The discovery that day—that a major blow to the head does the job quite nicely—had led to more nervous chortling on Bobby’s part—definitely a defense mechanism—with a lot of anxious chatter about it being “something in the water, man, like the black-fucking-plague.” But Philip didn’t want to hear about reasons for this shit storm then, and he sure doesn’t want to hear about them now.
“Hey!” Philip addresses the heavyset man. “You still think this is funny?”
Bobby’s laughter dies.
On the other side of the room, near a window overlooking the dark expanse of a backyard, which is currently shrouded in night, a fourth figure watches uneasily. Nick Parsons, another friend from Philip’s wayward childhood, is a compact, lean thirty-something with the kind of prep-school grooming and marine-cut hair of an eternal jock. The religious one of the bunch, Nick has taken the longest to get used to the idea of destroying things that were once human. Now his khakis and sneakers are stippled with blood, and his eyes burn with trauma, as he watches Philip approach Bobby.
“Sorry, man,” Bobby mutters.
“My daughter’s in there,” Philip says, coming nose to nose with Marsh. The volatile chemicals of rage and panic and pain can instantly ignite in Philip Blake.
Bobby looks at the blood-slicked floor. “Sorry, sorry.”
“Go get the tarps, Bobby.”
Six feet away, Brian Blake, still on his hands and knees, expels the last of his stomach contents, and continues to dry-heave.
Philip goes over to his older brother, kneels by him. “Let it out.”
“I’m—uh—” Brian croaks, sniffing, trying to form a complete thought.
Philip gently lays a big, grimy, callused hand on his brother’s hunched shoulders. “It’s okay, bro … just let it all out.”
“I’m—s-sorry.”
“It’s all right.”
Brian gets himself under control, wipes his mouth with the back of his hand. “Y-you think you got all of them?”
“I do.”
“You sure?”
“Yep.”
“You searched … everywhere? In the basement and stuff?”
“Yes, sir, we did. All the bedrooms … even the attic. Last one came out of hiding at the sound of that fucking cough, loud enough to wake the fucking dead. Teenage girl, tried to have one of Bobby’s chins for lunch.”
Brian gulps down a raw, painful swallow. “These people … they … lived here.”
Philip sighs. “Not anymore.”
Brian manages to look around the room, then gazes up at his brother. Brian’s face is wet with tears. “But they were like … a family.”
Philip nods, and he doesn’t say anything. He feels like giving his brother a shrug—so fucking what—but all he does is keep nodding. He’s not thinking about the zombified family he just dispatched, or the implications of all the mind-numbing butchery he’s already wreaked over the last three days—slaughtering individuals who were recently soccer moms and mailmen and gas station attendants. Yesterday, Brian had gone off on some bullshit intellectual tangent about the difference between morals and ethics in this situation: Morally, one should never kill, ever, but ethically, which is subtly different, one should maintain the policy of killing only if it’s in self-defense. But Philip doesn’t see what they’re doing as killing. You can’t kill a thing that’s already been killed. What you do is squash it like a bug, and move on, and stop thinking so much.
The fact is, right now, Philip isn’t even thinking about the next move his little ragtag group will make—which is probably going to be entirely up to him (he has become the de facto leader of this bunch, and he might as well face it). Right now, Philip Blake is focused on a single objective: Since the nightmare started less than seventy-two hours ago, and folks started turning—for reasons nobody has yet been able to figure out—all that Philip Blake has been able to think about is protecting Penny. It is why he got the hell out of his hometown, Waynesboro, two days ago.
A small farming community on the eastern edge of central Georgia, the place had gone to hell quickly when folks had started dying and coming back. But it was Penny’s safety that had ultimately convinced Philip to fly the coop. It was because of Penny he had enlisted the help of his old high school buddies; and it was because of Penny he had set out for Atlanta, where, according to the news, refugee centers were being set up. It was all because of Penny. Penny is all that Philip Blake has left. She is the only thing keeping him going—the only salve on his wounded soul.
Long before this inexplicable epidemic had broken out, the void in Philip’s heart would pang at 3 A.M on sleepless nights. That’s the exact hour he had lost his wife—hard to believe it’s been nearly four years now—on a rain-slick highway south of Athens. Sarah had been visiting a friend at the University of Georgia, and she’d been drinking, and she lost control of her car on a winding road in Wilkes County.
From the moment he had identified the body, Philip knew he would never be the same. He had no qualms about doing the right thing—taking on two jobs to keep Penny fed and clothed and cared for—but he would never be the same. Maybe that’s why all this was happening. God’s little gag. When the locusts come, and the river runs red with blood, the guy with the most to lose gets to lead the pack.
“Doesn’t matter who they were,” Philip finally says to his brother. “Or what they were.”
“Yeah … I guess you’re right.” By this point, Brian has managed to sit up, cross-legged now, taking deep wheezing breaths. He watches Bobby and Nick across the room, unrolling large canvas tarps and shaking open garbage bags. They begin rolling corpses, still dripping, into the tarps.
“Only thing that matters is we got this place cleaned out now,” Philip says. “We can stay here tonight, and if we can score some gas in the morning, we can make it to Atlanta tomorrow.”
“Doesn’t make any sense, though,” Brian mutters now, glancing from corpse to corpse.
“What are you talking about?”
“Look at them.”
“What?” Philip glances over his shoulder at the gruesome remains of the matriarch being rolled up in a tarp. “What about ’em?”
“It’s just the family.”
“So?”
Brian coughs into his sleeve, then wipes his mouth. “What I’m saying is … you got the mother, the father, four teenage kids … and that’s like it.”
“Yeah, so what?”
Brian looks up at Philip. “So, how the hell does something like this happen? They all … turned together? Did one of them get bitten and bring it back inside?”
Philip thinks about it for a moment—after all, he’s still trying to figure out just exactly what is going on, too, how this madness works—but finally Philip gets tired of thinking about it and says, “C’mon, get off your lazy ass and help us.”
* * *
It takes them about an hour to get the place cleaned up. Penny stays in the closet for the duration of the process. Philip brings her a stuffed animal from one of the kid’s rooms, and tells her it won’t be long before she can come out. Brian mops the blood, coughing fitfully, while the other three men drag the canvas-covered corpses—two large and four smaller ones—out the back sliding doors and across the large cedar deck.
The late-September night sky above them is as clear and cold as a black ocean, a riot of stars shining down, taunting them with their impassive, cheerful twinkling. The breaths of the three men show in the darkness as they drag the bundles across dew-frosted planks. They carry pickaxes on their belts. Philip has a gun stuffed down the back of his belt. It’s an old .22 Ruger that he bought at a flea market years ago, but nobody wants to rouse the dead with the bark of gunfire right now. They can hear the telltale drone of walking dead on the wind—garbled moaning sounds, shuffling footsteps—coming from somewhere in the darkness of the neighboring yards.
It’s been an unusually nippy early autumn in Georgia, and tonight the mercury is supposed to dip into the low
er forties, perhaps even the upper thirties. Or at least that’s what the local AM radio station claimed before it petered out in a gust of static. Up to this point in their journey, Philip and his crew have been monitoring TV, radio, and the Internet on Brian’s BlackBerry.
Amid the general chaos, the news reports have been assuring people that everything is just peachy-keen—your trusty government is in control of the situation—and this little bump in the road will be smoothed out in a matter of hours. Regular warnings chime in on civil defense frequencies, admonishing folks to stay indoors, and keep out of sparsely populated areas, and wash their hands frequently, and drink bottled water, and blah, blah, blah.
Of course, nobody has any answers. And maybe the most ominous sign of all is the increasing number of station failures. Thankfully, gas stations still have gas, grocery stores are still stocked, and electrical grids and stoplights and police stations and all the infrastructural paraphernalia of civilization seem to be hanging on.
But Philip worries that a loss of power will raise the stakes in unimaginable ways.
“Let’s put ’em in the Dumpsters behind the garage,” Philip says so softly he’s almost whispering, dragging two canvas bundles up to the wooden fence adjacent to the three-car garage. He wants to do this swiftly and silently. He doesn’t want to attract any zombies. No fires, no sharp noises, no gunshots if he can help it.
There’s a narrow gravel alley behind the seven-foot cedar fence, serving the rank and file of spacious garages lining the backyards. Nick drags his load over to the fence gate, a solid slab of cedar planks with a wrought-iron handle. He drops the bundle and opens the gate.
An upright corpse is waiting for him on the other side of the gate.
“LOOK OUT, Y’ALL!” Bobby Marsh cries out.
“Shut the fuck up!” Philip hisses, reaching for the pickaxe on his belt, already halfway to the gate.
Nick recoils.
The zombie lurches at him, chomping, missing his left pectoral by millimeters, the sound of yellow dentures snapping impotently like the clicking of castanets—and in the moonlight, Nick can see that it’s an elderly adult male in a tattered Izod sweater, golf slacks, and expensive cleats, the lunar gleam shining in its milky, cataract-filmed eyes: somebody’s grandfather.
Nick gets one good glimpse at the thing before stumbling backward over his own feet and falling onto his ass on the lush carpet of Kentucky bluegrass. The dead golfer lumbers through the gap and onto the lawn just as a flash of rusty steel arcs through the air.
The business end of Philip’s pickaxe lands squarely in the monster’s head, cracking the coconutlike shell of the old man’s skull, piercing the dense, fibrous membrane of the dura mater and sinking into the gelatinous parietal lobe. It makes a sound like celery snapping and sends a clot of dark brackish fluid into the air. The insectile verve on the grandfather’s face instantly dims, like a cartoon whose projection system has just jammed.
The zombie folds to the ground with the inelegant deflation of an empty laundry sack.
The pickaxe, still deeply embedded, pulls Philip forward and down. He yanks at it. The point is stuck. “Shut the motherfucking gate now, shut the gate, and do it quietly, goddamnit,” Philip says, still affecting a frenzied stage whisper, slamming his left Chippewa steel-toed logger boot down on the breached skull of the cadaver.
The other two men move as if in some synchronized dance, Bobby quickly dropping his load and rushing over to the gate. Nick struggles to his feet and backs away in a horrified stupor. Bobby quickly latches the wrought-iron lever. It makes a hollow metallic rattle that is so noisy it echoes across the dark lawns.
At last, Philip wrenches the pick from the stubborn crag of the zombie’s skull—it comes out with a soft smooch sound—and he is turning toward the remains of the family, his mind swimming with panic, when he hears something odd, something unexpected, coming from the house.
He looks up and sees the rear of the Colonial, the window glass lit brilliantly from within.
Brian is silhouetted behind the sliding glass door, tapping on the pane, motioning for Philip and the others to hurry back, right now. Urgency burns in Brian’s expression. It has nothing to do with the dead golfer—Philip can tell—something is wrong.
Oh God, please let it not have to do with Penny.
Philip drops the pickaxe and crosses the lawn in seconds flat.
“What about the stiffs?” Bobby Marsh is calling after Philip.
“Leave ’em!” Philip yells, vaulting up the deck steps and rushing to the sliding doors.
Brian is waiting with the slider ajar. “I gotta show you something, man,” he says.
“What is it? Is it Penny? Is she okay?” Philip is out of breath as he slips back into the house. Bobby and Nick are coming across the deck, and they too slip into the warmth of the Colonial.
“Penny’s fine,” Brian says. He’s holding a framed photograph. “She’s fine. Says she doesn’t mind staying in the closet a little while longer.”
“Judas Priest, Brian, what the fuck!” Philip catches his breath, his hands balled into fists.
“I gotta show you something. You want to stay here tonight?” Brian turns toward the sliding glass door. “Look. The family died together in here, right? All six of them? Six?”
Philip wipes his face. “Spit it out, man.”
“Look. Somehow they all turned together. As a family, right?” Brian coughs, then points at the six pale bundles lying near the garage. “There’s six of them out there on the grass. Look. Mom and dad and four kids.”
“So fucking what?”
Brian holds up a portrait in a frame, the family from a happier time, all smiling awkwardly, dressed in their starchy Sunday best. “I found this on the piano,” he says.
“And…?”
Brian points at the youngest child in the photo, a boy of eleven or twelve years old, little navy blue suit, blond bangs, stiff smile.
Brian looks at his brother and says very gravely, “There’s seven of them in the picture.”
TWO
The graceful two-story Colonial that Philip selected for their extended pit stop sits on a manicured side street deep in the tree-lined labyrinth of a gated enclave known as Wiltshire Estates.
Situated off Highway 278, about twenty miles east of Atlanta, the six-thousand-acre community is carved out of a forest preserve of dense longleaf pine and massive, old live oaks. The southern boundary fronts the vast, rolling hills of a thirty-six-hole golf course designed by Fuzzy Zoeller.
In the free brochure, which Brian Blake found on the floor of an abandoned guard shack earlier that evening, a flowery sales pitch makes the place sound like a Martha Stewart wet dream: Wiltshire Estates provides an award-winning lifestyle with world-class amenities … named the “Best of the Best” by GOLF Magazine Living … also home to the Triple-A Five Diamond Shady Oaks Plantation Resort and Spa … full-time security patrols … homes from $475,000 to 1 million-plus.
The Blake party happened upon the fancy outer gates at sunset that day—on their way to the refugee centers in Atlanta—all of them crammed into Philip’s rust-pocked Chevy Suburban. In the spill of the headlights, they saw the fancy cast-iron finials and great arched legend with the Wiltshire name hammered in metal across the spires, and they stopped to investigate.
At first, Philip thought the place might serve as a quick pit stop, a place to rest and maybe forage for supplies before completing the last leg of the journey into the city. Perhaps they would find others like them, other living souls, maybe a few good Samaritans who would help them out. But as the five tired, hungry, wired, and dazed travelers made an initial circle of the winding roads of Wiltshire, with the darkness quickly closing in, they realized that the place was, for the most part, dead.
No lights burned in any of the windows. Very few cars remained in the driveways or at the curbs. A fire hydrant gushed at one corner, unattended, sending a foamy spray across a lawn. At another corner, an abandoned BMW sat
with its shattered front end wrapped around a telephone pole, its twisted passenger door gaping open. People had apparently left in a hurry.
The reason they left, for the most part, could be seen in the distant shadows of the golf course, in the gullies behind the resort, and even here and there on the well-lighted streets. Zombies shambled aimlessly like ghostly remnants of their original selves, their slack, yawning mouths letting out a rusty groan that Philip could hear well enough, even through the sealed windows of the Suburban, as he circumnavigated the maze of wide, newly paved roads.
The pandemic or the act of God—or whatever the hell started it all up—must have hit Wiltshire Estates hard and fast. Most of the undead seemed to be off in the berms and pathways of the golf course. Something must have happened there to speed the process. Maybe golfers are mostly old and slow. Maybe they taste good to the undead. Who the hell knows? But it is apparent, even from hundreds of yards away—glimpsed through trees or over the tops of privacy fences—that scores, maybe hundreds, of undead are congregated in the vast complex of clubhouses, fairways, footbridges, and sand traps.
In the dark of night, they resemble insects lazily swarming a hive.
It’s disconcerting to look at, but somehow the phenomenon has left the adjacent community, with its endless circuit of cul-de-sacs and curving lanes, relatively deserted. And the more Philip and his wide-eyed passengers circled the neighborhood, the more they began to long for a small chunk of that award-winning lifestyle, just a taste, for just long enough to replenish themselves and recharge.
They thought that they could maybe spend the night here, get a fresh start in the morning.
They chose the big Colonial at the bottom of Green Briar Lane because it seemed far enough away from the golf course to avoid the attentions of the swarm. It had a big yard with good sight lines, and a high, sturdy privacy fence. It also seemed empty. But when they carefully backed the Suburban across the lawn and up to a side door—leaving the vehicle unlocked, the keys in the ignition—and they sneaked in a window, one by one, the house almost immediately started working on them. The first creaking noises came from the second floor, and that’s when Philip had sent Nick back to the Suburban for the assortment of axes stored in the back well.
The Walking Dead Collection Page 2