the house (as I watched bubbles forming at the bottom of the pot of water I was heating) was full—it was packed with eaters. Don't ask me how many. And no, I don't know how they got in there. I'd never heard of anything like that before. Maybe the things were chasing someone who climbed into the back of the truck thinking the eaters wouldn't be able to follow them and was wrong. Maybe the eaters started as a group of infected who were in the same state of denial as the driver and wanted to hide themselves until they recovered—which, of course, they didn't. Maybe they didn't jump into the truck all at the same time: maybe a few were in pursuit of a meal, a few more were looking to hide, and a few others thought they'd found a cool place to escape the sun. As the fever soared within him, his neck ached so bad swallowing became agony, his tongue swelled in his mouth, the driver must have let the truck slow to a stop over and over again, leaning his head on the steering wheel for whatever comfort its lukewarm plastic could provide. There would have been plenty of opportunities for eaters to hitch a ride with him.

I don't know what that man's fate was, whether he died the moment he set the parking brake, or opened the door and stepped down from the cab to let his customers know their furniture had arrived, or if the eaters figured out the door handle and dragged him from his seat. But I hope they got to him first; I hope he found himself in the middle of a group of eaters and had consciousness left to understand what was about to happen to him. I hope—I pray; I get down on my knees and plead with God Almighty that those things ripped him apart while his heart was still beating. I hope they stripped the flesh from his arms and legs. I hope they jammed their fingers into him and rooted around for his organs. I hope they bit through his ears the way you do a tough piece of steak. I hope he suffered. I hope he felt pain like no one ever felt before. That's why I spend so much time imagining him, so that his death can be as real—as vivid—to me as possible. I—

The first bubbles had lifted themselves off the bottom of the pot and drifted up through the water to burst at the surface. On the radio, the report about the Special Forces in Mobile had ended, and the anchor was talking about sightings of eaters in places like Bangor, Carbondale, and Santa Cruz, which the local authorities were writing off as hysteria but at least some of which, the anchor said, there was disturbing evidence were true; in which case, they represented a new phase in what he called the Reanimation Crisis. From the living room, Brian yelped and said, «Scary!» which he did when something on the screen was too much for him; Robbie said, «It's okay—Vi's gonna get them out. Watch,» one of those grace notes your kids sound that makes you catch your breath, it's so unexpected, so pure. There was a knock at the front door.

It sounded like a knock. When I rewind it and play it again in my mind, it still sounds like a knock, no matter how I try to hear it otherwise. None of the descriptions of the eaters mentioned anything about knocking. Besides, I hadn't heard anyone's gun going off, which I fully expected would announce the arrival of eaters in our neck of the woods. Of course, this was because everyone was watching the treeline behind the houses; I realize how ridiculous it sounds, how unforgivably stupid, but it never occurred to any of us that the eaters might walk right up to our front doors and knock on them. Or—I don't know—maybe we were aware of the possibility, but assumed there was no way a single eater, let alone a truckload of them, could appear in the middle of the street without someone noticing.

I left the pot with the wisps of steam starting to curl off the water and walked down the front stairs to the door. At the top of the stairs, I thought it might be Ted home from work, but on the way down I decided it couldn't be him, because he wouldn't have bothered knocking, would he? It had to be a neighbor, probably the McDonald girls come to ask if Robbie wanted to go out and play with them. They were forever doing things like that, showing up five minutes before dinner and asking Robbie to play with them—which, the second she heard their voices, Robbie naturally was desperate to do. I tried to compromise, told Robbie she could go out for a little while after she was done with her food, or invited the McDonald girls to join us for dinner, but Robbie would insist she wasn't hungry, or the McDonald girls would say they had already eaten, or were going to have pizza later, when their father brought it home. At which, Robbie would ask why we couldn't have pizza, which Brian would hear and start chanting, «Piz-za! Piz-za! Piz-za!» Sometimes I let Robbie run out and kept a plate warm for her, let her eat with Ted and me when he got home, which she loved, being at the table with Mommy and Daddy and no little brother. Sometimes, though, I told the McDonald girls to return in half an hour, Roberta was sitting down to her dinner—and prepared myself for the inevitable storm of protests. I hadn't made up my mind what my decision this time would be, but my stomach was clenching. I turned the lock, twisted the doorknob, and pulled the door open.

They say that time slows down in moments of crisis; for some people, maybe it does. For me, swinging that door in was like hitting the fast-forward button on the DVD player, when the images on the screen advance so fast they appear as separate pictures. One moment, I'm standing with the door in my hand and a trio of eaters on the front step. They're women, about my age. I think—the one nearest me is missing most of her face. Except for her right eye, which is cloudy and blue and looks as if it's a glass eye that's been scuffed, I'm staring at bare bone adorned with tatters and shreds of muscle and skin. Her mouth—her teeth part, and I have the absurd impression she's about to speak to me.

The next moment, I'm scrambling up the stairs backwards. I could leap them three at a time—I have in the past—but there's no way I'm turning my back on the figures who have entered the house. The pair behind the faceless one don't appear nearly as desiccated: their skin is blue-gray, and their faces show no expression, but compared to what's raising her right foot to climb the stairs after me, they're practically normal.

The moment after that, I'm in the kitchen, one hand reaching for the handle of the pot of water, which hasn't come to full boil yet. Behind me, I can hear the stairs shifting under the eaters' weight. I can smell them—God, everything I've heard about the way the things smell is true. I want to call to the kids, tell them to get in here with me, but it's all I can do not to vomit.

That second, the second my fingers are closing around the handle—that's the one I return to. When I replay the three minutes it took my life to disintegrate, I focus on me in the kitchen. I can't remember how I got there. I mean, I know how I went from the stairs to the kitchen, I don't know why. Once I reached the top of the stairs, it would have been easy enough to haul myself to my feet and run into the living room, to Robbie and Brian. We could have—I could have shoved the couch out from the wall, used it to delay the eaters while we ran for the back door—or even around them, back down the stairs and out the front door, or into the downstairs rec room. We could have barricaded ourselves in the garage. We—instead, I ran for the kitchen. I realize I must have been thinking about a weapon; I must have been searching for something to defend myself—us with, and the pot on the stove must have been the first thing that occurred to me. This has to be what made me choose the kitchen, but I can't remember it. All I have is me on the stairs, and then my fingers curling around that piece of metal.

Which isn't in my hand anymore; it's lying on the kitchen floor, and Miss Skull-Face's right eye has sagged downwards because the pot has collapsed her cheek where it struck it. The hot water doesn't appear to have had any affect on her; although a couple of the pieces of flesh dangling from her face have fallen onto her blouse. She's moving towards me fast, her hands outstretched, and I see that she's missing two of the fingers on her left hand, the ring and pinkie, and I wonder if she lost them trying to prevent whoever it was from tearing off her face.

The next thing, I'm on the floor, on my back, which is numb. My head is swimming. Across the kitchen tiles from me, Miss Skull-Face struggles to raise herself from her back. At the time, I don't know what's happened, but I realize now the eater's rush carried us into the wall, stunning us both. The other eaters are nowhere to be seen.

And then I'm on the other side of the kitchen island, which I've scooted around on my butt. I'm driving the heel of my left foot straight into the eater's face, the shock of the impact traveling through the sole of my sneaker up my leg. I feel as much as hear the crunch of bone splintering. I'm as scared as I've ever been, but the sensation of the eater's face breaking under my foot sends a rush of animal satisfaction through me. Although I'm intent on the web of cracks spreading out from the sudden depression where Miss Skull-Face's nose and cheeks used to be, I'm aware that her companions are not in the kitchen.

I must—if I haven't before, I must understand that the other eaters have left Miss Skull-Face to deal with me and turned in search of easier—of the—I know I pull myself off the floor, and I'm pretty sure I kick the same spot on the eater's face with the toe of my sneaker, because afterwards, it's smeared with what I think are her brains. What I remember next is—

(To the front, rear, left, and right of the theater, the air is full of screaming. At first, the sound is so loud, so piercing, that it's difficult for anyone in the audience to do anything more than cover her or his ears. Mary raises her hands to either side of her head; it does not appear that the Stage Manager does, even as the screams climb the register from terror to pain. Muffled by skin and bone, the screams resolve themselves into a pair of voices. It is hard to believe that such noises could issue from the throats of anything human; they seem more like the shrieks of an animal being vivisected. As they continue for four, five, six seconds—an amount of time that, under other circumstances, would pass almost without notice but that, with the air vibrating like a plucked guitar string, stretches into hours—it becomes possible to distinguish the screams as a single word tortured to the edge of intelligibility, made the vessel for unbearable pain: «Mommy.»

(The screaming stops—cut off. Mary removes her hands from her ears hesitantly, as if afraid her children's screams might start again.)

Mary: That's—there are—they—there are some—I don't—there are some things a mother shouldn't have to see, all right? My parents—I—when I was growing up, our next door neighbors' oldest son died of leukemia, and my mother said, «No parent should outlive their children.» Which is true. I used to think it was the worst thing that could happen to you as a parent, especially of small children. But I was wrong—I was—they—oh, they had them in their teeth—

(Now Mary screams; head thrown back, eyes closed, hands clutching her shirt, she opens her mouth and pours forth a wail of utter loss. When her scream subsides to a low moan, her head drops forward. She brings her hands to her head, runs one over it while the other winds one of the long strands of her hair around itself.

(From the front of the theater, Mary's voice speaks, but from the echoey quality of the words, it's clear this is a recording.)

Mary's Voice: That second, the second my fingers are closing around the handle—that's the one I return to. When I replay the three minutes it took my life to disintegrate, I focus on me in the kitchen. I can't remember how I got there. I mean, I know how I went from the stairs to the kitchen, I don't know why. Once I reached the top of the stairs, it would have been easy enough to haul myself to my feet and run into the living room, to Robbie and Brian. We could have—Robbie and Brian. I didn't want to expose them to something like that. A parent—a mother isn't supposed to—that's not your job. Your job—your duty, your sacred duty, is to protect those children, to keep them safe no matter what—we—instead, I ran for the kitchen. I realize I must have been thinking about a weapon; I must have been searching for something to defend myself—us with, and the pot on the stove must have been the first thing that occurred to me. This has to be what made me choose the kitchen, but I can't remember it. You have to protect them, no matter—

(The recording stops. The spotlight snaps off, and Mary is gone, lost to the darkness.

(Slowly, the Stage Manager comes to his feet. Once he is up, he looks away from the audience, towards the willow behind him. He takes a deep breath before turning towards the audience again.)

Stage Manager: Here's the problem. When you sign up for this job—when you're cast in the part, if you like—you're told your duties will be simple and few. Keep an eye on things. Not that there's much you can do—not that there's anything you can do, really—but there isn't much that needs doing, truth to tell. Most of the business of day-to-day existence takes care of itself, runs ahead on the same tracks its used for as long as there've been people. Good things occur—too few, I suppose most would say—and bad things, as well—which those same folks would count too numerous, I know—but even the very worst things happen now as I'm afraid they always have. Oh, sure, could be you can give a little nudge here or there, try to make sure this person won't be at work on a June morning that'll be full of gunfire, or steer the cop in the direction of that house she's had a nagging suspicion about, but mostly, you're there to watch it all take place.

Then something like this—then this, these zombies, folk getting up who should be lying down—it overtakes you, sweeps across the world and your part of it like—like I don't know what, something I don't have words for. You do the best you can—what you can, which mostly consists of putting on a brave face and not turning your eyes away from whatever horror's in front of you; although there may be opportunities for more direct action.

(Through his jacket, the Stage Manager pats his gun.)

Stage Manager: You try to maintain some semblance of a sense of humor, which is not always as hard as maybe it should be. There's something to the old saw about horror and humor being flip sides of the same coin. An idiot takes his arm off with his chainsaw trying to play hero—I grant you it's pretty grim fodder for laughs, but you make do with what's to hand—so to speak.

A situation like this, though, like this poor woman and her children—those children—I know what she saw when she ran into that living room. I know what that is on her shirt, and how it got there. I can't—I don't have the faintest idea what I'm supposed to do with that knowledge. I could tell you, I suppose, but to what end? You know what those things—those eaters, that's not a bad word, is it?—you know what they did to that little girl and that little boy. There's no need for the specifics. Maybe you'd rather hear about the scene that greeted Mary when she fled her house in horror, or maybe you've guessed that, too: her neighbors' houses overrun, pretty much without a single shot being fired.

This is the beginning of the second phase of the zombie trouble—what did that newscaster call it? The Reanimation Crisis? From something people were watching on their TVs, or seeing outside the windows of their trains, zombies become something that's waiting for you when you go to get in your car, that clatters around your garage, that thumps on your door. Situation like this, where folks have known the world's going to hell and been preparing themselves for it—which mostly means emptying their bank accounts accumulating as many guns as Wal-Mart'll sell them—you'd expect that all that planning would count for something, that those zombies never would have made it up Mary's front walk, that one or the other of her neighbors would have noticed what was tumbling out the back of that delivery truck and started shooting. There'd be a lot of noise, a lot of mess, possibly a close call or two, but everything would turn out well in the end. Mary would be home with her kids, her neighbors would be patting themselves on the backs with a certain amount of justifiable pride, and at least one zombie outbreak would have been contained. Instead, Mary's the only one to escape alive, which she accomplishes by running screaming out of her house, up the street and out onto Route 376, where she's struck by a red pickup truck driven by an eighteen-year-old girl who received it as a birthday present from her parents last month.

Mary avoids being hit head-on, which would've killed her, but she's tossed to the side of the road. To her credit, the girl stops, reverses, and leaves the truck to see to the woman who collided with it. Actually it's a risky move—for all the girl knows, she could've knocked down a zombie. Mary's pretty seriously concussed, but it's clear to the girl she hails from one of the big houses on the side street—the houses from which a few zombies are emerging, doused with blood. The girl doesn't waste any time: she hustles Mary into her truck and literally burns rubber racing away. The girl—who deserves a name: she's Beth Driscoll—Beth takes Mary into the center of Goodhope Crossing, to the new walk-in emergency-care place, and stays with her as the doctor examines her with an openly worried expression on his face. Mary's in what he's going to call a fugue state—like being part of the way into a coma—and she's never going to surface from it. The doctor—Dr. Bartram, for the record—tries to arrange for an ambulance to transfer her to one of the local hospitals, but all at once, the ambulances are very busy. By the time he considers driving her himself, the police will have told everyone to stay off the roads. When those same police start stumbling through the front doors with wounds of their own for the doc to treat, Mary will be placed on a cot in one of the hallways and left there. Beth will check on her as she's able, which won't be much, because she'll be busy helping the doc and his staff with the injured. After the medical facilities are transferred to St. Pat's church hall, Mary's installed there, given a futon-bed and a molded plastic chair and a garbage bag full of assorted sweatpants, t-shirts, underwear, and socks. Beth tends to her as she can.

Ted doesn't show up looking for his wife. In fairness to him, that's due to his having parked in front of his house about two minutes after Beth sped off with Mary. Once he realized what was taking place, he bolted his car for the house, whose front door he'd noticed open and which had him dreading the worst. The worst met him at the door, in the form of the pair who'd devoured his children, one of whom was holding Brian's stuffed frog, which was dark with blood. You may consider it a kindness that Ted died without seeing what was left of his beloved daughter and son upstairs.

Mary can eat and drink, use the toilet if you take her to it. Speak to her, and she'll bob her head in your direction. There are times, after Beth's sat with her for an hour, maybe read to her from the Bible (which Beth secretly hopes might produce a miraculous cure), the girl looks at Mary half-slumped in her chair, or reclining on her bed, and wonders if Mary isn't lucky to be like this, safe from the chaos that's descended on the world. She has no idea—she can have no idea that deep within Mary's psyche, she's standing at that stove for the ten-thousandth time, watching a pot full of water begin to boil, waiting for her children to start screaming.

(The Stage Manager sighs, looks up, looks down, rubs his hands together half-heartedly, sighs again.)

Stage Manager: I never finished telling you about the town, did I? Not that it makes much difference at this point, but maybe one or two of you are curious.

(Once more, the Stage Manager settles himself on the ground, against the headstone; although he appears to have more trouble finding a comfortable position than previously.)

Stage Manager: All right. What more is there to say about Goodhope Crossing? The longer-term history of the town isn't that much different from any other in this neck of the woods. There were farms around these parts as far back as the Dutch, but Goodhope Crossing, as the name suggests, owes itself to the railroads. In the years after the Civil War, when track was stitching up the country everywhere you looked, three north-south lines and one east-west line met one another right here.

(From the orchestra pit, a quartet of wooden train whistles sound softly.)

Stage Manager: There was a long, low hill to the east of the junction, a stream and some flatter land to the west. The town was plotted on that axis, the poorer folk crowding their small houses together on the hill, the better off setting up Main Street and its larger dwellings on the other side of the stream. From those two locations, the town spread outward, most of the commercial establishments opening on the other side of the hill; while the majority of new homes went up on and just off Main Street. Lot of Irish settled here; Poles and Italians, too. Big Catholic population: the local church, St. Patrick's, started on Main Street and by the turn of the century had moved across the stream to the top of another hill just south of the one most of its parish lived on. St. Pat's was part of the Archdiocese of New York; right before everything fell apart, they were the third or fourth largest congregation in the fold.

Interestingly—you might even say, ironically—enough, pretty much the entire surviving population has relocated to the hill, which remained a location of more . . . affordable housing. Control the high ground: it's what a military strategist will tell you, and it's a good plan, for zombies as much as anything. Once the half-dozen or so who'd staggered up Concord Street were dealt with, and all the dwellings had been checked and double-checked to be sure they were clear, folks started putting up the best barrier they could as fast as they could around the foot of the hill, tipping over cars; running barbed wire; propping up old boxsprings, mattresses; piling whatever looked as if it might hold a walking corpse at bay long enough for you to have a clear shot at it: sofas, bureaus, bookcases, china cabinets.

(From either side of the theater, the sounds of men and women grunting, furniture creaking atop other furniture.)

Stage Manager: Hillary Schwabel, who used to manage the local True Value hardware, strung some wires all the way around what people already had christened the Wall and hooked them to several of her louder alarms; she also hung a dozen motion-detector lights from trees and houses next to the Wall. Things are so sensitive a cat'll trip them, but it beats the alternative. As a rule, zombies travel in numbers; when you see one of them, you see ten, twenty, sometimes as many as fifty, a hundred. A significant percentage of that group is going to be limber enough to make a try at getting past the Wall—and all it takes is for one of them to succeed, grab someone and start biting, for you to want to know they're moving in your direction while they're still a safe distance away. It's another myth that they only, or mostly, move at night. Their eyesight's poor-to-nonexistent—apparently, the ravages death inflicts on the eyes are exacerbated by the process of reanimation. Although they never stop moving completely, if you should have the misfortune to come across them after dark, they're likely to be shuffling their feet, practically standing in place. No, they prefer the light; the dawn pouring through the trees sets them going. A bright day is practically a guarantee you're going to see some of them.

All of that said, a few of them have been known to travel by night, especially if the moon is full. And even inching forward a little bit at a time will bring you somewhere, eventually. Better safe than sorry, right?

Have you noticed how disasters bring out the clich'es in droves? Why is that? Is the trite and overused that consoling? Or is it that, even though the brain is short-circuiting, it still wants to grasp what's going on, so it reaches for whatever tools are at hand, no matter how worn and rusted? Or is the language breaking down along with everything else? I've never been what you'd call a poet, but I have always prided myself on my phrasing, on a knack for finding a fit and even memorable form for whatever sentiment I'm attempting to convey. Lately, though—lately, I swear I sound more and more like a parody of a Good Ole Boy, your folksy uncle with his bucket of country wisdom.

Nor is that the worst. Before everything went down the crapper, one of my—you might say duties; although I considered it more a responsibility, if that distinction means anything to you—anyway, one of the things I did was to help those who'd shuffled off their mortal coils come to grips with their new condition. Mostly, this meant talking with them, taking them for a last look at their loved ones, about what you'd expect. In a few cases, I let them have one of their days over again, which, knowing what they knew now, tended to be a more unhappy experience than they'd anticipated. Even after I'd spoken to them, showed them what I could, there were a few who refused to walk down the long dark hall to join the ranks of those who'd gone before, who insisted on remaining in their house, or at the spot they'd ceased breathing, which was a shame, but was allowed for.

Once the dead started to rise, though—for the one thing, death no longer separated what lasted from what didn't; instead, the two remained bound together as the one began its new existence. For another thing, the destruction of that second life—or un-life—didn't allow matters to proceed on their natural course. Instead . . . well, maybe you want to see for yourselves.

(The theater's lights come on. Their harsh brightness reveals the center aisle, side aisles, front, and rear of the theater crowded with figures—with zombies, it appears, since the men, women, and children surrounding the audience bear the familiar signs of decay. Whatever shock and fear the appearance of so many of them in such proximity engenders, however, is gradually tempered by their complete lack of movement. Indeed, with the exception of one figure shuffling its way from the very back of the theater up the center aisle, the apparent zombies might as well be mannequins.)

Stage Manager: Being chained to that body as it stumbles along in the single-minded pursuit of flesh, as it finds and kills and consumes that flesh—it isn't good for the other part, for what I call the spark—it twists it, warps it, so that when it's cut loose, this is how it appears. Mostly. A few—I haven't worked out the exact numbers, but it's something on the order of one in a thousand, fifteen hundred—they show up hostile, violent, as if what they last were in life has followed them across its borders. There's no talking to them, let alone reasoning with them. I'm not certain what they could do to me—there've been rumors through the grapevine, but you know how that it is—but I'm not inclined to find out.

(The Stage Manager rises to his feet, withdrawing his revolver from its shoulder holster on the way. In a continuous motion, he extends his arm, sights along the long barrel of the gun, and squeezes the trigger. The gun's BOOM stuns the air; the young man in the brown three-piece suit who is approximately halfway to the stage jerks as the back of his head detonates in a surprisingly solid clump. The young man falls against one of the motionless forms in the aisle, an old woman wearing a blue dress and a knitted white pullover, who barely moves as he slides down her to the floor. The Stage Manager maintains his aim at the young man for five seconds, then levels the gun and sweeps it across the theater. It is difficult to ascertain whether his eye is on the figures in the aisle, the audience in their seats, or both. Unable to locate any further threats, he re-holsters the pistol. He remains standing.)

Stage Manager: That's—there's nothing else I can do. It means—I don't like thinking about what it means. It's a step up from what a fellow like that was, but—it's not a part of the job I relish. Could be, it would be a service to the rest of these folks, but I haven't got the stomach for it.

(The Stage Manager lowers himself to the ground. The lights dim but not all the way. The forms in the aisles remain where they are.)

Stage Manager: Once in a while—it's less and less, but it still happens—a regular person finds their way here. That was how I had the chance to talk with Billy Joe Royale, he-of-the-famous-homemade-napalm. I'd witnessed his handiwork in action—must have been the day after the day after that truckload of zombies parked in the middle of Mary Phillips's neighborhood. The number of zombies had increased exponentially; the cops had been overrun in most places; the National Guard who were supposed to be on their way remained an unfulfilled promise. Those who could had retreated to the parking lot of St. Pat's, which, since the hill hadn't yet been fortified, looked to be the most defensible position. I reckon it was, at that. There wasn't time for much in the way of barriers or booby-traps, but those men and women—there were forty-six of them—did what they could.

(From the right and left of the theater comes a cacophony of gunfire; of voices shouting defiance, instructions, obscenity, encouragement; of screams. It is underscored by a frenzied, atonal sawing of the violins. It subsides as the Stage Manager continues to speak, but remains faintly audible.)

Stage Manager: In the end, though, no matter how much ammunition you have, if the zombies have sufficient numbers, there's little you can hope for aside from escaping to fight another day. These folks couldn't expect that much: they'd backed themselves against the church's north wall, and the zombies were crowding the remaining three sides.

Exactly how Billy Joe succeeded in evading the zombies, finding his way inside St. Pat's, climbing up the bell-tower, and shimming out onto the roof—all the while carrying a large cloth laundry-bag of three-liter soda bottles full of an extremely volatile mixture—I'd like to take credit for it, but I was down below, all my attention focused on the by-now forty-two defenders staging what I was sure was their updated Alamo. They were aiming to die bravely, and I was not about to look away from that. When the first of Billy Joe's soda-bottle-bombs landed, no one, myself included, knew what had just taken place. About twenty feet back into the zombies' ranks, there was a flash and a clap and an eruption of heavy black smoke. Something had exploded, but none of the men and women could say what or why. When the second, third, fourth, and fifth bombs struck in an arc to either side of the first, and smoke was churning up into the air, and the smell of dead skin and muscle barbecuing was suddenly in everyone's nostrils, it was clear the cavalry had arrived. A couple of guys looked around, expecting a Humvee with a grenade-launcher on top, or an attack helicopter whose approach had been masked by the noise of the fighting. The rest were busy taking advantage of the wall of fire the bombs had created, which separated the zombies on this side of it from those on the other, reducing their numbers from who-could-count-how-many to a more manageable thirty or forty. While they worked on clearing the zombies closest to them, Billy Joe continued to lob bottle after bottle of his fiery concoction, dropping some of them into the thick of the zombies, holding onto others almost too long, so that they detonated over the zombies, literally raining fire down on their heads. He'd stuffed twenty-three bottles into that laundry bag, and he threw all but one of them.

(The din of the battle rises again, accompanied by the pops of a drumstick tapping on a drum, and the lower thrum of viols being plucked. The pops increase, the thrums increase, then the violins scream an interruption and all noise stops.)

Stage Manager: That last bomb was what killed him, a single-serve Coke bottle that remained in his hand past the point of safety. It blew off his right arm to the elbow and hurled him flaming from the roof. He didn't survive the fall, which was just as well, since his burning corpse was shot by roughly half the people he'd saved. Stupid, but understandable, I guess.

He took longer to show up than I'd anticipated, the better part of a day, during which his identity and his actions had been discovered, along with the two hundred additional bottles of napalm standing row after row in his parents' basement. Unfortunately, he hadn't seen fit to leave the formula, but those bombs were a big downpayment on buying those among the living sufficient time to move to the hill and begin the process of securing it. There've been a couple of tries at duplicating his secret mix, neither of which ended well.

(From the rear of the theater, the faint crump of explosions.)

Stage Manager: As for Billy Joe . . .

(Stage left, a stage light pops on, throwing a dim yellow glow over one of the tombstones and BILLY JOE ROYALE, who is a very young sixteen, his face struggling with its acne, a few longish hairs trying to play a goatee on his chin. He is dressed in an oversized blue New York Giants shirt, baggy jeans, and white sneakers. A backwards baseball cap lifts the blond hair from his forehead, which emphasizes the surprise smoothing his features. He hooks his thumbs in the pockets of his jeans in what must be an effort at appearing calm, cool. He sees the Stage Manager and nods at him. The bill of the Stage Manager's hat tilts in reply.)

Billy Joe: So are you, like, him?

Stage Manager: Who is that?

Billy Joe: You know—God.

Stage Manager: I'm afraid not.

Billy Joe: Oh. Oh . You aren't—

Stage Manager: I'm more of a minor functionary.

Billy Joe: What, is that some kinda angel or something?

Stage Manager: No. I'm—I meet people when they show up here, help them find their bearings. Then I send them on their way.

Billy Joe: Like a tour guide, one of those hospitality guys.

Stage Manager: Close enough.

Billy Joe: Where am I headed?

(The Stage Manager points stage right.)

Stage Manager: You see that hall over there?

Billy Joe: That looks pretty dark. I thought it was supposed to be all bright and shit.

Stage Manager: No, that's just an effect produced by the cells in your eyes dying.

Billy Joe: Oh. Where does it go?

Stage Manager: Where everyone else has gone.

(Billy Joe notices the figures in the aisles. He nods at them.)

Billy Joe: What about them? Are they—

Stage Manager: Yes.

Billy Joe: Shouldn't they be moving down that hall, too?

Stage Manager: They should.

Billy Joe: So why aren't they?

Stage Manager: I'm not sure. It's got something to do with what's going on—where you came from.

Billy Joe: These guys were like, the living dead?

Stage Manager: That's right.

Billy Joe: Wild. Any of them try to eat you?

Stage Manager: A couple.

Billy Joe: What'd you do?

Stage Manager: I shot them in the head.

Billy Joe: Huh. That work, here?

Stage Manager: It seemed to do the trick.

Billy Joe: It's just, I thought, you know, being where we are and all—

Stage Manager: Some things aren't all that much different. You'd be surprised.

Billy Joe: I guess so. Do you know, like, what caused all this shit—I mean, what brought all those guys back from the dead? Because Rob—he's this friend of mine—he was—anyway, Rob was like, It's all a big government conspiracy, and I was like, That's ridiculous: if it's a government conspiracy, why did it start in like, fucking India? And Rob—

Stage Manager: I don't know. I don't know what started it; I don't know what it is.

Billy Joe: Really?

Stage Manager: Really.

Billy Joe: Shit.

Stage Manager: Sorry.

Billy Joe: Does anyone?

Stage Manager: What do you mean?

Billy Joe: Does anyone know what's going on?

Stage Manager: Not that I've heard.

Billy Joe: Oh.

Stage Manager: Look—maybe there's someplace you'd like to see, someplace you'd like to go . . .

Billy Joe: Nah, I'm good.

Stage Manager: Are you sure there's nowhere? Your house, school—

Billy Joe: No, no—I mean, thanks and all, but—it's cool.

Stage Manager: All right; if you're sure.

Billy Joe: So . . . that's it?

Stage Manager: What else would you like?

Billy Joe: I don't know. Isn't there supposed to be some kinda book, you know, like a record of all the shit I've done?

Stage Manager: That's Santa Claus. Sorry—no, there's nothing like that. All the record you have of what you've done is what you can say about it.

Billy Joe: Huh. So what's it like?

Stage Manager: What's what like?

Billy Joe: Wherever that hall leads.

Stage Manager: Quiet.

Billy Joe: Oh.

(Billy Joe crosses the stage slowly, passing behind the Stage Manager, until he stands as far stage right as he can without leaving the stage.)

Billy Joe: That's it.

Stage Manager: It is.

Billy Joe: Well, no point in delaying the inevitable, right?

Stage Manager: I suppose not.

Billy Joe: Can you tell me one thing—before I go, can you answer one question?

Stage Manager: I can try.

Billy Joe: We're fucked, aren't we?

(The Stage Manager pauses, as if weighing his words.)

Stage Manager: There's always a chance—I realize how that sounds, but there's just enough truth left in it to make it worth saying. Things could turn around. Someone could discover a cure. Whatever's driving the zombies could die out—hell, it isn't even winter yet. A couple weeks of freezing temperatures could thin their numbers significantly. Or someone could be resistant to their bite, to the infection. With six-plus billion people on the planet, you figure there has to be one person it doesn't affect . . .

Billy Joe: Do you believe any of that shit?

Stage Manager: No.

Billy Joe: Yeah.

(He exits, stage right.)

Stage Manager: Understand, it's not that I don't want to believe any of it. I want to believe all of it. All of that shit, as my young friend would say. But doing so has traveled past the point of hard to the point of no return. No, this—this, I fear is how the day runs down for the human race. It's how Homo sapiens sapiens departs the scene, carried off a bite at a time in the teeth of the undead. If there weren't so much pain, so much suffering in the process, you could almost see the humor in it. This is the way the world ends, not with a bang, and not with a whimper, but with the bleak gusto of a low-budget horror movie.

(The Stage Manager reaches for his flashlight, which he shuts off and takes with him as he rises from his seat and walks to the back of the stage. He is visible against the bulk of the willow, and then the shadows have him. The theater lights come up, revealing the aisles still full of the dead. Men, women, old, young, most wearing their causes of their several demises, they encompass the audience, and do not move.)

For Fiona, and with thanks to John Joseph Adams .