No way out, she thought. Not even your way.
The prerecorded spiel ended, and the door opened in the wall, allowing a gust of frigid air to escape. Aware that she was leaving a trail of blood behind her, Amy staggered through the queue area to the moving walkway, which was still moving; alone of all the rides in Disneyland, the Haunted Mansion never stopped.
The Doombuggies sailed regally by, waiting for passengers. Amy lurched into the first to pass, grabbing the bar and using it to drag herself to the far side of the small black carriage. Then she closed her eyes, and let the Mansion carry her on into the dark.
The smell wasn’t as bad as she’d expected. That would be the air conditioning doing its job, lowering the Mansion’s ambient temperature to something akin to a walk-in freezer. The citizens of Disneyland went about their lives never considering how many people had died there, or in the Plaza, or in the open spaces of Downtown Disney, the promenade connecting the Parks to the hotels. Those bodies had to go somewhere. It was a health hazard otherwise.
The power could never go out in the Haunted Mansion.
By the time Amy’s Doombuggy reached the graveyard scene, she could barely feel her legs. She grabbed her safety bar and pushed with all her strength, finally lifting it enough to bring the whole ride to a halt. She slid out of the buggy and onto the narrow path they had left open between the graves, between the stacked piles of bodies. She pushed the safety bar back down. The ride resumed, and Amy walked on into the dark until walking ceased to be an option.
There was an open space between a pile of bodies and a tombstone. That would do. Sitting down, she closed her eyes, and finally, after the long months of struggle and fear, allowed her shift to end.
“The difference in winning and losing is most often not quitting.”
Mira Grant hails from somewhere between hell and high water, with an emphasis on whichever is drier at the moment. She spends most of her time researching things most people are happier not knowing about. Mira is the author of the Newsflesh trilogy, as well as the Parasitism series. In her spare time, Mira likes to visit Disney Parks around the world, which is possibly one of her creepiest hobbies. She also writes as Seanan McGuire, filling the role of her own good twin, and hopes you realize that the noise you just heard probably wasn't the wind.
IN THE WOODS
Hugh Howey
A sliver of light appeared in the pitch black — a horizontal crack that ran from one end of April’s awareness to the other. There was a deep chill in her bones. Her teeth chattered; her limbs trembled. April woke up cold with metal walls pressed in all around her. A mechanical hum emanated from somewhere behind her head. Another body was wedged in beside her.
She tried to move and felt the tug of a cord on her arm. Fumbling with her free hand, April found an IV. She could feel the rigid lump of a needle deep in her vein. There was another hose along her thigh that ran up to her groin. She patted the cold walls around herself, searching for a way out. She tried to speak, to clear her throat, but like in her nightmares, she made no sound.
The last thing April remembered was going to sleep in an unfamiliar bunk deep inside a mountain. She remembered feeling trapped, being told the world had ended, that she would have to stay there for years, that everyone she knew was gone. She remembered being told that the world had been poisoned.
April had argued with her husband about what to do, whether to flee, whether to even believe what they’d been told. Her sister had said it was the air, that it couldn’t be stopped, so a group had planned on riding it out here. They’d brought them in buses to an abandoned government facility in the mountains of Colorado. They said it might be a while before any of them could leave.
The body in the dark by April’s feet stirred. There was a foot by her armpit. They were tangled, she and this form. April tried to pull away, to tuck her knees against her chest, but her muscles were slow to respond, her joints stiff. She could feel the chill draining from her, and a dull heat sliding in to take its place — like the tubes were emptying her of death and substituting that frigid void with the warmth of life.
The other person coughed, a deep voice ringing metallic in the small space, hurting her ears. April tried to brace herself with the low ceiling to scoot away from the coughing form, when the crack of light widened. She pushed up more, grunting with the strain, and even more light came in. The ceiling hinged back. The flood of harsh light nearly blinded her. Blinking, eyes watering, ears thrumming from the sound of that noisy pump running somewhere nearby, April woke with all the violence and newness of birth. Shielding her eyes — squinting out against the assault of light — she saw in her blurry vision a man curled up by her feet. It was her husband, Remy.
April wept in relief and confusion. The hoses made it hard to move, but she worked her way closer to him, hands on his shins, thighs, clambering up his body until her head was against Remy’s chest. His arms feebly encircled her. Husband and wife trembled from the cold, teeth clattering. April had no idea where in the world they were or how they got there; she just knew they were together.
“Hey,” Remy whispered. His lips were blue. He mouthed her name, eyes closed, holding her.
“I’m here,” she said. “I’m here.”
The warmth continued to seep in. Some came from their naked bodies pressed together, some came directly through her veins. April felt the urge to pee, and her body — almost of its own volition, of some long-learned habit — simply relieved itself. Fluid snaked away from her through one of the tubes. If it weren’t for the too-real press of Remy’s flesh against her own, she would think this was all a dream.
“What’s happening?” Remy asked. He rubbed his eyes with one hand.
“I don’t know.” April’s voice was hoarse. A whisper. “Someone did this to us.” Even as she said this, she realized it was obvious, that it didn’t need saying. Because she had no memory of being put in that metal canister.
“My eyes are adjusting,” she told Remy. “I’m going to open this up some more.”
Remy nodded slowly.
Peering up, April saw a curved half-cylinder of gleaming steel hanging over them, a third of the way open. She lifted a quivering leg, got a foot against the hinged lid, and shoved. Their small confines flew open the rest of the way, letting in more light. Flickering bulbs shone down from overhead. The lamps dangled amid a tangle of industrial pipes, traces of wire, air ducts, and one object so out of place that it took a moment to piece together what she was seeing. Suspended from the ceiling, hanging down over their heads, was a large yellow bin: a heavy-duty storage trunk.
“What does that say?” Remy asked. They both squinted up at the object, blinking away cold tears.
April studied the marks of black paint on the yellow tub. She could tell it was a word, but it felt like forever since she’d read anything real, anything not fragmented amid her dreams. When the word crystallized, she saw that it was simply her name.
“April,” she whispered. That’s all it said.
Before they could get the bin down, she and Remy had to extricate themselves from the steel canister. Why had they been put there? As punishment? But what had they done? The IVs and catheters were terrible clues that they’d been out for more than a mere night, and the stiffness in April’s joints and the odor of death in the air — perhaps coming from their very flesh — hinted at it having been more than a week. It was impossible to tell.