“No,” Will says. “It was just really stupid.”
“Stupid is good,” Carly says. “Come on. Pretty please.”
She pulls back the cover on the bed and crawls under it, pulls the sheets up to her chin. Good night, Carly. Good night, Carly’s gorgeous tits.
It was so small and it was so far away, even when you looked at it up close. Soap said it was trees. A wood. Mike said it was a painting of an iceberg.
When Soap thinks about the zombies, he thinks about how there’s nowhere you can go that the zombies won’t find you. Even the fairy tales that Becka used to read to him. Ali Baba and the Forty Zombies. Open Zombie. Snow White and the Seven Tiny Zombies.
Any place Will thinks of, the zombies will eventually get there too. He pictures all of these places as paintings in a gallery, because as long as a place is just a painting, it’s a safe place. Landscapes with frames around them, to keep the landscapes from leaking out. To keep the zombies from getting in. A ski resort in summer, all those lonely gondolas. An oil rig on a sea at night. The Museum of Natural History. The Playboy mansion. The Eiffel Tower. The Matterhorn. David Letterman’s house. Buckingham Palace. A bowling alley. A Laundromat. He puts himself in the painting of the flower garden that’s hanging above the bed where he and Carly are sitting, and it’s sunny and warm and safe and beautiful. But once he puts himself into the painting, the zombies show up just like they always do. The space station. New Zealand. He bets his dad thinks he’s safe from zombies in New Zealand, because it’s an island. His dad is an idiot.
People paint trees all the time. All kinds of trees. Art is supposed to be about things like trees. Or icebergs, although there are more paintings of trees than there are paintings of icebergs, so Mike doesn’t know what he’s talking about.
“I wasn’t in prison for very long,” Soap says. “What Mike and I did wasn’t really that bad. We didn’t hurt anybody.”
“You don’t look like a bad guy,” Carly says. And when Soap looks at Carly, she looks like a nice kid. A nice girl with nice tits. But Soap knows you can’t tell by looking.
Soap and Mike were going to be rich once they got out of college. The two of them had it all figured out. They were going to have an excellent website, just as soon as they figured out what it was going to be about, and what to call it. While they were in prison, they decided this website would have been about zombies. That would have been fucking awesome.
Hungryzombie.com, lonelyzombie.com, nakedzombie.com, soyoumarriedazombie.com, zombiecontingencyplan.com, dotcomofthewalkingdead.com were just a few of the names they came up with. In Will’s opinion, people will go anywhere if there’s a zombie involved.
Cool people would have gone to the site and hooked up. People would have talked about old horror movies, or about their horrible temp jobs. There would have been comics and concerts. There would have been advertising, sponsors, movie deals. Soap would have been able to afford art. He would have bought Picassos and Vermeers and original comic book art. He would have bought drinks for women. Beautiful, bisexual, bionic women with unpronounceable names and weird habits in bed.
Only by the time Soap and Mike and the rest of their friends got out of school, all of that was already over. Nobody cared if you had a website. Everybody already had websites. No one was going to give you money.
There were lots of guys who knew how to do what Soap and Mike knew how to do. It turned out that Mike’s and Soap’s parents had paid a lot of money for them to learn how to do things that everyone could already do.
Mike had a girlfriend named Jenny. Soap liked Jenny because she teased him, but Jenny really isn’t important to this story. She wasn’t ever going to fall in love with Soap, and Soap knew it. What matters is that Jenny worked in a museum, and so Soap and Mike started going to museum events, because you got Brie on crackers and wine and martinis. Free food. All you had to do was wear a suit and listen to people talk about art and mortgages and their children. There would be a lot of older women who reminded Soap of his mother, and it was clear that Soap reminded these women of their sons. What was never clear was whether these women were flirting with him, or whether they wanted his advice about something that even they couldn’t put their finger on.
One morning, in prison, Soap woke up and realized that the opportunity had been there and he’d never even seen it. He and Mike, they could have started a website for older upper-middle-class women with strong work ethics and confused, resentful grown-up children with bachelor degrees and no jobs. That was better than zombies. They could even have done some good.
“Okay,” Will says. “I’ll tell you why I went to prison. But first you have to tell me what you’d do if zombies showed up at your party. Tonight. I ask everyone this. Everyone has a zombie contingency plan.”
“You mean like with colleges, just in case you don’t get into your first choice?” Carly says. She holds an eyelid open, puts her finger to her eyeball, and pops out a contact lens. She puts it on the table beside the bed. She doesn’t take the other lens out. Maybe that eye isn’t scratchy. “So my eyes aren’t actually green. The breasts are real, by the way. I don’t watch a lot of horror movies. They give me nightmares. Leo likes that stuff.”
Will sits on the other side of the bed and watches her. She’s thinking about it. Maybe she likes how the world looks through one green contact lens. “My parents keep a gun in the fridge. I guess I’d go get it and shoot the zombies? Or maybe I’d hide in my mom’s closet? Behind all her shoes and stuff? I’d cry a lot. I’d scream for help. I’d call the police.”
“Okay,” Will says. “I was just wondering. What about your brother? How would you protect him?”
Carly yawns like she isn’t impressed at all, but Will can see she’s impressed. It’s just that she’s sleepy, too. “Smart Will. You knew this was my house all along. You knew Leo was my brother. Am I such a bad liar?”
“Yeah,” Will says. “There’s a picture of you and Leo over on your parents’ dresser.”
“Okay,” Carly says. “This is my parents’ bedroom. They’re in France building bicycles, and they left me and they left Leo here. So I threw a party. Serves them right if someone burns their house down.”
“I feel like we’ve known each other for a long time,” Will says. “Even though we just met. For example, I knew your eyes weren’t really green.”
“We don’t really know each other very well,” Carly says. But she says it in a friendly way. “I keep trying to get to know you better. I bet you didn’t know that I want to be president someday.”
“I bet you didn’t know that I think about icebergs a lot, although not as much as I think about zombies,” Will says.
“I’d like to go live on an iceberg,” Carly says. “And I’d like to be president too. Maybe I could do both. I could be the first black woman president who lives on an iceberg.”
“I’d vote for you,” Will says.
“Will,” Carly says. “Don’t you want to get under the covers with me? Are you intimidated by the fact that I’m going to be president someday? Are you intimidated by competent, successful women?”
Will says, “Do you want to fool around or do you want me to tell how I ended up in prison? Door A or Door B. I’m a really good kisser, but Leo is asleep under the bed. Your brother.” Jenny and Mike used to go off and kiss in the museum where Jenny worked, but Soap never kissed Jenny. Once, in college, Soap kissed Mike. They were both drunk. Men kissed men in prison. White men made out with black men. Becka used to make out with her boyfriends out on the beach while her brother hid in the dunes and watched. In the zombie movie, a zombie ate Becka’s lips. You don’t ever want to kiss a zombie.
“He’s a heavy sleeper,” Carly says. “Maybe you should just tell me what you did and we can go from there.”
Soap and Mike and a couple of their friends were at one of the parties at the little private museum where Jenny worked. They drank a lot of wine and they didn’t eat much except some olives. Jenny was busy and
so Soap and Mike and their friends left the gallery where the wine and cheese were laid out, where the docents and the rich people were getting to know each other, and wandered out into the rest of the museum. They got farther and farther away from Jenny’s event, but nobody told them to come back and nobody showed up and asked them what they were doing. The other galleries were dark and so somebody dared Mike to go in one of them. They wanted to see if an alarm would go off. Mike did and the alarm didn’t.
Next Soap went into the gallery. His name wasn’t Soap then. His name was Arthur, but everybody called him Art. Ha ha. You couldn’t see anything in the gallery. Art felt stupid just standing there, so he put his hands straight out in front of him in the darkness and walked forward until his fingers touched a wall. He kept his fingers on the wall and walked around the room. Every now and then his fingers would touch a frame and he’d move his hand up and down and along the frame to see how big the painting was. He walked all the way around the room until he was at the door again.
Then somebody else went in, it was Markson who went in, and when Markson came out, he was holding a painting in his arms. It was about three feet by three feet. A painting of a ship with a lot of masts and sails. Lots of little dabs of blue. Little people on the deck of the ship, looking busy.
“Holy shit,” Mike said. “Markson, what did you just do?”
You have to understand that Markson was an idiot. Everyone knew that. Right then he was a drunk idiot, but everyone else was drunk too.
“I just wanted to see what it looked like,” Markson said. “I didn’t think it would be so heavy.” He put the painting down against the wall.
No alarms were going off. The gallery on the other side of the hall was dark too. So they made it a game. Everyone went into one of the galleries and walked around and chose a painting. Then you came out again and saw what you had. Someone got a Seurat. Someone had a Mary Cassatt. Someone else had a Winslow Homer. There were a lot of paintings by artists whom none of them knew. So those didn’t count. Art went back into the first gallery. This time he was slow. There were already some gaps on the gallery wall. He put his ear up against some of the paintings. He felt that he was listening for something, only he didn’t know what.
He chose a very small painting. When he got it out into the hall, he saw it was an oil painting. A blobby blue-green mass that might have been water or a person or it might have been trees. Woods from very far away. Something slow and far away. He couldn’t read the artist’s signature.
Mike was in the other gallery. When he came out with a painting, the painting turned out to be a Picasso. Some sad-looking freaky woman and her sad-looking freaky dog. Everyone agreed that Mike had won. Then that idiot Markson said, “I bet you can’t walk out of here with that Picasso.”
Sometimes when he’s in houses that don’t belong to him, Soap feels bad. He shouldn’t be where he is. He doesn’t belong anywhere. Nobody really knows him. If they did, they wouldn’t like him. Everyone always seems happier than Soap, and as if they know something that Soap doesn’t. He tells himself that things will be different when the zombies show up.
“You guys stole a Picasso?” Carly says.
“It was a minor Picasso. Hardly a Picasso at all. We weren’t really stealing it,” Will says. “We just thought it would be funny to smuggle it out of Jenny’s museum and see how far we got with it. We just walked out of the museum and nobody stopped us. We put the Picasso in the car and drove back to our apartment. I took that little painting too, just so the Picasso would have company. And because I wanted to spend some more time looking at it. I put it under my coat, under one arm, while the other guys were helping Mike get past the party without being seen. We hung the Picasso in the living room when we got back and I put the little painting in my bedroom. We were still drunk when the police showed up. Jenny lost her job. We went to prison. Markson and the other guys had to do community service.”
He stops talking. Carly takes his hand. She squeezes it. She says, “That’s the weirdest story I’ve ever heard. Why is it that everything is so much sadder and funnier and so much more true when you’re drunk?”
“I haven’t told you the weird part yet,” Will says. He can’t tell her the weirdest part of the story, although maybe he can try to show her.
“Did I tell you that I used to be on my school’s debate team?” Carly says. “That’s the weirdest thing about me. I like getting in arguments. The boy with his head under my chair, I kicked his ass in a debate about marijuana. I humiliated him all over the map.”
Will doesn’t use drugs anymore. It’s too much like being in a museum. It makes everything look like art, and makes everything feel like just before the zombies show up. He says, “The museum said that I hadn’t stolen the little painting from them. They said it wasn’t theirs, even when I explained the whole thing. I told the truth and everyone thought I was lying. The police asked around, just in case Mike and I had done the same thing somewhere else, at some other museum, and nobody came forward. Nobody knew the artist’s name. So finally they just gave the painting back to me. They thought I was trying to pull some scam.”
“So what happened to it?” Carly says.
“I’ve still got it. My sister kept it for me while I was in prison,” Will says. “For two years. Since I got out, I’ve been trying to find a place to ditch it. I’ve left it a couple of places, but then it turns out that I haven’t. I can’t leave it behind. No matter how hard I try. It doesn’t belong to me, but I can’t get rid of it.”
“My friend Jessica does this thing she calls shopleaving,” Carly says. “When someone gives her a hideous shirt for her birthday or if she buys a book and it’s not any good, she goes into a store and leaves the shirt on a hanger. She leaves the book on the shelf. Once she took this crazy, mean parakeet to a shoe store and put him in a shoebox. What happened to your friend? Mike?”
“He went to Seattle. He started up a website for ex-cons. He got a lot of funding. There are a lot of people out there who have been in prison. They need websites.”
“That’s nice,” Carly says. “That’s like a happy ending.”
“I’ve got the painting in the car,” Will says. “Do you want it?”
“I like Van Gogh,” Carly says. “And Georgia O’Keeffe.”
“Let me go get it,” Will says. He goes downstairs before she can stop him. The guys on the couch are watching somebody’s wedding video now. He wonders what they would think if they knew Carly was upstairs in bed, waiting for him. The dancing girl is in the kitchen with the boy under the table. The girl in the dress is out on the lawn. She isn’t doing anything except maybe looking at stars. She watches Will go to his car, open the trunk, and take out the little painting. Out behind the house, Will can hear people in the pool. Will hasn’t felt this peaceful in a long time. It’s like that first slow part in a horror movie, before the bad thing happens. Will knows that sometimes you shouldn’t try to anticipate the bad thing. Sometimes you are supposed to just listen to swimmers fooling around in a pool. People you can’t see. The night and the moon and the girl in the dress. Will stands on the lawn for a while, holding the painting, wishing that Becka was here with him. Or Mike.
Will takes the painting back upstairs and into the master bedroom. He turns the lights off and wakes Carly up. She’s been crying in her sleep. “Here it is,” he says.
“Will?” Carly says. “You turned off the light. Is it the ocean? It looks like the ocean. I can’t really see anything.”
“Sure you can,” Will says. “There’s moonlight.”
“I only have one contact lens in,” Carly says.
Will stands on the bed and lifts the painting of the garden off its picture hook. How can a painting of some flowers be so heavy? He leans it against the bed and hangs up the painting from the car. Iceberg, zombie, a bunch of trees. Some obscured and unknowable thing. How are you supposed to tell what it is? It makes him want to die, sometimes. “There you go,” he says. “It’s yours.”<
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“It’s beautiful,” Carly says. Will thinks maybe she’s crying again. She says, “Will? Will you just lie down with me? For a little while?”
Sometimes Soap has this dream. He isn’t sure whether it’s a prison dream or a dream about art or a dream about zombies. Maybe it isn’t about any of those things. He dreams that he’s in a dark room. Sometimes it’s an enormous room, very long and narrow. Sometimes there are people in it, leaning silently up against the walls. He can only figure out if there are people or how big the room is when he stretches out his arms and walks forward. He has no idea what they’re doing in the room with him. He has no idea what he’s supposed to do, either. Sometimes it’s a very small room. It’s dark. It’s dark.
“Hey, kid. Hey, Leo. Wake up, Leo. We gotta go.” Soap is lying on the floor beside the bed, holding up the dust ruffle. He has to whisper. Carly is asleep on the too-big bed, under the covers.
Leo uncurls. He wriggles forward, towards Will. Then he wiggles back again, away from Will. He’s maybe six or seven years old. “Who are you?” Leo says. “Where’s Carly?”
“Carly sent me to get you, Leo,” Soap says. “You have to be very, very quiet and do exactly what I say. There are zombies in the house. There are brain-eating zombies in the house. We have to get to a safe place. We have to go get Carly. She needs us.” Leo stretches out his hand. Soap takes it and pulls him out from under the bed. He picks Leo up. Leo holds on to Will tightly. He doesn’t weigh a lot, but he’s so warm. Little kids have fast metabolisms.
“The zombies are chasing Carly?” Leo says.
“That’s right,” Soap says. “We have to go save her.”
Anthology of Speculative Fiction, Volume Two Page 362
