Dog Blood Part 19

HEAVY CLOUD FILLED THE sky during the late afternoon and early evening. As darkness fell we were called into the main upstairs function room and weapons were handed out. I was given a gun, a few rounds of ammo, and several grenades, but I don't think I'll use them. More to the point, I don't know sky during the late afternoon and early evening. As darkness fell we were called into the main upstairs function room and weapons were handed out. I was given a gun, a few rounds of ammo, and several grenades, but I don't think I'll use them. More to the point, I don't know how how to use them, even though Julia and one of the others tried to show us. I'll stick to my blades. to use them, even though Julia and one of the others tried to show us. I'll stick to my blades.

Since this war began I've fought alongside hundreds of men and women, maybe even thousands. Who they were and what they were capable of didn't seem to matter until now. But, standing in the bizarre surroundings of the run-down social club, I looked at the ten other fighters heading into town with me and tried to imagine how each of them would fight and kill. The two women-Julia and Sophie-seemed totally unfazed, ready to face anything. Most of the others were similarly focused. Only Parsons and a guy called Harvey seemed as nervous and agitated as I felt. Harvey is a huge, lumbering bulk of a man. He wears gla.s.ses with ridiculously thick lenses, and he suffers from acute asthma. He sounds like Darth Vader, and he has appalling halitosis. You can smell him and hear him long before you see him coming. Poor b.a.s.t.a.r.d. He comes across as being a bit backward, and I wonder how much of what's happening he truly understands. Still, he must have something between his ears if they reckon he'll be able to keep control of himself in the city surrounded by Unchanged. I'm not convinced.

We left the social club before 3:00 a.m., splitting into four pairs and one group of three, staggering our departures and each of us taking a different, prearranged route to the rendezvous point in town. I'm with Craven, the computer guy, and he reckons we've been walking for almost an hour. We follow the towpath alongside a ca.n.a.l that cuts through what used to be a busy residential area. This place used to be a vibrant, noisy suburb of the city. The nearby university caused the local population to swell during the school year, and the narrow streets were full of cheap shops, restaurants, cafes, bars, and pubs. Everywhere is silent now. The only resident I can see is floating facedown in the murky ca.n.a.l.

The towpath has taken us almost all the way into the very center of the city. We reach a steep flight of steps that lead back up to the street. As we climb them, our closeness to the heart of town becomes apparent. We emerge among lifeless crowds of terrified Unchanged who don't even look at us when we pa.s.s them. I expected this to be infinitely harder but I'm somehow able now to swallow down my emotions, hold the Hate and not start killing because I know they'll be dead before long anyway. Seeing Sahota's plan realized will result in many more deaths than I could ever cause by myself. If everything happens as predicted, the city will have fallen by this time tomorrow. Maybe I can bear to be with them because, for the first time in as long as I can remember, the Unchanged are not my only focus. I have another agenda. Since we left the social club all I've been able to think about is getting deeper into town, giving Craven the slip, and heading for the Prince Hotel. I'll search for Lizzie, and then, when I've made her tell me where she last saw Ellis, I'll use the chaos as cover and try to get away.

"Down here," Craven says, changing direction and leading me along a tight pa.s.sageway filled with people. I look into their vacant faces, and I feel nothing but contempt for them. They remind me of what I used to be before the Hate-beaten, wretched, resigned. They cower in the shadows, waiting for a salvation that is never going to come. The Hate has stripped away their ident.i.ties and their purpose. They are empty, just waiting for death to come along and end their misery. Standing here, ankle deep in this sc.u.m, there's apart of me that wants to stay and see Sahota's plan fully realized. I want to watch these people burn.

The road we're now following runs along the edge of a military enclosure. Everything looks so different tonight, but I'm sure this used to be a council depot. Tall railings surround the place, and there's a ma.s.sive concentration of soldiers at the gates. The enclosure is comparatively well lit, thumping gas-driven generators powering floodlights. The number of refugees under our feet here is greater, too, attracted like moths to the light and noise. Craven and I weave through the milling ma.s.ses with our heads held high, without a f.u.c.king care, and no one even gives us a second glance.

"I can see why Sahota picked this spot," I say quietly as we begin a slow descent down the packed, sloping main street that leads to the town hall. Even now it's still an impressive focal point of a building, a huge, mock-Grecian hall complete with ornate carvings and rows of ma.s.sive white stone columns. The civic square around it is seething with people, most of them camped out on the cold, hard ground, wrapped up in coats and blankets, their misery illuminated by more well-s.p.a.ced lights. There are signs that there used to be something like a soup kitchen operating from here-abandoned tables, empty gas cylinders and tins of food, plastic plates and cutlery blowing in the suddenly vicious wind.

"It's perfect," Craven agrees. "There are thousands of them here, and they're all at breaking point. They probably came here looking for food and shelter and got neither, so they just dropped where they were standing and gave up. They'll riot in a heartbeat once we start on them."

I look around as we pick our way through the sprawled ma.s.ses. He's right. There's an unspoken tension in the air here, much more fractious and intense than any I've felt before. There's an uncomfortable standoff between civilians and the military, too. I don't know which side is more wary of the other. Maybe that's the real reason why the soldiers are here in such numbers?

We move past a large stone statue, and seeing its distinctive dark outline strikes a sudden chord. For a second I remember this place as it used to be. On the rare occasions I'd get a proper lunch break from work, I'd sometimes walk here to get away from the office and everyone in it. Once or twice I met Lizzie here before the kids were born.

"There's Sophie," Craven says, nudging me in the ribs with his elbow and nodding over to where she's standing on the opposite side of the square. "Go find yourself a spot."

We separate as planned. Each of us will disappear into the crowd until the time to attack comes. It'll look less suspicious if we're all spread out, not that it matters; when the fighting starts no one will care who threw the first punch or fired the first shot. I find a narrow gap midway along a low wall, between two sleeping refugees, where I stop and wait. There's a still-functioning clock on the side of the town hall, just visible from where I'm standing. It's approaching four. Just over two hours to go. The Prince Hotel is no farther than a mile from here. I'll wait for a little while before I make my move. If I go off too fast there's a chance I'll be seen and followed.

Trying not to make it too obvious, I look around for the others. Craven and Sophie I've already seen. I see Parsons way over to my right and another man whose name I don't know sitting perched on the plinth of the statue in the center of the square. Harvey is leaning up against the same wall as me, a little farther along. His size makes him easy to pick out in the crowd.

There's Julia, too, sitting right in front of me, just a handful of people between us. I catch her eye and, stupidly, almost acknowledge her. She has a dirty blanket draped over her head, all but the top half of her face hidden. b.i.t.c.h is staring straight at me, watching my every move.

33.

IT'S BEEN p.i.s.sING DOWN rain for the last twenty minutes. There's no shelter here, and I, like everyone else, am soaked to the skin and freezing cold. I've been crouching down beside the wall trying to keep myself covered, but the rainwater's running down across the gentle slope of the packed square now, forming deep puddles around my feet. The conditions don't bother me-I'm getting ready for what amounts to a suicide attack, surrounded by Unchanged, and a little water is the least of my problems-but when other people start to move around me I know I need to go with them to keep up the illusion. I follow two of them, stepping over the person immediately to my left, who hasn't moved in as long as I've been here. Someone grabs my arm, and I know who it is before I turn around. I can hear him breathing. rain for the last twenty minutes. There's no shelter here, and I, like everyone else, am soaked to the skin and freezing cold. I've been crouching down beside the wall trying to keep myself covered, but the rainwater's running down across the gentle slope of the packed square now, forming deep puddles around my feet. The conditions don't bother me-I'm getting ready for what amounts to a suicide attack, surrounded by Unchanged, and a little water is the least of my problems-but when other people start to move around me I know I need to go with them to keep up the illusion. I follow two of them, stepping over the person immediately to my left, who hasn't moved in as long as I've been here. Someone grabs my arm, and I know who it is before I turn around. I can hear him breathing.

"Is this it?" Harvey asks, his voice low but still too loud. "Is it time?"

I shake my head. "Not yet, too soon. I'm just getting out of the rainwater."

I try to move, but he keeps hold of me.

"Where you going?"

"Somewhere drier."

"I'll come."

"No, it's better if we split up. If people see us together they'll get suspicious."

"Doesn't matter. Not long now."

"I know, but-"

I shut up when the deafening rumble of a sudden, booming explosion fills the air. There's a moment of silent shock in the square, everyone taken by surprise. It lasts no longer than a second; then all h.e.l.l breaks loose around me. The ma.s.s of people who'd been sheltering on the ground begin to get up and scramble for cover. Is this it? Has the signal to fight been given early? I look around, but, apart from Harvey, there's no one I recognize anywhere close in the ma.s.s of refugees suddenly crisscrossing all around me. My arm is grabbed again.

"It's not time," Julia yells in my ear, shouting to make herself heard over the noise filling the square. "Don't fight. This isn't it. Get up toward the statue."

I do as she says, sensing her following my every step. I look up and see that a surprising number of the people in the crowd ahead have now stopped and are standing still, looking back in the direction from which I've just come. Other panicking refugees continue to weave around them. One of our men is already standing on the statue. He sees us coming and beckons us closer. He points out into the distance.

"Some dumb f.u.c.ker's got their timings wrong."

Still being shunted from every angle, I pull myself up next to him and look back. Behind the town hall a high-rise office building is on fire. There's a necklace of fierce flame burning about two-thirds up the side of the building, and it's taking hold with incredible speed. I can see people in the windows above the flames, illuminated by what's happening below them. Some have started to jump, choosing instant death when they hit the ground over waiting for the fire and smoke to get them.

"This isn't right," I say, thinking out loud, trying to s.h.i.+eld my face from the torrential, driving rain.

"What isn't?" the man next to me asks as he reaches into the pockets of his jacket for weapons.

"Why there? If you want to cause panic at ground level, why start fighting halfway up a high-rise?"

"It wasn't us," Craven shouts, wading through the ma.s.ses to get to us.

"How do you know?"

"Helicopter. You can see it sticking out of the side of the building. Looks like it was just an accident. Guess it was only a matter of time. You can't look up in this place without seeing something in the air. Everything's so dark that buildings like that must be pretty hard to make out, and in this weather it's even worse. Idiots must have flown straight into it."

Julia plucks Harvey from the crowd and pulls the five of us closer together, no longer concerned with trying to remain invisible. The other people around us couldn't give a d.a.m.n who we are or what we're doing.

"We have to keep waiting," she says. "This is only going to help us."

"We should do it now," Craven argues, "capitalize on it. Sahota wanted more groups-"

"We wait," Julia orders.

I stare at the crash for a few seconds longer, watching the flames crawling and licking up the sides of the high-rise, swallowing the tail of the helicopter. The fire moves with incredible speed, seeming to eat up the higher floors of the building in ma.s.sive gulps. The destruction is beautiful, almost hypnotic. But then something happening down here at ground level tears my attention away from the building. People. They're starting to flood into the already packed square. As if a dam has burst its banks, a deluge of desperate refugees is suddenly was.h.i.+ng toward us, forced out from their flimsy shelters and squalid refuges around the base of the burning building. Some are injured. Others are coughing, their lungs filled with acrid smoke and dust. Most, though, are just panicking-going with the flow of everyone else around them. Their fear and confusion is invigorating. To experience their terror this close makes me feel superior and strong. They're running blind from the immediately perceived danger without giving a second's thought to what they might be running toward.

Suddenly the air is filled with more thunderous noise. Another explosion. This time it's in the opposite direction, and I'm sure this has to be one of ours. A swollen balloon of flame billows up in the darkness about half a mile from here. It disappears quickly, but its aftereffects remain. Surely another surge of refugees will start moving this way and will hit the others head-on?

"That's enough," Craven says. "Come on, Julia, let's just do it. We won't gain anything from waiting."

They can do what the f.u.c.k they like. I'm going. This is my last chance to find Lizzie before all h.e.l.l breaks loose, and I'm going to take it. I climb down off the statue, and then, leaving Craven and Julia arguing, I start to move back through the crowd. I glance up at the clock on the side of the town hall as I'm swallowed up by the ma.s.ses. Quarter to five. If Julia has her way I've still got an hour. Or have I? Has the fuse already been lit?

The constant movement and heavy rain are disorienting, and I'm struggling to get my bearings. I push my way deeper into the hordes of Unchanged and manage to almost reach the farthest edge of the civic square before I realize I'm moving in the wrong direction, the burned-out ruin of a nightclub looming up in front of me. People are tearing along an alleyway at the side of the ruined building in both directions, none of them making any progress. I turn around and walk straight into Parsons. He stands in front of me and blocks my way, looking as desperate and lost as one of the Unchanged. He has a grenade in his hand.

"Is this it, McCoyne?"

"No," I tell him, "not yet. Julia says we should-"

"I think it's time."

"Not yet," I say again, having to shout now to make myself heard. "She's up there by the statue. Go and speak to her. See what she says before you-"

"It must be time," he shouts over the rain. "I can't stand all this waiting-"

"Parsons, don't! It was just a helicopter crash. And the other explosion-"

He doesn't say anything else. Instead he just pulls the pin from his grenade. A sudden surge from the crowd shunts him sideways. I try to move back as he manages to get his balance and stand straight again.

"Throw the f.u.c.king thing!"

Disoriented and racked with nerves, Parsons just looks at me. I shove him hard in the gut, sending him tripping down the slope, colliding with refugees and knocking them over like bowling pins. He topples back and is gone, immediately s.n.a.t.c.hed from view by the hordes. I put my shoulder down and run as fast as I can in the opposite direction, forcing my way through the ma.s.ses. I trip over a body on the ground and stumble forward, barely managing to stay upright. Instinctively, I reach out and grab hold of another startled refugee, using him to haul myself back up and keep moving forward. He tries to grapple me down, but I just push him out of the way, knowing that in seconds I'll be the least of his worries. This one has more spirit and fight than most. He manages to cling to the corner of my coat, and I yank it from his grip, then duck to one side when he takes a swing at me. I try to focus on getting away and not panic. I shove him down and glance back over my shoulder, praying that I won't be able to- For a fraction of a second the world is filled with brilliant white light and a noise so loud I think my head's going to burst. I'm thrown down by the force of the explosion behind me, and for a moment all I can do lie still, sandwiched between fallen Unchanged. I pick myself up, using the bodies around me for support. I look back again, and I can see a s.p.a.ce in the crowd and a dark, shallow pit where, just seconds ago, countless people were crammed together. Now there's nothing, just a layer of b.l.o.o.d.y, smoldering debris. I turn and run as the shock quickly fades and panic again begins to fill the air.

People are running in every direction away from the square now, and I allow myself to be carried along with them, using their bulk as camouflage. None of them know who or what I am, and none of them care. Away from Julia and the others I'm suddenly as irrelevant and unimportant as everyone else, and the anonymity is welcome and rea.s.suring. Running shoulder to shoulder with the enemy, I realize the desperate need to kill these people I've always felt has all but disappeared. Maybe it's because these people are all dead anyway? There's less than an hour to go now until Sahota's moment of glory, but I don't think the city will last that long. A phalanx of helicopters thunders overhead. One of them breaks off and begins firing on some unseen target close to the burning high-rise, causing the crowd around me to start moving with even more panic and speed.

Above the heads of the stampeding ma.s.ses I see something I think I recognize-the distinctive angular outline of a tall, recently built apartment building. As I run toward it there's another sudden detonation and the front of the building explodes outward in a swollen bulge of fire and heat. I turn away from the immediate blast and duck down as thousands of tiny shards of gla.s.s begin raining down around me. Most of the crowd instinctively tries to turn back and run the other way. Dumb f.u.c.kers. I keep moving forward, knowing that the ground around the center of the blast will be relatively clear now with just the dead and dying to get through. I run past the burning stump of the building, zigzagging through the carnage, dodging chunks of concrete and twisted lumps of metal and flesh. I look up and see people trapped on the upper floors. A woman falls from a third-floor window and lands on the pavement just ahead of me, shoved out by the terrified crowds behind her, hitting the ground with a wet thud like rotten fruit. It's wonderful to see. Part of me wishes I could find somewhere safe around here to sit and watch the whole city burn.

I'm back to shoving my way through the enemy ma.s.ses again in seconds. I thump heads with another man, and he pushes me away angrily, his eyes full of hate. Instinctively I reach for my knife but force myself to let it go, fighting against everything I believe in. The need to kill might have subsided, but the desire's still strong. I'm like a junkie who's been clean for years but who's now surrounded by an endless supply of his drug of choice. Once I start killing, will I be able to stop? If I lose control now, all hope of finding Lizzie will be gone forever, and although I don't want to have to face her again, without Lizzie there's no chance I'll ever know what happened to Ellis. This is my last chance.

There's another momentary gap in the crowd at the middle of a once-busy crossroads. This place used to be one of the busiest intersections in town with backed-up lines of traffic all day, every day. I climb up onto the roof of an abandoned MPV-the kind of car I always wanted-and look around me. The Prince Hotel is, I think, still about half a mile farther in the direction I've just been running. Apparently endless swarms of people continue to try to escape the carnage behind me, fighting with each other to make it through the madness. As more explosions suddenly light up the area around the town hall and the civic square behind me, the beauty and simplicity of Sahota's plan comes sharply into focus. Did Julia cause those last blasts, or Craven or one of the others? Has she finally given the order to attack? If it's like this now, I think to myself, how bad will it be by six o'clock?

A helicopter crawls across the sky overhead, illuminating me momentarily with its sweeping searchlight, filling the air with thumping noise. I jump back down to the road and keep running.

34.

RECOGNITION AND FAMILIARITY BRING even more fear and nerves. Not far now. The hotel's almost in view, and every footstep I take brings me closer to Lizzie and to knowing what happened to my daughter. What if I'm too late? What if Ellis is lost or dead? Suddenly turning tail and heading back to the town hall to fight alongside the others seems an easier option than what I'm about to do. even more fear and nerves. Not far now. The hotel's almost in view, and every footstep I take brings me closer to Lizzie and to knowing what happened to my daughter. What if I'm too late? What if Ellis is lost or dead? Suddenly turning tail and heading back to the town hall to fight alongside the others seems an easier option than what I'm about to do.

I take a shortcut through an eerily empty supermarket, in through the loading bay and out toward the smashed front windows. Before going outside again I stop and stand in the darkness to take stock of the chaos unfolding all around me. The behavior of the Unchanged population is changing. In the short time since the explosions around the town hall, most of them have abandoned their need to remain isolated and distant from everyone else. Although there are some who still cling to the protection of the shadows, desperate not to be seen, most have now joined the ever-growing exodus away from the center of the city. They move virtually as a single, snaking ma.s.s now, all of them following the person in front, none of them consciously choosing the direction in which they run. Their sudden reliance on the safety of numbers again exposes the pathetic weakness and vulnerability of the Unchanged.

I run along a narrow, shadow-filled street, then pause when I reach Arley Road and look in both directions, struggling to see anything through the hordes of people now trying to escape from the center of town down this major route. Then I spot it. The Prince Hotel stands fifty yards or so farther up the road. The once-imposing building is pretty much exactly as I remember, its frontage just becoming visible in the dull first light of dawn. The rain has finally stopped, leaving the damp air smelling fresh and clean, the dirt and decay temporarily washed away.

What the h.e.l.l am I doing? I suddenly feel guilty and weak. I should be back by the town hall fighting with the others, so what am I doing out here on my own? Logic says that after three months of violence and unpredictability, Lizzie could be anywhere. Christ, she's probably dead. Craven told me the Unchanged computer system was inaccurate and easily manipulated, so why have I put so much faith in what I saw on the computer screen? The reason's simple-it's because I've got nothing else. There's no alternative. This is my last chance, and I can either take it or give up on Ellis forever. I take my axe from my belt and a knife from inside the folds of my coat and hold them ready. I feel detached from everything now. There's the Unchanged on one side, my people on the other, and then, standing alone and wedged right between them, is me.

I sprint away from the side of the road and charge deep into the river of people still flooding out of town. The first few stragglers I collide with are pushed away with hardly any effort, and it's not until I'm close to the center of the road that I have to start killing to keep moving. It's the only option left now if I want to get through, but I know I'm doing it because it's the only way to keep moving, not because I want them dead. I'm carried along with the flow of barely human flesh, so deep and so strong and fast-moving that I struggle to lift my arms to fight. I manage to raise the axe and bring it thumping down between the shoulders of a man directly in front of me. I spin him around, the blade still buried in his back, then kick him down. A woman, being forced forward by the ma.s.s of people behind her, trips over the body on the ground, and I hack at her, too, wedging the axe deep in her neck. Two down now, and the piled-up corpses act like a rock in the middle of a stream, channeling the flow of refugees around me on either side. I'm braced for their reaction, but it doesn't come. These people have seen and experienced so much that what I'm doing is nothing new to them. All they're interested in is getting away, screw everyone else. Another man trips over the bodies on the road and collides with me. I swing the axe around and hit his pelvis, sending him spiraling away and clearing even more room. I'm suddenly standing in an unexpected bubble of s.p.a.ce. One man, tall and powerfully built, much stronger than me, breaks ranks and hurls himself at me. All I do is hold out my knife, and the stupid b.a.s.t.a.r.d impales himself on the blade. Another one rushes me, and now they're finally beginning to realize what I am. I duck out of the way of his amateurish, aimless attack, and he collides with a teenaged girl. A bald man with wild eyes helps her up and out of the way, then turns on the other man and punches him in the gut. I continue to move backward, working my way across the road. In my wake more desperate, panicked fights break out. Whether they're trying to get away, trying to help each other, or trying to find me, it doesn't matter-their reactions are all the same. They fight. And once they've started, they keep fighting. I force my way through the mob with relative ease, hacking and slicing at them only when I have to. All around me the Unchanged begin to turn on each other, and I'm quickly forgotten.

Breathless and b.l.o.o.d.y, I reach the front of the hotel. I cross the parking lot and climb the steps up to the door, forcing my way inside as several others force their way out. Christ, I feel weird-strangely invisible and high on a euphoric mix of adrenaline and nerves. If I am feeling any fear, it's masked by the immense satisfaction, excitement, and relief of having just killed again. But as I disappear into the vast and dark building, a sudden wave of terror hits me. Lizzie might be here. She might be standing next to me for all I know, because I can hardly see anything. What was I thinking? How am I supposed to find her in here? Did I think I was just going to be able to walk up to the reception desk and ask for her room number? As I scout around the first floor, the full implications of my shortsighted lack of planning really hit home. This was a mistake. Time is running out. The city won't last much longer, and my only remaining option is to check every d.a.m.n room. For half a second I consider turning around and just wading back out into the crowds to enjoy the killing for as long as I'm able, but then I remember Ellis again, and I force myself to stay calm and stay in control. I know I don't have any choice but to keep moving.

35.

THE FIRST FLOOR OF the hotel is deserted, and it's easy to see why. The carpet is soaked with water, and there's a tidemark on the wall about eighteen inches off the ground. Wallpaper is hanging down in strips, and the whole place smells of rotting waste and untreated sewage. I thought there would be more people in here. I guess most of them were washed out with the floodwater that has obviously flowed through the building in the last couple of days. Others will have left when the fighting started. Am I too late? Has Lizzie already gone? Was she ever here at all? the hotel is deserted, and it's easy to see why. The carpet is soaked with water, and there's a tidemark on the wall about eighteen inches off the ground. Wallpaper is hanging down in strips, and the whole place smells of rotting waste and untreated sewage. I thought there would be more people in here. I guess most of them were washed out with the floodwater that has obviously flowed through the building in the last couple of days. Others will have left when the fighting started. Am I too late? Has Lizzie already gone? Was she ever here at all?

I head back to the front of the hotel, feet squelching on the waterlogged carpet, then head upstairs. I climb the long, straight flight of steps to the second floor, knifing a f.u.c.ker in the gut as he tries to barge past me and nearly sends me flying. I glance back and watch as he tumbles down the stairs, rolling over and over until he lands in a b.l.o.o.d.y, groaning heap at the very bottom.

I start checking the rooms on the second floor, but they're empty. I'm halfway along the hall when a door flies open and three terrified Unchanged men come sprinting out, carrying as many bags and boxes of belongings as they can manage between them. They can't see me over everything they're carrying, and one of them knocks me to the ground. Instinctively I get up and start running after them, but it's too late and they're already gone. Doesn't matter. Have to concentrate. Have to focus. Let them go.

The next three doors are open, and the rooms are empty. They're foul, squalid places, full of the residue of the refugees who've been forced to live here together for weeks on end. The carpets are covered with a layer of waste and abandoned belongings, so deep that I don't see the curled-up body of an elderly man until I feel the fingers of his outstretched hand crack under my boot.

Back out in the hall, I force myself to slow down. Need to try to apply some logic here. The hotel's emptying, so there's no point checking any of the vacant rooms. If any of the doors aren't locked, I decide, there's no one there.

I start hacking at the lock and hinges of the next door I find that's still shut. I can already hear the b.a.s.t.a.r.ds inside the room screaming with panic. I keep working on the door, shoulder-charging it open when I've done enough damage to loosen the latch. One of the occupants runs at me, brandis.h.i.+ng a chair leg. I sidestep him, then shove him across the hall, sending him cras.h.i.+ng into the wall opposite. There are three other Unchanged in the room, with a fourth trying to get out through an open window. The light's low, but I see enough to know that I don't recognize any of them and they're of no interest. I turn and head back out to the hallway, pausing only to knife the f.u.c.ker who comes back at me for a second go with the chair leg.

The lock on the door of the next room is broken, but it's held on a chain. It opens just far enough for me to see inside. No sign of Lizzie. A gray-haired woman grabs hold of the door handle and pulls it shut, s.n.a.t.c.hing it from my hands. Another room empties as I approach, and this time I just press myself back against the wall and let two more sobbing Unchanged stumble past.

Almost all of the third floor is empty, and Lizzie's not in any of the rooms that are still occupied. In a room near the staircase on the fourth floor I find a small girl sitting alone in an armchair that dwarfs her tiny shape. In my haste and desperation I think for a second that it might be Ellis. It's dark, the dull dawn light just beginning to seep in through the cracks between the wooden boards that have been nailed across the window. It's only when I touch the girl and she slumps out of the chair that I see it isn't Ellis, and it's only when she lies at my feet and doesn't move again that I realize she's already dead, abandoned by whoever she was with.

The door to the last room on this floor is open slightly, but it slams shut as I run toward it. I shove it open before it's locked. Three Unchanged women and a man begin shouting and screaming at me in a language I don't understand. Sounds like Polish or Russian or something ... I turn and leave, and one of them follows me back out into the corridor, still shouting. She grabs hold of my legs, pleading with me for help. I kick her off and keep moving.

Top floor. Running out of options.

There are more locked doors up here than I've got time for. I stop outside the first. I can hear voices inside, so I start chopping at the lock with my axe, my arms beginning to feel heavy and numb with effort. The rotten wood splinters easily, and the door flies open, but Lizzie's not here, and I move on. I can feel their relief when I turn my back. The door slams shut, and I hear them shoving furniture up against it to seal themselves in.

Two doors facing each other are both shut. I jump the sprawled-out body of a Chinese man and press myself up against the first of them. I can hear a man's voice ranting in Urdu or Punjabi or similar, so I immediately turn my attention to the other and start chopping at the wood around the latch. I stop for a second when I hear another deafening explosion outside, a flash of white lighting everything up like a strobe. It's impossible to gauge the distance, but that sounded close. Too close. I can still feel the vibrations through my feet as I start chopping again. This door is more stubborn than most. It's newer than the others, probably recently replaced. I guess I'm not the first person to have to try to break into a room here. I grunt with effort as I hammer the door again and again, desperate to get through.

viii WITH HIS FACE PRESSED hard against the spyhole in the door, Mark stared in disbelief at the man trying to bludgeon his way into the room directly opposite. hard against the spyhole in the door, Mark stared in disbelief at the man trying to bludgeon his way into the room directly opposite.

"What is it?" Kate asked, trying to pull him away. He didn't answer. He couldn't answer. How could this be? How had he found them? Was it just coincidence or the cruelest stroke of bad luck imaginable? Had he been looking for them? How could he have known they were here? He glanced back over his shoulder at Lizzie standing in the far corner, the stunned expression on his face obviously speaking volumes.

"Mark, what is it? What the h.e.l.l's the matter?" Kate demanded again, her voice now frantic. He ignored her and instead continued to stare at Lizzie. She moved closer, her pace quickening as she approached. Sensing that she already knew what was outside, she tried to push Mark out of the way. He stood his ground, turned his back on her, and pressed his eye up against the tiny gla.s.s b.u.t.ton in the door again.

He hadn't seen him for almost a year, and he was virtually unrecognizable, but it was definitely him, he was sure of it. Danny McCoyne. His cousin Danny. His mom's sister Jean's son. The kid he'd messed around with at countless boring family gatherings and parties when they were growing up. The miserable loser with the dead-end job who'd ended up saddled with too many kids in an apartment that was too small. The notorious slacker who other members of the family had frequently cited as a prime example of how not to do things. Lizzie's partner. A murderer. A Hater.

Outside on the landing, McCoyne continued to hammer against the door. Mark was overwhelmed by the anger and hatred so visible on his cousin's twisted face, shocked and appalled by what he had become. He'd always seemed awkward and gangly, uncomfortable in his own body, but that uncertainty had been replaced now with focus, ferocity, and a vicious intent. To Mark, Danny McCoyne now personified the previously faceless Hater menace, and he felt his legs weaken with nerves at the thought he might be forced to confront him.

Lizzie grabbed Mark's arm and yanked him out of the way. She pressed her eye against the spyhole briefly, then staggered away from the door, recoiling in shock at the sight of the Hater in the hallway. The room around her was filled with noise-Kate's panicked screaming, Gurmit Singh's constant unfathomable tirade-but she didn't hear any of it. How could this be? How the h.e.l.l could he be here?

"Will someone tell me what's wrong?" Kate pleaded, desperate for information.

"It's Danny," Lizzie mumbled, her voice barely audible.

"What? But how could he-?"

"Keep your voice down, Katie," Mark warned.