The Girl With All The Gifts (14 page)

But she can’t she mustn’t she can’t!
This is Miss Justineau, who loves her. Who saved her from the table and the thin, scary knife. Melanie can’t stop her jaws from closing but she jerks her head back, at the last moment, so they close on air instead of flesh.

A growl wells up from inside her, from the same place that mewled like a kitten only a few moments ago.

has to

mustn’t

has to

She wrestles with a wild animal, and the animal is her.

So she knows she’s going to lose.

Justineau is running again. But now she has no idea where she’s running to. The familiar geography of the base has been rendered arcane by the smoke of explosions, the din of gunfire and running feet.

Melanie makes it even harder to focus, squirming and thrashing in her grip. Justineau remembers lifting her from the body of the young junker boy, like plucking a blood-gorged tick from a dog’s belly, and has to fight the urge to drop her.

Why fight it? Not because Melanie saved her. But then, in a sense, yes. Because she’s turned her back on something inside herself, and Melanie is the sign of that – the anti-Isaac she snatched from the fire to prove to God that he doesn’t always get to call the shots.

Fuck you, Caroline.

Melanie is making noises a human throat isn’t properly configured for, and her head is levering backwards and forwards, butting at Justineau’s arm. There’s astonishing strength in the little girl. She’s going to break free. She’s going to bring the both of them down.

Justineau glimpses the steel door of the classroom block, unexpectedly close by, and swerves towards it.

Realises immediately that it’s no use to her. The door is closed, and the locks engage automatically when it’s in that position. There’s no possible way she can get inside.

Hungries loom on her right, a dozen or so, coming from the direction of the lab. Maybe they’re the same ones she originally fled from, still following her scent. Either way, they can smell her now and they want her. They’re coming towards her, legs rising and falling in tireless, mechanical syncopation.

Nothing for it but to turn tail. To run away from them as fast as she can, and pray that she gets somewhere before they catch her.

She does. She gets to the fence. It’s suddenly right there in front of her, blocking her way like a wire-mesh Everest. She’s finished.

She turns, at bay. The hungries are coming on at that same merciless, metronomic sprint. To right and left, there’s nothing. Nowhere to hide, or to run to. She lets go of Melanie, sees her fall like a cat falls, righting herself in the air to land on starfish-spread hands and feet.

Justineau balls her fists, braces herself, but an enormous exhaustion hits her and darkness rushes in from the corners of her vision as the adrenalin wave deserts her. She doesn’t even throw a punch as the first hungry gapes his jaws and reaches out to pull her down.

With a wet crunch, he’s slammed to the ground and ploughed under.

A wall slides smoothly across Justineau’s field of vision. It’s metallic, painted in dull green and there’s a window in it. From the window, a monster’s face stares out at her. Sergeant Parks’ face.

“Get inside!” he bellows.

The thing in front of her resolves itself, like a puzzle picture. It’s one of the base’s Humvees. Justineau grabs the door handle and tries all the wrong ways to make it open, twisting and pulling before she finally pops it with a single squeeze of the catch release on the handle’s inner face.

She throws the door open as the hungries round the back of the vehicle and start towards her. One of Parks’ boy soldiers, a kid half her age with a mass of red hair like an autumn bonfire, is up on the roof manning the Humvee’s pedestal gun. He swings it wildly, stitching the air with stinging metal. It’s not clear what he’s aiming at, but on one of the down-swings he intersects the nearest hungries and knocks them right off their feet.

Justineau holds the door, but doesn’t move – because Melanie doesn’t move. Crouched on the ground, the little girl stares into the vehicle’s dark interior with animal mistrust.

“It’s fine!” Justineau yells. “Melanie, come on. Get inside. Now!”

Melanie makes up her mind – makes a standing jump past Justineau and in through the door. Justineau clambers in after her, slams the door tight shut.

Turns to see Caroline Caldwell’s pale, sweating face staring right at her. Her hands are folded under her armpits and she’s lying on the floor of the Humvee like a bolt of firewood. Melanie cowers away from her, presses against Justineau again, and mechanically Justineau embraces her.

The Humvee wheels around. Through the window, they can briefly see a kaleidoscope of smoke and ruin and running figures.

They drive through the fence without slowing, but almost don’t make it across the ditch beyond. The Humvee belly-flops on the far side, shudders for a few seconds like a washing machine on spin before it gets enough traction to drag its rear end up over the rim.

For the next few miles, it’s chased by five yards of chain-link and a concrete post, bounding along behind it the way a wedding car trails tin cans.

Parks would prefer to drive straight across country – the Humvee doesn’t need roads all that much – but the scrape and grind from behind him tells him that all isn’t well with the rear axle. So he shifts down to get a bit more push out of the engine, floors the gas and drives with reckless speed down the empty B roads around the base, swerving left and right at random. He figures that the best way for them not to be found is – for the time being – to be lost themselves.

At least there’s no pursuit that he can see. That’s something to be profoundly grateful for.

He finally brings the Humvee to a halt about ten miles from the base, pulling off the road on to a rutted, overgrown field. He turns off the ignition and gets his breath back, leaning over the wheel as the engine cools. The sounds it’s making are not happy sounds. He grabbed the vehicle from the workshop, the only place he could get to without crossing a parade ground full of hungries, and he wonders – now that it’s too late – what it was in there for.

Gallagher climbs down from the pedestal, folds the gun down after him and locks the hatch. He’s shaking like he’s got a fever, so these simple actions take him quite a while. When he’s finally sitting in the shotgun seat he gives the sergeant a terrified stare, looking for orders or explanations or anything that will help him to keep it together.

“Good work,” Parks tells him. “Check on the civilians. I’m going to do a quick recce.”

He opens the door, but he doesn’t get any further than that. Glancing over into the back seat, Gallagher gives a short, pained yell. “Sarge! Sergeant Parks!”

“What is it, son?” Parks asks wearily. He turns to look into the back with a sinking feeling, expecting to see that one of the two women has sustained a gut wound or something similar – that they’re going to have to watch her die.

But it’s not that. Dr Caldwell’s coat is saturated with blood, but most of it seems to be from her hands. And Helen Justineau looks pretty much fine, apart from her red, puffed-up face.

No, what made the boy shout out is their third passenger. It’s one of the little hungry kids – the monsters from the containment block. Parks recognises her, with a palpable shock, as the one he just took over to the meat market, to Dr Caldwell’s lab. She’s changed since then. She’s crouching on the floor of the Humvee, buck naked, shaved bald, and painted like a savage, her vivid blue eyes flicking backwards and forwards between the women. The curve of her back speaks both tension and the imminence of movement.

Awkwardly, because of the angle, Parks grabs his sidearm and takes aim, thrusting it between the seat backs so that it points directly at the little girl’s head. A head shot is his best chance of putting her down, at this sort of range.

Their eyes meet. She doesn’t move. Like she’s asking him to do it.

It’s Helen Justineau who stops him, interposing her body between them. In the narrow confines of the Humvee, she makes a pretty unanswerable barricade.

“Move aside,” Parks tells her.

“Then put the gun down,” Justineau says. “You’re not killing her.”

“She’s already dead,” Dr Caldwell points out from the floor, her voice uneven. “Technically speaking.”

Justineau shoots a sidelong glance at the doctor, but doesn’t bother to answer her. Her gaze comes back immediately to Parks. “She’s not a danger,” she says. “Not right now. You can see that. Let her out of the car, let her get some distance from you – from all of us – and take it from there. Okay?”

What Parks can see is that the nightmare-that-walks-like-a-girl is wide-eyed and trembling, barely in control of itself. Everyone in the car is chemmed up, e-blocker from hairline to socks, but there’s enough blood kicking around – on Caldwell’s hands and arms and clothes, on the kid herself – to be pushing her triggers anyway. He’s never seen a hungry in a meat frenzy and not acting on it. It’s a novelty, but he’s not going to bet his life on it being a long-term trend.

He either shoots her now, or he does what Justineau says. And if he shoots her, he takes the risk of killing one or both of the civilians.

“Do it,” he says. “Quickly.”

Justineau throws the door open. “Melanie…” she says, but the kid doesn’t need to be told. She’s out of there like a bullet, running away from the Humvee and across the field, her spindly legs a blur.

She goes upwind, Parks can’t help but notice. She gets away from the smell of them. From the smell of the blood. Then she crouches down in the long grass, almost lost to view, and hugs her knees. She turns her face away.

“Good enough?” Justineau demands.

“No!” Caldwell says quickly. “She’s got to be restrained and brought with us. We have no idea what happened to the rest of the subjects. If the base is lost, and my records along with it, she’s all we’ve got to show for a four-year programme.”

“Which says a lot for your programme,” Justineau says. Caldwell glares. The air between them is thick with bad vibes.

Parks gestures to Gallagher – a jerk of the head – and gets out of the vehicle, leaving the womenfolk to it. He’s worried about the Humvee’s rear axle and he wants to look at it right away. No telling when they might have to move again.

Melanie is coming down.

At first she can’t think at all. Then, when thoughts come back, she shrinks away from them, like Mr Whitaker when his bottle is almost empty. Her mouth is haunted by memories that want to be real again. Her mind is reeling from what she’s done.

And her body is wracked with a million tics and shakes – each cell reporting in unfit for duty, demanding what it can’t have.

She’s always been a good girl. But she ate pieces of two men, and very probably killed them both. Killed them with her teeth.

She was hungry, and they were her bread.

So what is she now?

These conundrums come and go as the residual hunger allows her to focus on them. Sometimes they’re very big and very clear, sometimes far away and seen through skeins of fuzz and smoke.

Something else that comes and goes: a memory. When she was lying on the table, tied down, and sawing at the plastic band that held her left wrist – left hand twisted round, the scalpel held awkwardly between the very tips of her fingers – one of the hungries loomed over her.

She froze at once. Stared up, breathless, into that savage, vacant face. There was nothing she could do, not even scream. Not even close her eyes. Free will fled away along the vectors of her fear.

For a strained second which then broke, abruptly, into pieces. The hungry gaped, slack-jawed, head hanging down and shoulders hunched up like a vulture. Its gaze slid away from Melanie’s, to the left and then to the right. It put out its tongue to taste the air, and then it stumbled on around the table, heading for a writhing mass of motion on the lab’s floor, almost out of Melanie’s field of vision.

It had only met her stare for that one second by blind chance.

After that it didn’t even seem to know she was there.

What with the withdrawal effects and with worrying at this puzzle, it’s a long while before Melanie notices the world she’s sitting in.

Wild flowers surround her. A couple of them – daffodils and campion – are familiar from Miss Justineau’s lesson on the day of the vernal equinox. The rest are completely new, and there are dozens of them. She turns her head, very slowly, staring at one after another.

She registers the tiny buzzing things that fly between them and guesses that they’re bees, because of what they’re doing – visiting one flower after another, bullying their way into the core of each one with a shrugging, rocking gait, and then backing out again and taking off for the next.

Something much bigger flies across the field in front of her. A black bird that might be a crow or a jackdaw, its song a hoarse, thrilling war cry. Sweeter and softer songs weave around it, but she can’t see the birds – if they are birds – that make those sounds.

The air is heavy with scents. Melanie knows that some of them are the scents of the flowers, but even the air seems to have a smell – earthy and rich and complicated, made out of things living and things dying and things long dead. The smell of a world where nothing stops moving, nothing stays the same.

Suddenly she’s an ant all scrunched up on the floor of that world. A static atom in a sea of change. The immensity of earth envelops her, and enters into her. She sips it, with each gulp of heady, supercharged atmosphere.

And even in this dazed, strung-out state, even with those memories of meat and monstrous violence lying thwart across her mind, she really, really likes it.

The smells, especially. They affect her very differently from the smell of people, but they still excite her – wake something in her mind that must have been asleep until then.

They help her to push the meat hunger and the memories away into a middle distance where they don’t hurt and shame her so very much.

By degrees, she comes back to herself. Which is when she realises that Miss Justineau is standing a little way away from her, watching her in silence. Miss Justineau’s face is wary, full of questions.