Rise of the Governor (15 page)

Penny wets herself.

*   *   *

The greeting party, as copious as a Roman army and as slapdash as a swarm of giant arachnids, comes from Martin Luther King Drive, a little over a block away. They come from the cool shadows where government buildings block out the sun, and there are so many of them that it takes a moment for the human eye to simply register what it is seeing. All shapes and sizes and stages of deterioration, they emerge from doorways and windows and alleys and wooded squares and nooks and crannies, and they fill the street with the profusion of a disordered marching band, drawn to the noise and smell and advent of a fresh automobile filled with fresh meat.

Old and young, black and white, men and women, former businessmen, housewives, civil servants, hustlers, children, thugs, teachers, lawyers, nurses, cops, garbage men, and prostitutes, each and every one of their faces uniformly pale and decomposed, like an endless orchard of shriveled fruit rotting in the sun—a thousand pairs of lifeless gunmetal-gray eyes locking in unison onto the Escalade, a thousand feral, primordial tracking devices fixing themselves hungrily on the newcomers in their midst.

Over the course of that single instant of horror-stricken silence, Philip makes a number of realizations with the speed of a synapse firing.

He realizes he can smell the telltale odor of the horde coming through the open window, and possibly even the air vents in the dash: that sickening, rancid bacon-and-shit stench. But more than that, he realizes that the strange drone he heard earlier, when he rolled down his window—that vibrating hum in the air like the twanging of a million high-tension wires—is the sound of a city full of the dead.

Their collective groaning, as they now labor as one giant multifaceted organism toward the Escalade, makes Philip's skin crawl.

All of which leads to one final realization that strikes Philip Blake between the eyes with the force of a ball-peen hammer. It occurs to him—considering the sight unfolding in almost dreamy slow motion in front of him—that the quest to find a refugee center in this town, not to mention anyone still alive, is fast becoming about as prudent as the boy looking for a pony in a pile of horseshit.

In that microsecond of dread—that minuscule soupçon of frozen stillness—Philip realizes that the sun will probably not be coming out tomorrow, and the orphans will stay orphans, and the Braves will never again win the fucking pennant.

Before jerking the shift lever he turns to the others and in a voice laced with bitterness says, “Show of hands, how many y'all still hot to find that refugee center?”

 

PART 2

Atlanta

He who fights too long against dragons becomes a dragon himself; and if you gaze too long into the abyss, the abyss will gaze into you.

—Nietzsche

 

NINE

Very few production cars on the road—in the U.S., at least—are capable of attaining any kind of speed in reverse. First of all, there's the gear problem. Most cars, vans, pickups, and sport-utility vehicles that come off the line have five or six forward gears but only one for reverse. Second of all, most vehicles have front suspensions designed to go forward not backward. This prevents drivers from getting up a head of steam in reverse. Third of all, in reverse you're usually steering by looking over your shoulder, and pushing cars to top speeds in this fashion usually terminates in spectacular spinouts.

On the other hand, the vehicle that Philip Blake is currently commandeering is a 2011 Platinum Cadillac Escalade with all-wheel drive and tricked-out torsion bars for any off-road applications that ace mechanic Calvin R. Donlevy of Greencove Lane might have endeavored to undertake in the backwaters of Central Georgia (in happier times). The vehicle weighs in at nearly four tons, and is close to seventeen feet long, with a StabiliTrak electronic stability control system (standard on all Platinum models). Best of all, it's equipped with a rearview camera that displays on a generous seven-inch navigation screen built into the dash.

Without hesitation, his nervous system wired to his right hand, Philip slams the lever into reverse, and keeps his gaze riveted to that flickering yellow image materializing on the navigation screen. The image shows the partly cloudy sky over the horizon line of pavement behind them:
the top of the overpass
.

Before the oncoming regiment of zombies have a chance to get within fifty yards, the Escalade rockets backward.

The g-forces suck everybody forward—Brian and Nick each twisting around to gaze out the tinted rear window at the overpass rushing toward them—as the tail end of the Escalade shimmies slightly, the vehicle building speed. Philip pushes it hard. The engine screams. Philip doesn't turn around. He keeps his gaze locked onto that screen, the little glowing yellow picture showing the top of the overpass growing larger and larger.

One slight miscalculation—a single foot-pound of pressure on the steering wheel in either direction—and the Escalade goes into a spin. But Philip keeps the wheel steady, and his foot on the gas, and his eyes on the screen, as the vehicle tears backward faster and faster—the engine now singing high opera, somewhere in the vicinity of C sharp. On the monitor Philip sees something change.

“Aw shit … look!”

Brian's voice pierces the noise of the engine but Philip doesn't have to look. In the little yellow square of video he sees a series of dark figures appearing a couple hundred feet away, directly in their path, at the top of the overpass, like the pickets of a fence. They're moving slowly, in a haphazard formation, their arms opening to receive the vehicle now hurtling directly at them. Philip lets out an angry grunt.

He slams both work boots down on the brake pad, and the Escalade skids and smokes to a sudden stop on the sloping pavement.

At this point Philip realizes—along with everybody else—that they have one chance, and the window of that opportunity is going to close very quickly. The dead things coming at them from the front are still a hundred yards off, but the hordes behind them, shambling over the crest of the viaduct from the projects and vacant lots around Turner Field, are closing in with alarming speed, considering their ponderous, leaden movements. Philip can see in a side mirror that an adjoining street called Memorial Drive is accessible between two overturned trailers, but the army of zombies that are looming close and closer in his rearview will be reaching that cross street very soon themselves.

He makes an instantaneous decision, and bangs down on the accelerator.

The Escalade roars backward. Everybody holds on. Philip backs it straight toward the crowd of shuffling corpses. On the video monitor the image shows the columns of zombies excitedly reaching out, mouths gaping, as they grow larger and larger on the screen.

Memorial Drive comes into view on the camera, and Philip stomps on the brake.

The rear of the Escalade bowls over a row of the undead with a nauseating, muffled drumming noise, as Philip rips the shift lever back into drive, his logger boot already pushing the pedal to the floor. They all sink into the upholstery as the SUV lunges forward, Philip taking a sharp left, threading the needle between two ruined trailers.

Sparks jump in the air as the SUV swipes a side rail, and then it's through the gap and fleeing down the relatively clear and blessedly zombie-free lanes of Memorial Drive.

Hardly a minute goes by before Brian hears the scraping noise. It's a coarse, wet, keening sound coming from under the chassis. The others hear it, too. Nick looks over his shoulder. “What the hell is that noise?”

“Something's caught under the wheels,” Brian says, trying to see the side of the car out his window. He can't see anything.

Philip is silent, his hands welded to the steering wheel, his jaw set and tense.

Nick is looking out at the side mirror. “One of those things is stuck under the wheel!”

“Oh
great,
” Brian says, twisting in his seat. He notices a tiny fan of blood droplets across the back window. “What are we gonna—”

“Let it ride along,” Philip says flatly, not taking his eyes off the street. “It'll be pulp in a few minutes.”

*   *   *

They get about six blocks, bumping across a set of railroad tracks—getting deeper into the city—before encountering much more than a few isolated wrecks and roaming dead. The grid of streets threading between the buildings is choked with debris, the remnants of explosions, burned cars filled with charred skeletons, windows blown out, and piles of trash and detritus drifted up against storefronts. Somewhere along the way, the scraping noises cease, although nobody sees what has happened to the hanger-on.

Philip decides to take a north-south street into the heart of the city, but when he turns right—swerving around a mangled delivery truck on its side in the center of the intersection—he hits the brakes. The Escalade jerks to a stop.

They sit there for a moment, the engine idling. Philip doesn't move, his hands still white-knuckling the wheel, his eyes squinting as he gazes into the distant shadows of tall buildings straight ahead.

At first, Brian can't see what the problem is. He cranes his neck to glimpse the litter-strewn city street stretching many blocks before them. Through the tinted glass, he sees high-rises on either side of the four-lane avenue. Trash swirls in the September wind.

Nick is also puzzled by the sudden stop. “What's wrong, Philip?”

Philip doesn't respond. He keeps staring straight ahead with that uneasy stillness, his teeth clenching, his jaws working.

“Philip?”

No response.

Nick turns back to the windshield and stares out at the street. His expression tightens. He sees now what Philip sees. He gets very still.

“Will somebody tell me what's going on?” Brian says, leaning forward to see better. For a moment, all he can make out is the distant canyon of high-rises, and many blocks of debris-littered pavement. But he realizes soon enough that he's seeing a still life of a desolate city beginning to rapidly change like a giant organism reacting to the intrusion of foreign bacteria. What Brian sees through that shaded window glass is so horrible that he begins moving his mouth without saying anything.

*   *   *

In that single instant of brain-numbing awe, Brian Blake flashes back to a ridiculous memory from his childhood, the madness of the moment gripping his mind. One time, his mom took him and Philip to the Barnum and Bailey Circus in Athens. The boys were maybe thirteen and ten respectively, and they reveled in the high-wire acts, the tigers jumping through flaming rings, the men shooting out of cannons, the acrobats, the cotton candy, the elephants, the sideshows, the sword swallower, the human dart board, the fire-eaters, the bearded ladies, and the snake charmer. But the memory that sticks with Brian the most—and what he thinks of right at this moment—is the clown car. That day in Athens, at the height of the show, a little goofy car pulled out across the center ring. It was a cartoonish sedan with painted windows, about the size of a station wagon, built low to the ground and painted in a patchwork of Day-Glo colors. Brian remembers it so vividly—how he laughed his head off at the clowns piling out of the car, one after another, and how at first it was just funny, and then it became kind of amazing, and finally it was just downright bizarre, because the clowns kept coming: six, eight, ten, twenty—big ones, little ones—they kept climbing out of that car as though it was a magic container of freeze-dried clowns. Even as a thirteen-year-old, Brian was transfixed by the gag, knowing full well there had to be a trick to it, maybe a trapdoor embedded in the sawdust beneath the car, but it didn't matter because the very sight of it was mesmerizing.

That exact phenomenon
—or at least a perverted facsimile of it—is now unfolding right before Brian's eyes along an urban thoroughfare in the lower bowels of midtown Atlanta. He gapes silently at it for a moment, trying to put the gruesome spectacle into words.

“Turn around, Philip.” Brian's voice sounds hollow and reedy in his own ears as he stares at the countless throngs of undead awakening in every corner of the city before them. If the horde they encountered only moments ago on their way into town was a regiment of a Roman army, this—
this
—is the whole empire.

As far as the eye can see, down the narrow channel of the four-lane street, the undead emerge from buildings, from behind cars, from within wreckage, from the shadows of alleys, from busted-out display windows, from the marble porticos of government buildings, from the spindly planters of decorative trees, and from the tattered remains of sidewalk cafés. They are even visible in the far distance, where the vanishing point of the street blurs into the shadows of skyscrapers, their ragged silhouettes appearing like a myriad of slow-moving bugs roused from the darkness of an overturned rock. Their number defies logic.

“We gotta get outta here,” Nick says in a rusty squeak of a voice.

Philip, still stoic and silent, works his clenched fingers on the steering wheel.

Nick nervously shoots a glance over his shoulder. “We gotta go back.”

“He's right, Philip,” Brian says, putting a hand gently on Penny's shoulder.

“What's the matter, what are you doing?” Nick looks at Philip. “Why aren't you turning around?”

Brian looks at the back of his brother's head. “There's too many of them, Philip. There's too many of them. There's too many.”

“Oh my God, we're fucked … we're
fucked,
” Nick says, transfixed by the ghastly miracle building across their path. The closest ones are maybe half a block away, like the leading edge of a tsunami—they look like office dwellers of both genders, still clad in corporate attire that appears shredded and chewed up and dipped in axle grease—and they stagger this way like snarling sleepwalkers.