Walking Dead: Fall of The Governor: Book Two Part 6

"Just ducky," she replies with a wry little smile. They have talked a lot about her morning sickness, her first-trimester woes, the cramps and the soreness. But their unspoken fears lie at the base of everything they talk about now. Are these symptoms normal? Is she in jeopardy of losing the baby? How is she going to get the nutrition and prenatal care she needs? Is Bob capable of caring for her? And the granddaddy of all their concerns: Is the old army medic up to delivering a baby when the time comes? "I just wish he would come out already," she mutters, giving a little tip of the head toward the shadowy vestibule on the north end of the arena. "The suspense is killing these people."

Almost on cue, as if her words have conjured the man himself, the crowd goes silent-and the silence is as unsettling as a fuse being lit-as a gaunt figure appears in the mouth of the portal.

All heads turn toward the north, and scores of anxious faces gape in complete consternation as the man of the hour slowly ambles toward the center of the infield. He wears his trademark hunting vest, camo pants, and jackboots, but he moves gingerly, with the careful tenterhooks of a stroke victim, one step at a time. Rudy, the ersatz announcer, walks beside the Governor with a small grease-spotted cardboard box and a wireless microphone. The thing that transfixes the audience is not the black leather eye patch. Nor is it the profusion of scars and fading wounds visible even at a great distance across the Governor's exposed flesh. The thing that bothers everybody is the missing arm.

Philip Blake pauses in front of them, grabbing the hand mike from Rudy, thumbing the On switch, and looking at the crowd. His face looks as pale as porcelain in the faltering silver arc light, the flicker effect making him look spectral and nightmarish-a character in a forgotten silent film moving in jump cuts.

His voice crackles through high loudspeakers as Rudy trots off the field: "I apologize for being unavailable to you all recently." He pauses and surveys the silent faces. "I know some community matters have arisen that I've been unable to handle ... and for that I apologize."

No reaction emanates from the crowd other than a few throats clearing. From her front-row position on the north corner of the stands, Lilly feels a jolt of apprehension. The Governor's condition somehow looks graver in this terrible flickering light.

"The games will be up and running again soon," he goes on, undaunted by the eerie silence and the tension so thick it seems to weigh down on the stadium like a fog. "But as you've probably noticed by looking at me-I've had other, more pressing matters to deal with."

Another pause here, as the Governor gazes across the rows of somber-faced residents.

Lilly shivers-despite the humid night air, which smells of burning rubber-an inexplicable wave of dread washing over her. I hope he can pull this one out; we need him back, we need leadership, we need him to be the Governor. Holding her collar tight with one hand, she feels conflicting emotions crashing within her. She feels sympathy for the man, shame, smoldering anger for the motherf.u.c.kers who did this, and swimming underneath the surface of it all-incessant, primal-a debilitating wave of doubt.

"As you know, it's been a long time since we've had new people arrive in town." He takes a deep breath as though girding himself against a surge of pain. "So ... recently, when a small band of survivors showed up, I was thrilled. I figured they were like us ... happy to be alive ... thankful to see other survivors ... but that was not the case." In the pause that follows, his words echo up into the sky and slap back at the crowd against the far storefronts. "There is evil in this world ... and not all of it is in the form of those undead monsters clawing at our fences."

Just for an instant, he glances down at the cardboard box next to him. Lilly wonders what's in the thing-a visual aid of some sort, perhaps-and the feeling it gives her isn't exactly comforting. She wonders if anybody else in the stands is as bothered by that damp, moldering, blood-spotted box as she. Does it occur to anybody that whatever is in that box may change the course of their destinies?

"At first I had no idea what they were capable of," Philip Blake continues, gazing back up at the gallery. "I trusted them-it was a grave mistake. They needed supplies, some things we seemed to have plenty of. They live in a nearby prison. They took our head of security-Martinez-back with them. I guess there was talk of combining the camps-one group moving to the safest place to live."

Now he kneels down by the box, and his voice goes low and thick with contempt. The microphone picks up every nuance, every smack of his lips, every click and crackle in the back of his throat.

"Some of them stayed behind-and one night while my guard was down, they jumped me and tortured me-mutilated me-and then left me for dead."

From the corner of the stands, Lilly listens closely, her stomach going cold. She detects a slight embellishment of the truth. "They" jumped him? "They" tortured him? It was a woman with a katana sword, right? What is he up to? The suspicion starts to gnaw at Lilly as the man out in the dusty, flickering pantomime of light continues, his voice getting lower and thicker by the minute.

"They escaped," he goes on, kneeling by that mysterious box as though a paper clown is about to pop out. "But you all need to know this." He pauses and scans the crowd as though taking their measure. "Along the way they killed dr. Stevens. These people are ruthless, inhuman savages."

He pauses again, as though the exertion of his rage has already exhausted him.

Lilly watches the man kneeling in the flickering pool of phosphorous light. Something is very, very wrong about this. How does he know they killed Dr. Stevens? He was in a coma at the time, and all the witnesses are long gone. How does he know Stevens didn't simply stumble into a nest of biters? Lilly clenches her fists.

"I feared for Martinez's life," the man goes on. "Not knowing if they'd taken him prisoner or worse. Before we could send out a search party, something was left at the main gate overnight." He flips open the flaps on the top of the box. He pulls out a dark, glistening object about the size of a deflated basketball.

"They left this!"

He stands and displays the object for the perusal of all in attendance.

Despite the collective inhaling of breaths, faint gasps, and averting of gazes among some of the spectators, a strange transference occurs in the audience. The sight of a severed head when grasped by the hair and allowed to dangle in s.p.a.ce provokes an innate reaction in humans formed not only by natural revulsion but also by hundreds of thousands of years of genetic programming.

Off to the side of the bleachers, her hands folded in her lap, Lilly just looks down and shakes her head. She expected something like this. All the lying has taken her by surprise, though, and the sight of the exsanguinated head of Caesar Martinez provokes more repulsion than she would have expected. She glimpsed it once or twice in the woods during their tempestuous retreat from the meadow, but this-this ghastly thing suspended by the hair in the Governor's hand-looks different somehow in the context of the flickering arc light. A human head detached from its moorings registers to the mind in stages, first as artificial and then almost comically macabre-the pale rubbery face of the once handsome Latino now a mere simulacrum of a face-a fleshy Halloween effigy with a look of blank hunger frozen on its features.

Then the true horror quickly makes itself known, and the reality of the spectacle sets in.

For a brief instant, as the Governor silently holds the object for all to absorb, the head turns lazily on its pendulum of hair. To Lilly, the movement looks languid and dreamy in the flashing light. Tendrils of b.l.o.o.d.y tendons and nerves dangle from its ragged bottom like roots. Black fluid drips from its gaping mouth, and if it weren't for the milky film over the eyes it would be hard to tell that Martinez had already turned at the point of decapitation. A tattered bandanna still clings to the skull, matted and soaked with blood.

The people in the back rows, gazing down upon the abomination at a distance of more than twenty-five yards, can't see that the bloodless face is still twitching with the hectic rigor mortis of the undead-the tics and shudders, the rusty hinges of the jaw still pulsing-as it will for eternity until the thing is incinerated or the brain is destroyed. Lilly is among the few close enough to see this. She recognizes the dreadful signs of eternal d.a.m.nation. "Jesus Christ," she utters to no one in particular, barely sensing Austin's presence next to her or the gentle rea.s.surance of his hand on her arm.

The man out in the flickering infield comments: "I knew none of you would want to see this, and I apologize for shocking you. I just want to make you all completely aware of the kind of people we're dealing with here"-another dramatic pause from the Governor-"Monsters!"

Lilly swallows her disgust. Shooting a quick glance over her shoulder, she sees the insidious transaction rippling through the crowd. Some of the men present clench their fists, their expressions visibly changing from shock to anger, their eyes narrowing with rage. Some of the women clutch their children tighter, turning their faces inward against their b.r.e.a.s.t.s, averting young gazes away from the horror on the infield. Others grit their teeth in a pique of hatred and bloodl.u.s.t. Lilly is mortified by the manipulation under way, the mob mentality emerging in the throng.

The voice from the loudspeakers continues: "These savages know where we live! They know what we have! They know our strengths and they know our weaknesses!" He scans the anguished faces. "I say we strike at them before they have a chance to come at us!"

Now Lilly jerks at the unexpected chorus of shouts and howls from the stands behind her. It's not only men. The voices represent all ages, genders, and sensibilities-sending up a dark hallelujah of cries into the sputtering silver radiance of the sky. Some of the onlookers pump their fists. Others bellow garbled cries of rage that sound almost feral. The Governor feeds off it. Still holding the head like some deranged Shakespearean character in a play, moving in the surreal slow motion of the flickering lamps, he is pouring on the call to action as he speaks into the mike.

"I refuse to stand down and allow them to destroy us-not after everything we've lost-not after everything we've sacrificed!"

Some of the spectators begin to holler encouragement as though in a religious call-and-response, which makes Lilly shudder with dread and coaxes another rea.s.suring pat of the arm from Austin, who continually whispers to her now, "It's okay ... it'll be okay ... it's okay, Lilly...." Behind them, one man booms, "f.u.c.k Yeah!" Another one yells, "d.a.m.n straight!" And the voices rise and swell as the Governor drowns the noise with his amplified growl.

"We've worked too hard to build what we have here-and I'll be G.o.dd.a.m.ned if I'm going to let anyone take it away from me!"

The crowd roars, and Lilly has had enough. She rises to her feet and gives Austin a look. Nodding, Austin gets up and follows her out of the bleachers and around the corner of the stands.

"I'm glad to see you feel the same way," the Governor is telling the crowd now, his tone calming, his voice becoming almost hypnotic. "First we need to find them. I know most of the people who lived in this area migrated to Atlanta when the government ordered us all into the cities ... but there has to be someone here who has at least a pa.s.sing familiarity with the area. If you do-please let me know."

On their way out of the arena, marching through the noxious darkness of a litter-strewn exit tunnel, Lilly hears the amplified voice like a ghostly revenant echoing and reverberating through the pa.s.sageway.

"The prison they live in could be five miles away or it could be fifteen ... and we're not even sure of which direction it's in. This is not going to be easy."

Lilly and Austin emerge from the tunnel and walk away from the edifice, the sound of the crackling voice fading in their ears.

"But it will get done-they will be punished-of that you can be sure."

Lilly gets very little sleep that night. She writhes in a tangle of bedsheets next to Austin, feeling heavy and lethargic and nauseous. She's been taking prenatal vitamins for the last week and drinking as much water as possible, and her bladder has been on high alert. At least half a dozen times through the night, she gets up and goes to the bathroom, and while sitting on the toilet she hears the eerie, unsettling, distant voices of the dead drifting on the winds out in the vast fields of scabrous pastureland west of town. The Governor had correctly noted that the biters weren't the true source of evil in this new world, and he was right. But now Lilly stews in a jumble of contrary emotions and festering doubt. She wants to believe in the Governor-she has to-but she can't ignore the fears kindling in her. Her skin tingles and rashes with goose b.u.mps as she wanders her apartment, getting in and out of bed, trying not to awaken Austin.

By the time the gray light of dawn has pushed the shadows away, she has formulated a course of action. She will talk to the man-try to reason with him-he'll listen to her if she approaches it the right way. After all, they all want the same thing: to keep Woodbury safe. But stirring up the people this way-all this gruesome saber rattling-is insane. Lilly has to talk some sense into the man. He'll listen to her. She has to try.

She waits until midmorning-suffering through a tense breakfast with Austin-before setting out to find the Governor. Austin wants to go with her, but for some reason, she wants to do this by herself.

She tries his apartment building first but finds no one home. She goes to the infirmary and asks Bob if he's seen the man, but Bob has no idea where Philip is at the moment. She wanders the streets for a while until she hears the sound of gunfire coming from the fences out behind the racetrack. She follows the sound.

The day has already heated up, the pale sky heavy with humidity. The high sun bakes the cracked asphalt parking lots, and the air smells of tar and manure. Lilly has already sweated through her sleeveless Georgia Tech T-shirt and ripped denim shorts, and the cramps have returned. She has no appet.i.te, and she can't tell which is playing havoc with her system more-the pregnancy or the fear.

On the south side of the arena, she finds Gabe and Bruce standing near a gate, smoking cigarettes, their rifles slung over their shoulders paramilitary-style. The intermittent bark of small-caliber gunfire comes from behind them, from somewhere along the big cyclone fence barricade separating the town from the walker-infested outskirts.

"Is Philip around?" Lilly asks Gabe as she approaches the two bodyguards.

"Whaddaya want?" Bruce Cooper speaks up before Gabe has a chance to say anything. "He's busy right now."

"Hey, lighten up," Gabe says to the big, barrel-chested black man in sweat-damp camo fatigues. "She's on our side." Gabe turns to Lilly. "He's down at the fence doing a little target practice, Lilly. Whaddaya need?"

"Just wanted to talk to him for a second," she says. "Any luck with the search for the prison?"

Gabe shrugs. "We got guys looking up and down Macauster Lane but nothing yet. There something I can help you with?"

Lilly sighs. "Just thought I might have a little chat with the Governor, no big deal ... just had a few ideas."

Gabe and Bruce share a fleeting glance. "I don't know. He said he didn't want to be-"

Right then, the sound of a gravelly voice rings out from around the corner. "It's okay-let her come on down!"

They let Lilly pa.s.s, and she strides through the gate and down a narrow sidewalk, past rows of empty handicapped parking places, until she sees a gaunt, one-armed man in an olive drab army surplus jacket standing in the middle distance near a chain-link barricade.

"An amazing organ, the human brain," he says without looking at her. He stands next to a wheelbarrow br.i.m.m.i.n.g with weapons-guns of all size and caliber-and it quickly becomes obvious that he's been shooting at walkers on the other side of the fence as though trying his hand at a grotesque shooting gallery. A dozen or so ragged bodies lie on the ground outside the chain-link barrier, the air almost blue with gun smoke. "It's like a computer that can reboot itself," he mumbles, selecting a small 9 mm pistol from the wheelbarrow with his left hand, raising the gun, thumbing the hammer, and aiming it. "Yet so G.o.dd.a.m.n fragile ... it can crash at any moment."

He fires at the cl.u.s.ter of walkers on the other side of the fence.

"f.u.c.k!" The bullet grazes the skull of a female in a tattered, bloodstained sundress. The female staggers and stays upright and keeps banging against the fence. The Governor spits angrily. "Ain't worth s.h.i.t left-handed!" He fires again and again, until the fourth blast shatters the female's skull in a fountain of brain matter that sends her sliding down the fence in a greasy leech trail of gore. "This ain't gonna be easy," Philip grumbles. "Relearning every G.o.dd.a.m.n thing in the book." He glances at Lilly. "You come to spank me a little bit?"

Lilly looks at him. "Excuse me?"

"I could tell you weren't exactly thrilled with my little presentation."

"I never said-"

"I could tell by your body language, the expression on your face ... you didn't seem all that crazy about my oratory skills."

The way he says this in his Georgia tw.a.n.g-putting exaggerated enunciation on the word "orrrr-a-tory"-puts her hackles up. Is he toying with her? Is he challenging her? She licks her lips and carefully chooses her words. "Okay, look ... I'm sure you know what you're doing. I'm not trying to tell you how to run this town. It's just that ... there were children in that audience."

"And you think I crossed the line when I showed them what was left of Martinez."

Lilly takes a deep breath. "All right, yes ... to be honest with you ... yeah ... I thought it was a bit much."

He puts the 9 mm back in the wheelbarrow and selects a nickel-plated .357. He checks the cylinder and lines up another shot. "There's a war coming, Lilly," he says softly, drawing a bead on another walker out in the shade of an ancient, twisted live oak. "And I promise you one thing." His left arm is as steady as a steel girder now. "If these people are not ready to defend our town at all costs, we will lose ... everything." His left index finger caresses the trigger pad. He's getting the hang of it now. "Everything you love ... everything that is dear to you, Lilly. You will-I guarantee it-lose it."

He closes his right eye and peers down the barrel with his left and fires.

Lilly doesn't jerk at the noise-not even the slightest flinch, despite the volume of the .357's report-but instead just stands there staring at the man, thinking, feeling the cold sensation of dread turning into certainty within her. The man has a point.

On the other side of the fence, a large male biter folds to the ground in a baptism of blood and fluids. Lilly bites down hard. She senses the tiny ember of life within her, struggling, a seedling starving for sunlight.

At last Lilly says very softly, "You're right. I'm with you-we all are-no matter what happens. We're ready. No matter how bad it gets."

That afternoon, the cramps worsen until Lilly can't even stand up straight anymore. She lies in a fetal position on the futon in her bedroom with packing blankets over the windows to block out the harsh light of the spring sun. She spikes a mild fever-a hundred and one by dinnertime-and she starts seeing streaks of light across her field of vision like sunspots, flaring brightly with each stabbing pain in her midsection and dull throb above the bridge of her nose.

By six o'clock the chills have begun quaking through her, making her shiver convulsively under the ratty thermal blanket that Austin has brought over from his place. She feels as though she's about to vomit but can't quite bring anything up. She's miserable.

Eventually she manages to climb out of bed to go to the bathroom. Her lower back twinges painfully, stiffly, as she shuffles barefoot across her hardwood floors, staggering into the john and closing herself into the reeking chamber of cracked tile and ancient linoleum flooring. She slumps down on the toilet and tries to pee but can't even do that.

Austin has been forcing fluids into her, trying to guard against dehydration, but Lilly's system is so out of whack she can't bear to drink more than a few ounces of water at a time. Now she sits in the darkness of the bathroom and tries to breathe through the cramps, which send hot tremors of agony up her bowels and through her guts. She feels weak. Wrung out. Limp. Like a piano just fell on her. Is it just the stress? She looks down and blinks.

She sees the blood, as bright as strawberry jam, stippling the crotch of her panties, which now dangle down around her ankles. Her entire body goes icy cold. She has been diligent about checking her underwear for spotting, and up until now has been clean. She tries to keep calm, tries to breathe deeply, tries to think.

A loud knocking shakes her out of her daze. "Lilly?" Austin's voice comes from outside the door, tinged with alarm. "You okay?"

She leans over and grasps the doork.n.o.b, nearly falling off the porcelain stool. She manages to crack the door open and then looks up into Austin's gla.s.sy, terrified eyes. "I think maybe we should go see Bob," she utters softly, her voice brittle with fear.

Eight.

That night, Philip Blake cleans house-metaphorically and literally-a man on the cusp of a revolution, a warrior on the precipice of war. He wants his environment to reflect the clean, austere, sterile organization of his brain. No more disembodied voices, no more ambivalence brought on by his symbiotic second self. In the autoclave of his mind-cauterized and cleansed by his ordeal-any vestige of Brian Blake has been burned away, sandblasted from the dark crevices of his thoughts. He is a clockwork mechanism now-calibrated for one thing and one thing only: vengeance.

So he begins the process with the rooms of his apartment, the scene of the crime. There are still faded signs of the abomination; he is compelled to clean deeper.

Bruce brings him cleaning supplies from the warehouse, and he spends hours eradicating any remaining evidence of his torture at the hands of that lunatic b.i.t.c.h with the sword. He wipes down the walls of his living room with Dutch cleanser, working awkwardly with his left hand, and he carefully runs a battery-powered Dirt Devil over the matted carpet, which still bears the faded stains of his own blood. He uses a cleaning solvent on the more stubborn stains, scrubbing with a soft brush until the rug begins to shred apart. He straightens the rooms, makes the bed, bags the dirty laundry, mops the hardwood floors with Murphy's Oil Soap, and wipes the mossy grime from the gla.s.s panels of his matrix of aquariums, paying little attention to the twitching severed heads within them.

He keeps Penny chained to the eye-bolt in the foyer while he works, every few moments making note of her presence in the other room-the soft burr of her perpetual growling, the dull rattling of her chain as she strains to escape, the faint clack of her piranha-like teeth snapping at the air with blind hunger. As he cleans around her, he finds himself being more and more bothered by that soft clacking noise.

It takes him hours to sanitize the place to his satisfaction. Working with one arm makes some of the tasks, such as opening a garbage bag or pushing a broom around corners, a little tricky. To make matters worse, he keeps seeing corners that he missed, nooks and crannies still bearing signs of his torment-sticky patches of dried blood, a discarded roll of tape, a drill bit still crusted with his tissue under a chair, a fingernail in the nap of the carpet. He cleans well into the night, until he has nearly erased every last remnant of his suffering. He even rearranges the spa.r.s.e furniture to cover or hide the scars he cannot expunge-the scorch marks from the acetylene torch, the nail holes in the rug from the plywood panel.

At length, he obliterates any visible proof that torture ever occurred here.

Satisfied with the job, he collapses into his recliner in the side room. The soft percolating of the aquariums calms him, the m.u.f.fled thudding and tapping of the reanimated faces b.u.mping against the inside of the gla.s.s almost soothing to him. He stares at the bloated, sodden faces undulating behind their veils of water. He imagines the glorious moment when he takes that dreadlock-wearing b.i.t.c.h apart piece by piece ... and eventually he drifts off.

He dreams of the old days, and he sees himself at home in Waynesboro with his wife and child-a mythology his brain has now chiseled into itself with the permanence of a stone tablet-and he is happy, truly happy, maybe the only time he felt such happiness in his life. He holds Penny on his lap in the cozy little sunroom off the kitchen in the rear of the clapboard house on Pilson Street, with Sarah Blake curled up on the sofa next to them, her head on Philip's shoulder, as Philip reads a Dr. Seuss book aloud to Penny.

But something intrudes on the scene-a strange tapping noise-a dull, metallic clacking. In the dream, he looks up at the ceiling and sees cracks forming, each tapping noise spreading another hairline fracture in the plaster overhead, a sifting of dust motes filtering down through rays of sunlight. The tapping noise rises and quickens, and he sees more cracks forming, until the ceiling begins to rend apart. He screams as the room collapses in on itself.

The cataclysm wakes him up.

He jerks forward in the chair with a start, his wounds panging with sharp stabs of agony from the hammer blows and gashes and puncture sores that are still tight with sutures under his clothes. He is damp with cold sweat, and his phantom arm throbs. He swallows stomach acid and looks around the room-the dull glow and bubbling of the aquariums bringing him back to reality-and he realizes he still hears the infernal clacking noise.

The sound of Penny's chattering teeth in the other room.

He has to do something about it.

The last stage of his housecleaning.

"Don't you worry, Lilly-girl, I happen to have quite a bit of practice catching babies," Bob Stookey says, blatantly lying to the couple in the magnesium-silver brightness of the underground infirmary. It's the middle of the night and the cavernous room is as silent as a morgue. Bob has rolled a pulse-ox unit over to the bed on which Lilly now lies covered in a sheet, with Austin nearby, fidgeting, chewing his fingernails, and shooting glances back and forth from Lilly's ashen face to Bob's weathered, smiling visage.