Descent by Jay Bonansinga
Memorial Drive comes into view on the camera, and Philip stomps on the brake.
The rear of the Escalade bowls over a row of the undead with a nauseating, muffled drumming noise, as Philip rips the shift lever back into drive, his logger boot already pushing the pedal to the floor. They all sink into the upholstery as the SUV lunges forward, Philip taking a sharp left, threading the needle between two ruined trailers.
Sparks jump in the air as the SUV swipes a side rail, and then it’s through the gap and fleeing down the relatively clear and blessedly zombie-free lanes of Memorial Drive.
Hardly a minute goes by before Brian hears the scraping noise. It’s a coarse, wet, keening sound coming from under the chassis. The others hear it, too. Nick looks over his shoulder. “What the hell is that noise?”
“Something’s caught under the wheels,” Brian says, trying to see the side of the car out his window. He can’t see anything.
Philip is silent, his hands welded to the steering wheel, his jaw set and tense.
Nick is looking out at the side mirror. “One of those things is stuck under the wheel!”
“Oh great,” Brian says, twisting in his seat. He notices a tiny fan of blood droplets across the back window. “What are we gonna—”
“Let it ride along,” Philip says flatly, not taking his eyes off the street. “It’ll be pulp in a few minutes.”
* * *
They get about six blocks, bumping across a set of railroad tracks—getting deeper into the city—before encountering much more than a few isolated wrecks and roaming dead. The grid of streets threading between the buildings is choked with debris, the remnants of explosions, burned cars filled with charred skeletons, windows blown out, and piles of trash and detritus drifted up against storefronts. Somewhere along the way, the scraping noises cease, although nobody sees what has happened to the hanger-on.
Philip decides to take a north-south street into the heart of the city, but when he turns right—swerving around a mangled delivery truck on its side in the center of the intersection—he hits the brakes. The Escalade jerks to a stop.
They sit there for a moment, the engine idling. Philip doesn’t move, his hands still white-knuckling the wheel, his eyes squinting as he gazes into the distant shadows of tall buildings straight ahead.
At first, Brian can’t see what the problem is. He cranes his neck to glimpse the litter-strewn city street stretching many blocks before them. Through the tinted glass, he sees high-rises on either side of the four-lane avenue. Trash swirls in the September wind.
Nick is also puzzled by the sudden stop. “What’s wrong, Philip?”
Philip doesn’t respond. He keeps staring straight ahead with that uneasy stillness, his teeth clenching, his jaws working.
“Philip?”
No response.
Nick turns back to the windshield and stares out at the street. His expression tightens. He sees now what Philip sees. He gets very still.
“Will somebody tell me what’s going on?” Brian says, leaning forward to see better. For a moment, all he can make out is the distant canyon of high-rises, and many blocks of debris-littered pavement. But he realizes soon enough that he’s seeing a still life of a desolate city beginning to rapidly change like a giant organism reacting to the intrusion of foreign bacteria. What Brian sees through that shaded window glass is so horrible that he begins moving his mouth without saying anything.
* * *
In that single instant of brain-numbing awe, Brian Blake flashes back to a ridiculous memory from his childhood, the madness of the moment gripping his mind. One time, his mom took him and Philip to the Barnum and Bailey Circus in Athens. The boys were maybe thirteen and ten respectively, and they reveled in the high-wire acts, the tigers jumping through flaming rings, the men shooting out of cannons, the acrobats, the cotton candy, the elephants, the sideshows, the sword swallower, the human dart board, the fire-eaters, the bearded ladies, and the snake charmer. But the memory that sticks with Brian the most—and what he thinks of right at this moment—is the clown car. That day in Athens, at the height of the show, a little goofy car pulled out across the center ring. It was a cartoonish sedan with painted windows, about the size of a station wagon, built low to the ground and painted in a patchwork of Day-Glo colors. Brian remembers it so vividly—how he laughed his head off at the clowns piling out of the car, one after another, and how at first it was just funny, and then it became kind of amazing, and finally it was just downright bizarre, because the clowns kept coming: six, eight, ten, twenty—big ones, little ones—they kept climbing out of that car as though it was a magic container of freeze-dried clowns. Even as a thirteen-year-old, Brian was transfixed by the gag, knowing full well there had to be a trick to it, maybe a trapdoor embedded in the sawdust beneath the car, but it didn’t matter because the very sight of it was mesmerizing.
That exact phenomenon—or at least a perverted facsimile of it—is now unfolding right before Brian’s eyes along an urban thoroughfare in the lower bowels of midtown Atlanta. He gapes silently at it for a moment, trying to put the gruesome spectacle into words.
“Turn around, Philip.” Brian’s voice sounds hollow and reedy in his own ears as he stares at the countless throngs of undead awakening in every corner of the city before them. If the horde they encountered only moments ago on their way into town was a regiment of a Roman army, this—this—is the whole empire.
As far as the eye can see, down the narrow channel of the four-lane street, the undead emerge from buildings, from behind cars, from within wreckage, from the shadows of alleys, from busted-out display windows, from the marble porticos of government buildings, from the spindly planters of decorative trees, and from the tattered remains of sidewalk cafés. They are even visible in the far distance, where the vanishing point of the street blurs into the shadows of skyscrapers, their ragged silhouettes appearing like a myriad of slow-moving bugs roused from the darkness of an overturned rock. Their number defies logic.
“We gotta get outta here,” Nick says in a rusty squeak of a voice.
Philip, still stoic and silent, works his clenched fingers on the steering wheel.
Nick nervously shoots a glance over his shoulder. “We gotta go back.”
“He’s right, Philip,” Brian says, putting a hand gently on Penny’s shoulder.
“What’s the matter, what are you doing?” Nick looks at Philip. “Why aren’t you turning around?”
Brian looks at the back of his brother’s head. “There’s too many of them, Philip. There’s too many of them. There’s too many.”
“Oh my God, we’re fucked … we’re fucked,” Nick says, transfixed by the ghastly miracle building across their path. The closest ones are maybe half a block away, like the leading edge of a tsunami—they look like office dwellers of both genders, still clad in corporate attire that appears shredded and chewed up and dipped in axle grease—and they stagger this way like snarling sleepwalkers.
Behind them, for blocks and blocks, countless others stumble along the sidewalks and down the center of the street. If there is a “rush hour” in hell, it most certainly can’t hold a candle to this. Through the Escalade’s air vents and windows, the tuneless symphony of a hundred thousand moans raises the hackles on the back of Brian’s neck, and he reaches over and taps his brother on the shoulder. “The city’s gone, Philip.”
“Yeah, yeah, he’s right, the place is toast, we gotta turn around,” Nick babbles.
“One second.” Philip’s voice is ice cold. “Hold on.”
“Philip, come on,” Brian says. “This place belongs to them now.”
“I said hold on.”
Brian stares at the back of his brother’s head and a cold sensation trickles down Brian’s spine. He realizes that what Philip means by the phrase hold on is not “hold on a second while I think this over” or “hold on for a minute while I figure this thing out.”
What Philip Blake means by hold on is—
“
“Philip, don’t—”
Philip kicks the foot feed. The Escalade erupts into motion. He steers the vehicle straight into the teeming mob, cutting off Brian’s thoughts and pressing everybody into their seats.
“PHILLY, NO!”
Nick’s warning cry dissolves into a salvo of muffled thumps, like the beating of a giant tom-tom drum, as the Escalade jumps the sidewalk and mows down at least three dozen zombies.
Tissue and fluids rain across the car.
Brian is so unnerved that he ducks down against the floor and joins Penny in that place called away.
* * *
The smaller ones go down like ducks in a shooting gallery, bursting apart under the wheels and leaving a trail of rotting innards. The larger ones bounce off the quarter panels and hurtle through the air, smacking the sides of buildings and coming apart like overripe fruit.
The dead seem to have no capacity to learn. Even a moth will flitter away once it flies too close to a flame. But this vast society of walking corpses in Atlanta apparently have no clue as to why they can’t eat the shiny black thing roaring at them—the same thundering piece of metal that just an instant ago turned their fellow zombies into blood pudding—so they just keep coming.
Hunched over the wheel, teeth gnashing, knuckles white, Philip uses the wipers, with periodic sprays of cleaning solution, to keep the windshield clean enough to see through as he chews his way north, plowing the 8,300 pounds of Detroit iron through the moving sea of zombies. Varying his speed between thirty and fifty miles an hour, he carves a path toward the center of town.
At times, he is literally cutting a swath through a crowd so dense that it’s like blazing a trail through a thick forest of blood fruit, the flailing arms and curled fingers like tree limbs, clawing at the side windows as the Escalade digs through the walking excrement. At other times, the SUV crosses short sections of clear street, with only a few zombies trundling along on a sidewalk or at the edges of the pavement, and this gives Philip a chance to get his speed up, and to swerve to the right to a pick a few off, and then to the left for a few more, and then he’ll hit another wall-to-wall mob, and that’s probably the most fun, because that’s when the shit really flies.
It’s almost as though the viscera is raining down from above, from the sky, rather than from under the wheels or along the frame or over the top of the big front grill as the Escalade shears through the bodies. The wet matter streaks across the glass, again and again, with the rhythm of a giant pinwheel, a kaleidoscope of color, the palette like a rainbow of human tissue—oxblood red, pond-scum green, burnt-ocher yellow, and pine-tar black—and it’s almost kind of beautiful to Philip.
He roars around a corner and plunges into another mass of zombies coming down the street.
The strangest part is the continual repetitive flashes of similar tissues and organs—some of them recognizable, some of them not so recognizable. Entrails fly in all directions, splashing the windshield and sliding across the hood. Little kernels of teeth periodically gather in the wiper blades, and something else, something pink, like little pearls of fish roe, keeps collecting in the seams of the hood.
Philip glimpses dead face after dead face, each one flashing in his window—visible one moment, gone the next—and he’s in a zone now, he’s somewhere else, not in the SUV, not behind the wheel, but inside the mob, inside the city of undead, chewing through their ranks, devouring the motherfuckers. Philip is the baddest monster of them all, and he’s going to make it through this ocean of shit if he has to tear down the entire universe.
* * *
Brian realizes what is happening before he even looks. Ten excruciating minutes after they started mowing through the sea of zombies—after making it across nearly twenty-three city blocks—the Escalade goes into a spin.
The centripetal force tugs Brian against the floor, and he pops his head up—peering over the seat—as the SUV slides sideways on the grease of fifty thousand corpses. He has no time to yell or do anything about what is happening. He can only brace himself and Penny against the seat backs for the inevitable impact.
Wheels slick with gore, the SUV does a three-sixty, the rear end windmilling through the last few stray cadavers. The city blurs outside the windows, and Philip fights the wheel, tries to straighten it, but the tires are hydroplaning on a sheet of intestines and blood and spoor.
Brian lets out a strangled yelp—part warning and part inarticulate cry—as the vehicle spins toward a row of storefronts.
In the frenzied moments before the crash, Brian glimpses a row of derelict shop windows: hatless busts of bald mannequins, empty jewelry displays, frayed wires growing out of vacant floorboards, all of it blurred behind the wire-meshed display windows. But it’s just a vague impression of these things, Brian’s vision distorted by the violent spinning of the SUV.
And that’s when the right side of the Escalade collides with the display window.
* * *
The crash has that suspension-of-time feeling for Brian, the store window turning to stardust, the noise of shattering glass like a wave slamming a breakwater as the Escalade punctures the burglar bars and plunges sideways into the dark shadows of the Goldberg Fine Jewelry Center of Atlanta.
Counters and display cases explode in all directions, a sparkling, silver sleet of debris as the gravitational forces yank all passengers to the right. The Escalade’s airbags deploy in tiny explosions—great heaving balloons of white nylon filling the interior before it has a chance to collapse—and Nick is thrown sideways into the white fabric. Philip is flung sideways into Nick, and Penny is thrown across the rear floor into Brian.
The SUV skids sideways for an eternity through the empty store.
The vehicle finally comes to rest after slamming hard into a weight-bearing pillar in the center of the store, shoving everybody hard against the padded lining of the airbags, and for a moment, nobody moves.
* * *
White, feathery debris snows down through the dark, dusty air of the jewelry store, and the sounds of something collapsing behind them creaks in the sudden silence. Brian glances through the cracked rear window and sees the front of the store, a pile of fallen girders blocking the hole in the window, a cloud of dust obscuring the street.
Philip is twisting around in his seat, his face ashen and wild with panic. “Punkin? Punkin? You okay? Talk to me, little girl! You all right?”
Brian turns to the child, who is still on the floor, looking woozy and maybe in some kind of shock, but otherwise unharmed. “She’s good, Philip, she’s good,” Brian says, feeling the back of the child’s head for any blood, any sign of injury. She seems fine.
“Everybody else okay?” Philip looks around the dust motes of the dark interior. A thin ray of daylight filtering across the store is the only illumination. In the gloom, Brian can see the other men’s faces: sweaty, stone-still with terror, eyes glinting.
Nick raises a thumb. “I’m good.”
Brian says he is, too.
Philip already has his door open, and is struggling out from behind the airbag. “Get everything you can carry,” he tells them, “but make sure you get the shotguns and all the shells. You hear me?”
Yes, they hear him, and now Brian and Nick are climbing out of the SUV. Over the course of a mere minute, Brian makes a series of observations—most of them, apparently, already calculated by Philip—beginning with the front of the store.
From the chorus of moaning noises and thousands of shuffling feet, it is clear to Brian that the zombie horde is closing in on the accident scene. The Escalade is finished, its front end nearly totaled, its tires blown, its entire length shellacked with gore.
The rear of the store leads toward a hallway. Dark, narrow, lined with drywall, the corridor may or may not lead to an exit. There’s no time to investigate. All they have time to do is grab their packs, their duffels, and their weapons. Dazed fro
“Come on, kiddo, we gotta skeedaddle,” Brian says to Penny, but the child looks lethargic and confused. He tries to pull her from the mangled interior, but she hangs on to the back of the seat.
“Carry her,” Philip says, coming around the front of the SUV.
“Come on, sweetie, you can ride piggyback,” Brian tells the girl.
Penny reluctantly climbs out, and Brian lifts her onto his back.
The four of them quickly creep through the jewelry store’s back hall.
* * *
They get lucky. Just past the glass doorway of a back office, they find an unmarked metal door. Philip throws the bolt, and he cracks the door open a few inches, peering out. The smell is incredible—a black, greasy stench that reminds Brian of the time his sixth-grade class took a field trip to the Turner stockyards outside Ashburn. The smell on the abattoir floor was like this. Philip raises a hand, motioning for everybody to stop.
Over Philip’s shoulder, Brian can see a long, narrow, dark alley lined with overflowing garbage Dumpsters. But it’s the actual content of the receptacles that registers most sharply in Brian’s brain: pale human arms dangling over the sides, ragged, ulcerated legs, matted hair hanging down, and pools of old blackened blood dried beneath them.
Philip motions to the others. “Y’all follow me, and do exactly what I say,” he says, snapping the cocking mechanism on the Ruger—eight rounds of .22-caliber bullets ready to rock—and then he’s moving.
They follow him out.
* * *
As quietly and quickly as possible, they make their way through the stench and shadows of the deserted slaughterhouse of an alley toward a side street visible at one end. Weighed down by the duffel bag over one shoulder, and the child clinging to his back, Brian limps along in between Philip and Nick—Penny’s sixty-five pounds never feeling as heavy as they do now. Nick, who is bringing up the rear, walks with his Marlin 20-gauge cradled in his arms. Brian has his own shotgun wedged underneath his backpack—not that he has any idea how to use the damn thing.