Cemetery Dance (39 page)

Cemetery Dance

Chapter 65

D'Agosta fired again, but it was a gratuitous shot: the thing had flitted back into the darkness and disappeared. He lay on the ground, shining the light around, this way and that, gun at the ready.

"Pendergast?"

The special agent stepped out of the darkness of a doorway, crouching, his Colt drawn and held in front of him with both hands.

Silence fell, broken only by the sound of dripping water.

"He's still out there," murmured D'Agosta, rising to a half crouch and making a three–hundred–sixty–degree turn with his gun. He strained to see into the darkness.

"Indeed. I don't think he will leave until we are dead — or he is."

The seconds dragged on into minutes.

Finally, D'Agosta straightened up, lowering the Glock. "There's no time for a waiting game, Pendergast. We've got to —"

The zombii came like a dull flash from the side, going straight for his light, slashing at it with a spidery hand and sending it spinning into the darkness with a crash. D'Agosta fired, but the thing had darted out of view and back into the relative protection of the darkness. He heard Pendergast's .45 go off almost simultaneously with his, a deafening double blast — and then darkness fell abruptly with the sound of Pendergast's own flashlight shattering against a wall.

The passageway was plunged into profound darkness — and almost immediately afterward, he heard the sounds of a desperate struggle.

He lunged toward the noise, holstering the Glock and pulling his knife, better for close–in work in the dark and less likely to hit Pendergast, who was now apparently locked in a life–or–death battle with the creature. He collided with the zombii's sinewed form and immediately slashed at it with the knife, but for all its shuffling movements it was dreadfully strong and quick, turning and clawing at D'Agosta like a panther, enveloping him in a suffocating stench. The knife was torn from his hands, and he went at the man–thing with his fists, pummeling it, seeking the soft gut, the head, all the while fending off the wiry hands that clawed and raked at him. In the dark, enveloped in a robe, he was at a disadvantage; the ragged creature, on the other hand, seemed to be in its element: no matter how D'Agosta twisted and struggled, it kept the advantage of position, aided by the slickness of its body, coated with sweat and blood and oil.

What the hell had happened to Pendergast?

An arm fastened around his neck, suddenly constricting like a steel cable. D'Agosta wrenched sideways, gasping and choking, trying to throw off his attacker while simultaneously feeling for his gun. But the slippery man–thing had muscles as hard as teak: no matter how D'Agosta struggled, one hand maintained its grip, constricting his airway, while the other pinned his gun hand. A cry of triumph went up from the creature, a banshee–like wail: oaahhuuuooooooooo!

Flashes of white sparkled in his field of vision. He knew he had only moments left. With a last explosive effort he wrenched his right arm free, pulling out the gun and firing, the flash–boom illuminating the sepulchral tunnel, deafening in the confined space.

Eeeeee! the zombii screamed, and D'Agosta immediately felt a sharp blow to the head. More stars exploded before his eyes. The thing had pinned his forearm again and was shaking and slamming it against the ground, trying to knock the weapon from his hand. Eeeeee! it cried again. Dazed as he was, D'Agosta nevertheless felt sure he had hit the creature — its agitation, its high–pitched keening, were obvious — and yet it seemed stronger than ever, fighting with an inhuman fury. It stomped his forearm and he heard bones snapping. Indescribable pain blossomed just above his wrist; the gun went flying and the thing fell on him once more, both hands now around his neck.

Twisting and turning, slamming at the zombii with his good arm, D'Agosta tried to break free — but he could feel the remains of his vitality ebbing fast.

"Pendergast!" he choked.

The steel fingers tightened further. D'Agosta heaved and bucked, but without oxygen it was a losing battle. A strange tingling stole over him, accompanied by a buzzing sound. His hand reached out, clawing the floor, looking for the knife. Instead, it closed around a large fragment of brick; he clutched it, swung it around with all his might, and slammed it into the zombii's head.

Eeeeaaaaaaahhh! it squealed in pain, tumbling back. He gasped, drawing in air, swinging the brick back, striking the creature again. Another shrill screech and it leapt off him.

Coughing, sucking in air, D'Agosta staggered to his feet and ran wildly in the dark. After a moment, he could hear the man–thing scurrying after him, bare feet slapping the slimy stone floor.

Cemetery Dance

Chapter 66

From his vantage point at a wide tear in the chain–link fence, Rich Plock scanned the crowd streaming through with a steely satisfaction. Ten initial groups, roughly two hundred per group — that meant two thousand in the crowd, less than he had expected but formidable in their determination. As New York City demonstrations went, it might still be a small one — but this was a demonstration with a difference. These people were dedicated. They were hard–core. The nervous and weak of heart, the day–trippers and sunshine friends — the Esteban types — had stayed home this time. So much the better. His was a purged group, a crowd with a purpose, unlikely to cave in the face of opposition, even violence. Although there couldn't be much violence — the inhabitants of the Ville had to be outnumbered ten to one by the protesters. They might resist at first, but they would quickly be overwhelmed.

It had come together like clockwork, a joy to witness. The police had been taken totally by surprise. The group of initial protesters, carefully outfitted to look as nonthreatening as possible, had lulled the cops into thinking it would be a small, ineffectual protest, all bark and no bite. And then within the space of mere minutes all the other groups had arrived, quietly, on foot, from multiple directions — and immediately, as planned, the crowd swung into motion as one, joining up and heading determinedly across the fields and down the road toward the Ville. The police had had no time to form a barricade, no time to arrest the leaders, no time to shift the positions of their forward units, no time to call in backup. All they could do was shout futilely into their bullhorns and plead for order, while a single police chopper circled overhead, broadcasting an unintelligible warning. He could hear the sirens and the bullhorns behind them as the police made a belated, rear–guard effort to stop the crowd from converging on the Ville.

No doubt reinforcements were already on their way. The NYPD were not a force to be trifled with. But by the time they arrived, Plock and his crowd would be inside the Ville and well on their way to accomplishing their objective — routing the murderers and, perhaps, finding the kidnapped woman, Nora Kelly.

The last of the crowd streamed through the gate and massed in the field facing the front entrance to the Ville, spreading out like shock troops. They parted as Plock stepped to the front for a few last words. The Ville itself stood silently in the evening twilight, brooding and monolithic, the only sign of life a few yellow windows high in the fabric of the church. The front door was shut and barred, but it would present no obstacle to the men with battering rams standing silent at the head of the crowd, ready to move.

Plock held up a hand and the crowd quieted.

"My dear friends." He pitched his voice low, which induced an even deeper silence among the people. "What are we here for?" He allowed a pause. "Let us be clear about that, of all things. What are we here for?"

He looked around. "We are here to break down that door and drive these animal torturers, these murderers, out. We will do it through our implacable moral condemnation, the weight of our numbers. We will press them from the field. We will liberate the animals in that hellhole."

The police helicopter circled overhead, still broadcasting its unintelligible message. He ignored it.

"One thing of the utmost importance I say to you: we are not killers. We will hold and maintain the moral high ground. But we are not pacifists, either, and if they choose to fight, we will fight. We will defend ourselves and we will defend the animals."

He took a deep breath. He knew that he wasn't an eloquent speaker, but he had the power of his convictions and he could see the crowd was stoked.

The police were coming up from the road now, but their numbers were ridiculously small compared with his own and Plock ignored them. He'd be inside the Ville before the police could even regroup. "Are we ready?" he cried.

There was an answering READY!

He pointed. "Go!"

With a single roar, the crowd surged forward toward the main doors of the Ville. They appeared to have been recently repaired and reinforced. The two men with battering rams were at the fore–front, and they hit the doors at a run, wielding their rams, first one then the other, slamming them into the doors. The timbers shivered and split, and in less than a minute they were stove in, the crowd surging forward and pushing the remnants away. Plock joined the masses as they poured into a dark, narrow alleyway lined with listing wooden buildings. It was strangely deserted, no inhabitants to be seen. The roar from the crowd rose like an animal cry, amplified by the narrow confines of the Ville, and they broke into a trot, rounding the corner of the alley and coming face–to–face with the ancient church.

At this the crowd hesitated. The church was forbidding; it stood like a medieval structure of Boschean strangeness, crooked, half timbered with rude–looking buttresses projecting out into the air before stabbing into the ground, bristling and massive. The portal to the church stood in front — a second set of timbered doors, banded and riveted with iron.

The hesitation lasted only a moment. Then the roar went up again, stronger than ever, and the men with battering rams advanced again and stood on either side of the banded doors, swinging the rams in an alternating, asynchronous rhythm: boom — boom! boom — boom! boom — boom! A massive cracking sound announced the yielding of the ancient oak as the relentless pounding continued. These doors were much tougher than the last set, but in the end they gave way with a splintering crash, to the ring of popping iron rivets and bars. They sagged inward, then collapsed under their own weight with a thunderous shudder …

And there in the dimness, blocking the way, stood two men. One was tall and striking, dressed in a long brown cloak, hood drawn back, heavy brows and massive cheekbones almost hiding a pair of black eyes, pale skin glowing in the light of a freshly rising moon, his nose like the blade of a knife, curved and honed. The other man, shorter and coarser looking, was gowned in a fantastically decorated ceremonial gown. He was clearly a holy man of some sort. He stared out at the invaders, his eyes glittering with malice.

The innate force of the taller man instantly subdued the crowd. He held out one hand and said: "Do not proceed." The voice was quiet, funereal, with a faint accent Plock didn't recognize — yet it conveyed great power.

Plock shoved forward and faced him. "Who are you?"

"My name is Bossong. And it is my community you are desecrating with your presence."

Plock drew himself up. He was fully aware that he was half his opponent's size and twice his width. Nevertheless, when he replied, his voice crackled with conviction: "We will proceed and you will step aside. You have no right to be here, vivisector."

The men stood stock–still, and to his surprise Plock could see, standing in the red dimness behind him, at least a hundred people.

"We do no harm to anyone," Bossong went on. "We only want to be left alone."

"No harm? What do you call slitting innocent animals' throats?"

"Those are honored sacrifices, a central tenet of our religion —"

"Bull! And what about the woman you kidnapped? Where is she? And where are the animals? Where do you keep them? Tell me!"

"I know nothing of any woman."

"Liar!"

Now the priest abruptly held up a rattle in one hand and a strange–looking bundle of feathers in the other, and broke into a loud, quavering chant in some foreign language, as if casting a curse on the invading force.

Plock reached up and slapped the bundle out of his hand. "Get that mumbo–jumbo out of my face! Step aside, or we'll run you down!"

The man stared, saying nothing. Plock stepped forward as if to walk through him, and the crowd behind him responded with a roar and surged forward, propelling Plock against his will into the priest and driving him back, and in a moment the man was down, the crowd pouring around him into the dark church, Bossong pushed rudely to one side, the congregants inside grown hesitant at the sight of their fallen priest, crying out in fear and anger and outrage at the violation of their sanctuary.

"To the animals!" Plock cried. "Find the animals! Free the animals!"

Cemetery Dance

Chapter 67

Pendergast's clothes were torn and bloody and his ears still rang from the attack. He propped himself up and rose unsteadily to his feet. His encounter with the man–beast had knocked him senseless for a few minutes, and he'd come to in the dark. He reached into his suit coat, removed a tiny LED light he carried for emergencies such as this, and shined it around. Slowly, methodically, he searched the damp floor for his gun, but it was nowhere to be seen. He could make out faint signs of struggle, with what were evidently D'Agosta's fleeing footprints, the barefooted painted man in pursuit.

He flicked it off and remained in the dark, thinking. He made a quick calculation, a swift decision. This creature, this zombii, had been possessed by his minders of a terrible and murderous purpose. On the loose, he presented a grave threat to them both. And yet Pendergast had confidence in D'Agosta — a confidence almost amounting to faith. The lieutenant could take care of himself if anyone could.

But Nora — Nora still awaited rescue.

Pendergast flicked the light back on and examined the next room. It was a veritable necropolis of wooden coffins laid out on rows of elevated stone pedestals, some stacked two and three high, many collapsing and spilling their contents to the ground. It appeared as if many of the basement spaces of the Ville, originally built for other purposes, had been converted to storing the dead.