Zombies: More Recent Dead (31 page)

“Can we see?” Jeremy asks, giddy.

Bob shrugs, untucks his brown polo, pulls it up over his pudgy body. And there it is: the Y-shaped line of staples running down his entire torso.

Incredible.

“Staples will be out in a few days,” he says.

Cayla, standing in the doorway, interrupts our trance. “When you died,” she says, saccharine in her smile, “Did you see loved ones? Your family?”

A long silence follows—Cayla is clearly expecting him to say his dear old granddad showed up to lead him to the Pearly Gates. But Bob shakes his head.

“Sorry, kiddo,” he says. “One minute I was falling face-first into the hedges, the next I was splayed open on that table. Nothing in between.”

Cayla’s smile goes taut, like it’s been carved into her face. “Well, that can’t be,” she says. “You weren’t really dead.”

“As a doornail,” Bob replies. “No pulse, no brain activity, nothing.”

“Then you must not be Christian,” Cayla huffs.

“Catholic, born and raised,” Bob says.

Cayla’s entire face scrunches up so tight we think it will implode. “I’m confused,” she says. “Of all people, why you?”

Bob shrugs. “Couldn’t tell you, kiddo. Just glad to be back.” He reaches out to pat her shoulder, but she recoils.

“Don’t touch me,” Cayla whispers, and turns to leave, her frilly, multilayered pink skirt bouncing with each step.

Bob takes another long sip of coffee. “Tell you what, kids—being dead sure does make you appreciate things like a good cup o’Joe.”

We nod, suddenly craving coffee. That ancient Bunn churns out a sludge that tastes like it’s been squeezed from a wet dishrag, but as the hot liquid touches our lips, it seems richer somehow.

Thursday

For most of the day we stare at Bob, smiling as he takes his calls, waving or winking at us when he senses our eyes on him. The deep lines that etched his face before he died are beginning to disappear, though we can still see pronounced veins on his forehead and forearms. We are almost used to him being back, so much so that on occasion our eyes wander back to Cayla, in her lime-green tunic and skirt and a medallion twice the size of her fist, with a cannon and a cross and the caption, IN THE ARMY OF THE LORD. When she has paperwork for Bob she tries to pass it to one of us to hand him; we pretend to be busy just to watch her slink up to Bob’s desk, set the papers on the very edge, and tiptoe away as if he doesn’t see.

It is our tradition to do karaoke night at Big Mike’s on Thursdays after work, and for the first time since any of us has been here, we invite Bob, who thinks about it for a minute, shrugs, and says, “Don’t mind if I do.”

Big Mike’s is a bar and grill next to the office, built like an oversized Airstream trailer with a little plank for a dance floor and miniature juke boxes at each table. Bob looks around the place as we go in, joy in his eyes. “This place has been here for nine years and I’ve never even been inside,” he says. “Imagine that.” We are pleased with ourselves for introducing him to such a treasure, even if a bit late.

For the first half-hour no one steps up—it takes a few beers to lose enough inhibition—but finally Bob gets up from his seat next to Charlotte. He fiddles with the karaoke machine for a minute, presses the button. Horns blast over the PA; Bob seizes the microphone stand like he’s about to swing it, and belts out the lyrics to “Mack the Knife” in a velvet baritone you’d never expect to come out of his dumpy body. And he’s good.

None of us knew Bob could sing.

When Bob is finished, the half-drunk crowd bursts into applause; he takes a bow and returns to us.

“That was fucking awesome!” Jeremy slurs, slapping Bob on the shoulder.

Later, when Roger gets up to do a spastic rendition of Barbara Mandrell’s “Sleepin’ Single in a Double Bed,” we watch in awe as Bob takes Charlotte’s hand and leads her to the little wooden pallet of a dance floor. At first it’s ridiculous, Bob’s thin arms flailing about his pudgy torso like no human thing, and it takes every bit of Charlotte’s will not to laugh. A few people at the tables near us do, but Bob doesn’t care. After a minute or two, he loosens up and starts whipping her all over the floor. When the song ends, he twirls her under his arm; dour, anorexic, alcoholic Charlotte is laughing, but there’s no mockery in it, and once she stops twirling she plants a kiss on his neck, right below his ear.

At ten, when we’re dried out and tired, we stumble back to the office parking lot. Spent as we are, we still notice Charlotte climbing into Bob’s old hatchback, and we smile.

Friday

When we arrive at work, Charlotte’s blue Volvo is still in the same space as last night, far from the building near the railroad tracks, and we believe in miracles.

Then we notice the red spray paint on the front door: GOD HATES ZOMBIES.

Of course Marlene asks, and of course Cayla denies it.

Bob and Charlotte arrive together: Bob first, Charlotte thirty seconds later, acting like nothing has happened.

“You old dog,” Jeremy says, punching Bob in the shoulder. Bob merely winks and whispers, “Shhh.”

It takes Cayla a moment to comprehend the meaning of it, but when she does she cups her hand over her mouth like she’s holding in vomit.

Bob actually looks good, better than before he died: eyes full, skin bright and peachy, posture straight and tall. Even his clothes are better: a form-fitting charcoal blazer and smoky gray slacks in place of his usual sagging Henleys and khakis. For most of the morning he softly whistles the synthesizer line from Rod Stewart’s “Do Ya Think I’m Sexy,” which gets stuck in our heads for the rest of the day. We should be annoyed, but Bob has never seemed so happy—no,
alive
—and we feel strangely elated. Even Charlotte is in a good mood, slapping Bob’s flat ass whenever he passes.

But Cayla is here, so there must be drama. Just after ten, she sends Bob the wrong form via Roger. Bob gets up, shuffles over to her little gray cubby near Marlene’s office, taps her on the shoulder. When she realizes it’s him she pulls back so hard she falls out of her chair and scrapes her face on a cubicle wall. Bob reaches out to help her up, but she grunts like a frightened animal and does a sort of crabwalk out of the cubicle, all the way to the ladies’ room. We hear her mad scrubbing under the faucet, her voice murmuring a prayer in tongues.

Bob finally knocks on Marlene’s door. “I think something’s wrong with Cayla,” he says, and she glides across the office floor to the restroom.

We can’t make out what they’re saying, other than, “Are you all right?” and Cayla’s tearful, “I can’t work with that thing around here. You have to fire him.” The rest is a low mumble. Finally Cayla bursts out in tears, and before we know it she is out the front door.

Marlene emerges a few seconds later, her face red but expressionless. “Let’s get back to work,” she says. “Everything’s fine.”

Over lunch, Bob tells us what he plans to do with the hefty settlement check from the hospital—we are awed that he still comes to work, but he says it gives him a reason to get up in the morning—when Cayla returns with a tall gray-skinned old man in a black camp shirt and white collar, Bible clutched under one arm, cane in the other. He moves slowly, the thin cane barely enough to support him, and she practically drags him to the breakroom.

“That’s him, Reverend,” she says, pointing at Bob.

“All right,” the old man says. “Let’s get this over with.” He looks around at all of us. “If it’s not too much trouble, I’d like everyone to join hands.” We look to Bob, not knowing what to do. He nods, and we go along with it.

The old pastor sets down his cane, draws from his breast pocket a small plastic crucifix, and holds it and the Bible at arm’s length, inches from Bob’s face. “Everybody repeat after me.” His voice is a crackly whisper. “Away, undead thing! Back to the grave!”

We repeat his words. Nothing happens.

The old man sighs. “I said, away!” He lunges a little too far the second time, and drops his Bible at Bob’s feet. Bob leans over, picks it up, dusts it off, and hands it back.

“Thank you, my boy,” the old man says. Then he turns to Cayla. “I don’t think it’s working, dear. You might need a Catholic for this sort of thing.”

Cayla grunts. “You’re the only one who’d agree to do this.”

“Well, I’m sorry, sweetie,” he says as Bob helps him into a chair. “Guess I don’t have it like I used to.”

Bob hands the old pastor a cup of coffee. “Here you go, Reverend,” he says. “Guys,” he says to all of us, “Can you give us a minute? Cayla, you stay.”

We file out, though those whose desks are near enough listen for any tidbit we can pick up.

After about ten minutes, Bob and the reverend emerge. The old man reaches out and shakes Bob’s hand. “You’re truly a miracle, son,” he says. “Best of luck in your new life.”

Bob asks Jeremy to drive the old man back to his retirement home, then turns back to the breakroom. Cayla is sitting in a corner, hands tightly folded in her lap. She stands when Bob enters.

“Stay away.” Her voice is mousey.

He approaches her like some creature in a bad movie. For a minute we think he’s regressed, and might just dig his teeth into her skull and eat her brain. Not that she’d be much of a meal. Bob stops a few feet from her, just out of arm’s reach. She goes rigid.

“I’m not going to hurt you, Cayla. I promise.” Bob’s voice is soft. Tender.

“You’re a monster.”

This is too much; a few of us shout back at her, “You’re the monster!” But Bob raises his left hand and we fall silent.

“No, Cayla. I’m just Bob. Same as ever. Maybe a little better.” He holds his hand out to her, and her face seems to soften. “How ’bout we start over?”

“Okay.” She reaches out slowly, shakes his hand, but quickly pulls it back.

“Your hand’s cold.”

“Cayla . . . ” Bob starts to say, and steps closer.

Cayla screams like she’s being stabbed in the liver, so loud it echoes in the metal beams of the building.

Marlene rushes in to save the day, of course. She points to Cayla and summons her into her office, then closes the door.

Five minutes later Cayla comes out sobbing, walking in slow motion to her desk and clearing off the crucifixes and Jesus statuettes. On her way out, she stops before Bob’s desk and glares.

“I’m sorry, Cayla,” Bob says.

She pulls a book of matches from the box, lights one, throws it at Bob. It goes out before touching him.

She lights another, flings it. He catches it gracefully, snuffs it out in his closed palm. Then Max, the security guard, steps up behind her and ushers her out.

Cayla stops once more at the door. “You people are in league with the devil!” she shouts, just as Max gives her a little shove, and then she’s gone.

Monday

The air smells faintly of smoke as we pull into the parking lot. It is early May, too soon to burn leaves, but we think nothing of it.

When Bob arrives with Charlotte on his arm, he looks like a million bucks: electric blue pinstripe suit with a black button-up shirt and no tie, hair trimmed neatly up around his ears, handlebar mustache close-cropped and sleek, bags gone from under his eyes. There is no sign of the Y-incision scar beneath his collar, as if his transformation into a new man is complete. Charlotte is giddy as she clings to his arm, the smile practically glued in place—a rarity that usually causes us unease, but this time it’s . . . nice. Comforting.

By 9:30, we hear chanting in the parking lot. We pay no attention, fixated as we are on Charlotte using her phone-sex voice on sales calls, until Roger finally gets up to investigate.

“Um, guys,” he says, peering out the glass door. “You’d better take a look.”

Outside on the sidewalk is a crowd of fifty or more, holding homemade signs that read, GOD HATES THE UNDEAD, and ZOMBIE, GO BACK TO THE GRAVE. A few hold makeshift torches—broom handles and baseball bats with flaming rags attached to them. When Bob comes over to see, they shrink back a little, point their torches like spears.

Marlene locks the door. “I’m calling the police.” She calls from Roger’s phone, then waits.

“I don’t think it is a peaceful protest,” she says. Another pause. “No, I don’t think it can wait until later.” She sighs, slams the phone down. “They’ll send someone when they can.”

A shrill, familiar voice outside echoes through a megaphone. “You know what we want,” Cayla shrieks. “Send out the zombie or we torch the building.”

Stupid Cayla, we think. This building is made of brick. Then two of her minions lay torches in front of the glass door. The clear pane blackens, then cracks, and black smoke starts seeping in under the door.

The old gold-diamond carpet begins to singe.

“Okay,” Marlene says. “Everyone out the back. Calmly.”

We rush en masse to the back exit, a metal double-door with a rusty frame and peeling brown paint, nearly trampling one another. All but Bob and Charlotte, that is, who calmly follow Marlene. But when we get there the door is hot, the smell of smoke and kerosene hanging in the air.

We panic. Anyone would.

Our eyes wander to Bob, hanging back behind the throng, holding Charlotte’s hand.

Marlene notices. “Absolutely not,” she says, voice raised just enough to cut through the noise. “We’re not sending Bob out there.”

Our shaky chatter stops. Of course not. We have a genuine miracle in our presence.

“I’m calling nine-one-one,” Marlene says, and runs to her office.

This, we know, will solve the problem. Sooner or later the firemen and cops will arrive, douse the flames, disperse the mob.

Five minutes later, they have yet to arrive—one of the drawbacks to working in a business park ten minutes outside of town.

“Maybe I should go out and talk to them,” Bob says.

“That sounds like a very bad idea, Bob,” Marlene says. She is, of course, correct.

Then someone lays a couple more torches by the front door, and the glass goes completely black. In a minute it will shatter, the mob will enter, and the whole place will burn.

Because of the smoke and the panic, it’s not clear who is the first to seize Bob. But someone does, and then we all grab hold, and we hoist him over our shoulders and begin to carry him toward the window.