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Mo raises her bow, strikes a shivering note from the burning strings. Howe winces and moves aside. “Give me some elbow room,” she says flatly. Then she touches the strings lightly, coaxing an eerie, familiar leitmotif from her instrument. “Put this out through the PA circuit,” she mutters, grimly determined.
Down below, Barnes grimaces tensely and twists input dials on the truck’s external public address systems. The growing wild resonance of die Walkürenritt floods from the big speakers mounted to either side of the cab; the driver looks sidelong at his CO, then floors the accelerator in low gear, adding the roar of the big diesel (and the crunch of unburied bones) to the music. Barnes a
The risen dead are fleeing, for the most part, out of the way of the truck as it roars and bucks across the path. It’s the music that does it; Mo stands atop the roof, utterly engrossed in tracking the melody. Richard Wagner, it was said, hated violinists: blood drips from her fingertips as the eerie extradimensional resonances of her interpretation of one of his most famous works drags the sound of an entire string section-and a brassy resonance echoing from the metal flanks of the truck-into being.
The truck crunches across skeletal remnants that lie in rows around the chapel, silent and unmoving. A few bodies, less damaged than the rest, lie near a minivan; others are clustered near the door to the building, which is ajar. A few less emaciated figures lie among the skeletonized forms: of these, most bear the signs of gunshot wounds.
“Back us up to the door,” Barnes tells the driver. Switching to the common cha
The soldiers pile out of the back of the truck, wearing bright yellow HAZMAT suits, MP5s at the ready. The bodies are packed in so tightly around the steps to the chapel that they dash across rib cages and cloak-swathed torsos on the way to the open door.
There’s a snap of gunfire from up top: two of the soldiers drop to their knees and reply with a burst of aimed fire. A black-clad figure tumbles from the roofline. One of the soldiers throws something up and over the eaves; the others take cover as the fragmentation grenade explodes.
“What’s up there?” Mo tries to ask, shouting in Barnes’s ear.
“Bad guys.” Barnes grins hungrily. “Ah.” He taps the earpiece screwed into his left ear: “Follow me.” The gunfire from the defenders on the roof has stopped as he steps out of the back of the truck and walks towards the chapel entrance. Mo follows him, her violin raised. They’re halfway across the ten-meter gap when a silhouette lurches clear of the side of the building and throws itself towards the major. Barnes raises his HK-5 and plants a neat three-round group in the middle of the assailant’s torso; by the time Mo’s bow makes contact with an eerily blue-glowing string, the fluorescence in the back of the revenant’s eye sockets has begun to fade. “Bloody fans, always waiting outside the dressing room…” Barnes cocks his head on one side, listening. “Dr. O’Brien? This way, now.”
They’re inside in seconds, and one of the soldiers pulls the tall oak door shut behind them. The chapel hall is full of bodies, the long-dead and the fresh draped across one another in promiscuous embrace. Some of the recent bodies are naked: in the soldier’s infrared vision they still glow with body heat.
“Look sharp, some of them made it to the door,” Howe comments over the open cha
“Trapdoor over here, sir!” One of the troops waves, pointing at a raised door.
“Secure it,” says Howe. “Tidily, our boy might still be down there.” He doesn’t say what everyone fears: the next living soul they find in this city of the dead will be the first.
As the soldiers move in, something runs at them, out of the tu
“You think he’s down there,” Mo says quietly.
Major Barnes nods. “Cultists. They go to ground for their rituals.”
Up ahead, Scary triggers his shock-stick, sparking the terminals: he grins at Howe. “I love the smell of-”
“Don’t say it, son, unless you want a week on toilet duty.”
“Aw, Sarge.” He steps forward, bending to follow the lead team into the cellar. “That’s harsh.”
There are no living bodies in the tu
At the end of the tu
“It stinks, sir. You saw the sov kit back there?”
“I did. I reckon we’ve got company. More to the point, we haven’t found our boy yet. Could be a hostage situation.”
“Shit. I’ll tell Moran to bring up the snoop kit-”
Mo’s eyes are hollow shadows in the darkness. “Major?”
“What is it?”
She points at the entrance with a hand half-folded around something. “He’s definitely in there.” She unfolds her hand, palm upwards to reveal the cracked and battered screen of Bob’s iPhone, icons glowing balefully in the darkness. “Got a soul tracker on this thing. He’s alive, and he’s not alone-”
Which is when the screaming starts.
ALEXEI IS BECOMING ANNOYED.
He’s been down in the crypt for half an hour, moving with painstaking care. The place is literally crawling with the risen dead, feeding on the dwindling survivors of the Black God Slave Cult-some of whom have barricaded themselves into the ossuary, with predictable consequences-and only sheer luck and the revenants’ lack of situational awareness has saved him. They don’t communicate with each other, don’t raise the alarm when he lands among them and lashes out with a sharp-edged entrenching tool or shoots their neighbors with a silenced pistol firing banishment rounds. It would be good news under other circumstances, but Alexei is acutely aware that he has a serious lack of backup and a mission that under other circumstances would be hopelessly compromised.
The sounds of gunfire from up above had nearly died out ten minutes ago. Now they’re getting louder and more frequent. And there’s something different about them: different weapons, much tighter fire discipline. The new shooters are professionals, but they’re not his squad-they’re firing NATO spec ammunition.
As it is, it looks like the only way out is in; if he can find somewhere to hole up until morning, he stands a chance of exfiltrating on foot, and if he can meet the mission’s core objective, retrieve the missing document, so much the better-