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HAUNTING THE DEAD<br />
RICK CHILLOT<br />
in front of <strong>the</strong> doors. A younger one—short hair,<br />
tailored business suit—and an older one—hair neatly<br />
pinned up, dressed in a skirt and blazer. “I’m on <strong>the</strong><br />
patch,” <strong>the</strong> older woman says, her voice creased with<br />
irritation.<br />
“Hello,” Ed gasps. Then louder: “Hello? Can you<br />
hear me?”<br />
“Of course <strong>the</strong>y can’t,” Tina tells him. “Don’t you<br />
know anything?”<br />
The women continue <strong>the</strong>ir conversation, talking<br />
about lack of sleep, about a convention <strong>the</strong>y’d attended.<br />
“It’s true,” Ed says. “I’m like…a ghost. Unreal<br />
to <strong>the</strong>m.” He looks at Tina, who glares back at him.<br />
“But you can see me,” Ed says to her. “That means…”<br />
“Please,” Ed says, louder, standing directly behind<br />
<strong>the</strong> two women now. “Can’t you hear me? I need<br />
help….“<br />
The lights flicker and <strong>the</strong> elevator slams to a stop.<br />
The doors open, revealing a dimly lit hallway. “Fifth<br />
floor,” he hears one of <strong>the</strong> women say.<br />
Fifth floor. Ed had noticed <strong>the</strong> indicator light, but<br />
hearing it said aloud sparks some sort of alarm in his<br />
mind. He stares at <strong>the</strong> two women and for exactly three<br />
seconds he sees <strong>the</strong>m not as <strong>the</strong>y are, waiting impatiently<br />
in <strong>the</strong> elevator, but in a dark hallway somewhere,<br />
screaming.<br />
The older woman steps out of <strong>the</strong> elevator. “Stop!”<br />
Ed shouts. “Don’t get out!”<br />
She pauses, as if she’d heard him. “What?”<br />
“I didn’t say anything,” her friend answers.<br />
“Don’t go out <strong>the</strong>re,” Ed says to <strong>the</strong>m.<br />
The women have left <strong>the</strong> elevator and are walking<br />
down <strong>the</strong> hall.<br />
Ed forces himself out of <strong>the</strong> elevator and into <strong>the</strong><br />
circle of weak light given off by <strong>the</strong> only ceiling lamp.<br />
He glances backwards; Tina has followed and is watching<br />
him.<br />
The corridor is dark, but not so dark that Ed can’t<br />
see <strong>the</strong> shapes that are waiting <strong>the</strong>re. People, dozens of<br />
<strong>the</strong>m, some standing like statues, o<strong>the</strong>rs swaying slightly.<br />
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