Rise of the Governor (4 page)

That was the good news. The bad news was that Brian was there. He was holed up in the deserted town house, huddling in the basement crawl space, petrified by the growing number of walking dead in the backcountry. Philip had almost forgotten about his brother's current status: Brian had moved back home after his marriage to that crazy Jamaican girl from Gainesville had gone south—
literally
. The girl had pulled up stakes and had gone back to Jamaica. This, coupled with the fact that every single one of Brian's harebrained business schemes had all crashed and burned—most of them financed with their parents' money (like his latest brilliant idea of opening a music store in Athens, when there was already one on every corner)—made Philip cringe at the thought of having to watch over his brother for any length of time. But what was done was done.

“Hey, Philly,” Bobby says from across the room, polishing off the last of the cookies, “you think those refugee centers in the city are still up and running?”

“Who the hell knows?” Philip looks at his daughter. “How you doing, punkin?”

The little girl shrugs. “Okay.” Her voice is barely audible, like a broken wind chime in the breeze. She stares at the stuffed penguin. “I guess.”

“What do you think of this house? You like it?”

Penny shrugs again. “I don't know.”

“What would you say if we stayed here a while?”

This gets everyone's attention. Brian looks up at his brother. All eyes are on Philip now. Nick finally speaks up: “Whattya mean ‘a while'?”

“Gimme that hooch,” Philip says, motioning at Bobby for the bottle. The bottle comes over and Philip takes a long pull, letting it burn nicely. “Look at this place,” he says after wiping his mouth.

Brian is confused. “You said just for the night, right?”

Philip takes a deep breath. “Yeah, but I'm sorta getting over that idea right now.”

Bobby starts to say, “Yeah, but—”

“Look. I'm just saying. Might be best for us to lay low for a spell.”

“Yeah, but Philly, what about—”

“We could just stay put, Bobby, see what happens.”

Nick has been listening intently to this. “Philip, come on, man, they've been saying on the news that the big cities are the safest—”

“The news? Jesus Christ, Nick, blow the wax outta your head. The news is going down the tubes with the rest of the population. Look at this place. You think some government halfway house is gonna have
these
kinds of goodies, beds for everyone, enough food for weeks, twenty-year-old Scotch? Showers, hot water, washing machines?”

“We're so close, though,” Bobby says after a moment's thought.

Philip sighs. “Yeah, well … close is a relative term.”

“It's twenty miles, tops.”

“Might as well be twenty
thousand
miles, all them wrecks on the interstate, 278 crawling with those things.”

“That ain't gonna stop us,” Bobby says. His eyes light up. He snaps his fingers. “We'll build a—whattya call it?—on the front end of the Chevy—a scoop—like in fucking
Road Warrior
—”

“Watch your language, Bobby,” Philip says, nodding at the little girl.

Nick speaks up. “Dude, we stay here, and it's only a matter of time until those things out at the—” He stops himself, glancing at the child. Everybody knows what he's talking about.

Penny studies her soggy cereal as though she's not listening.

“These places are solid, Nicky,” Philip counters, setting down the bottle, crossing his muscular arms across his chest. Philip has been giving a lot of thought to the problem of those wandering hoards out on the golf course. The key would be keeping quiet, masking out the light at night, not sending up any signals, or smells, or undo commotion. “As long as we got power, and we keep our wits about us, we're golden.”

“With one gun?” Nick says. “I mean, we can't even use it without drawing their attention.”

“We'll check out the other houses, look for weapons. These rich bastards are big on deer huntin', maybe we can even find a silencer for the Ruger … hell, we can make one. You see that workshop downstairs?”

“C'mon, Philip. What are we, gunsmiths now? I mean … all we got to defend ourselves right now is a few—”

“Philip's right.”

Brian's voice startles everybody—the way it comes out on a hoarse, wheezing tone of certainty. He pushes his cereal away and looks up at his brother. “You're right.”

Philip is probably the one who is the most taken aback by the conviction in Brian's nasally voice.

Brian stands up, comes around the table, and stands in the doorway leading into the spacious, well-furnished living room. The lights are off in there, and all the shades are drawn. Brian points toward the front wall. “Basically, the front of the house is the problem. The sides and the back are pretty well protected by that tall fence. The dead don't seem to be able to, like, penetrate barriers and stuff … and every house on this block has a fenced-in backyard.” For a moment, it looks as if Brian's going to cough but he holds it in, puts his hand to his mouth for a moment. His hand is shaking. He goes on: “If we can, like, borrow materials from the other yards, other houses, maybe we can secure a wall across the front of the house, maybe across the neighbors' houses, too.”

Bobby and Nick are looking at each other now, nobody reacting, until Philip finally says with a faint smile, “Leave it to the college boy.”

It's been a while since the Blake boys have smiled at each other, but now Philip sees that at least his ne'er-do-well brother wants to be useful, wants to do something for the cause, wants to man up. And Brian seems to be absorbing confidence from Philip's approval.

Nick is unconvinced. “For how long, though? I feel like a sitting duck in this place.”

“We don't know what's gonna happen,” Brian says, his voice raw and yet somehow manic. “We don't know what caused this thing, how long it's gonna last … they could, like, figure this thing out, come up with an antidote or something … they could drop chemicals from crop dusters, the CDC could contain it … you never know. I think Philip's totally right. We should cool our jets here for a while.”

“Damn straight,” Philip Blake says with a grin, still sitting with his ropy arms crossed. He gives his brother a wink.

Brian returns the wink with a satisfied little nod, wiping a strand of hair as thick as straw from his eyes. He takes a shallow breath into wheezing lungs and then triumphantly walks over to the bottle of Scotch, which sits on the table next to Philip. Grabbing the bottle with a gusto that he hasn't shown in years, Brian lifts it to his lips and takes a massive gulp with the victorious swagger of a Viking celebrating a successful hunt.

Instantly, he flinches, doubles over, and lets out a fusillade of coughs. Half the liquor in his mouth goes spraying across the kitchen, and he coughs and coughs and coughs and wheezes furiously, and for a moment, the others just stare. Little Penny is thunderstruck, gawking with her huge eyes, wiping droplets of liquor from her cheek.

Philip looks at his pathetic excuse for a brother and then looks at his buddies. Across the room, Bobby Marsh struggles to stifle a laugh. Nick tries to repress his own twitching grin. Philip tries to say something but can't help but start laughing, and the laughter is contagious. The others start chortling.

Soon, everybody is laughing hysterically—even Brian—and for the first time since this whole nightmare kicked in, the laughter is genuine: a release of something dark and brittle lurking in all of them.

*   *   *

That night, they try to sleep in shifts. Each one of them gets their own room on the second floor—the remnants of former inhabitants like eerie artifacts in a museum: a bedside table with a half-full glass of water, a John Grisham novel open to a page that will never be finished, a pair of pompoms hanging off a teenage girl's four-poster bed.

For most of the night, Philip sits watch downstairs, out in the living room, with his gun on a coffee table next to him and Penny tucked under blankets on a sectional sofa beside his chair. The child tries unsuccessfully to fall asleep, and around three in the morning, as Philip finds his mind casting back to those tormented thoughts of Sarah's accident, he notices out of the corner of his eye that Penny is tossing and turning restlessly.

Philip leans over to her and strokes her dark hair and whispers, “Can't sleep?”

The little girl has the covers pulled up to her chin, and she looks up at him. She shakes her head. Her ashen face is almost angelic in the orange light of a space heater, which Philip has rigged next to the couch. Outside, in the distant wind, barely audible over the soft drone of the heater, the dissonant chorus of groaning is relentless, like an infernal series of waves lapping a shore.

“Daddy's here, punkin, don't worry,” Philip says softly, touching her cheek. “I'll always be here.”

She nods.

Philip gives her a tender smile. He leans down and plants a kiss on her left eyebrow. “Ain't gonna let nothin' happen to you.”

She nods again. She has the little penguin lodged snugly in the crook of her neck. She looks at the stuffed animal and frowns. She moves the penguin to her ear, and she acts as though she's listening to the animal whisper a secret. She looks up at her father. “Daddy?”

“Yeah, punkin?”

“Penguin wants to know somethin'.”

“What's that?”

“Penguin wants to know if them people are sick.”

Philip takes a deep breath. “You tell Penguin … yeah, they're sick all right. They're more than sick. That's why we've been … puttin' them outta their misery.”

“Daddy?”

“Yeah?”

“Penguin wants to know if we're gonna get sick, too.”

Philip strokes the girl's cheek. “No, ma'am. You tell Penguin we're gonna stay healthy as mules.”

This seems to satisfy the girl enough for her to look away and stare into the void some more.

*   *   *

By four o'clock that morning, another sleepless soul in another part of the house is asking imponderable questions of his own. Lying in a tangle of blankets, his skinny form clad only in T-shirt and briefs, his fever breaking in a film of sweat, Brian Blake stares at the stucco plaster of a dead teenage girl's ceiling and wonders if this is how the world ends. Was it Rudyard Kipling who said it ends “not with a bang but a whimper.” No, wait a minute … it was
Eliot
. T. S. Eliot. Brian remembers studying the poem—was it ‘The Hollow Men'?—in his twentieth century comparative literature class at the U of G. A lot of good
that
degree had done him.

He lies there and broods about his failures—as he does every night—but tonight the ruminations are intercut with carnage, like frames of a snuff film inserted into his stream of consciousness.

The old demons stir, mingling with the fresh fears, wearing a groove into his thoughts: Was there something he could have done or said to keep his ex-wife, Jocelyn, from drifting away, from lawyering up like she did, from saying all those hurtful things before she went back to Montego Bay? And can you kill the monsters with a simple blow to the skull or do you have to destroy the brain tissue? Was there something Brian could have done or begged for or borrowed to keep his music shop open in Athens—the only one of its kind in the South, his brilliant fucking idea of a store that catered to hip-hop artists with refurbished turntables and used bass cabinets and gaudy microphones festooned with Snoop Dogg bling? How fast are the unlucky victims out there multiplying? Is it like an airborne plague, or is it passed in the water like Ebola?

The circular ruminations of his mind keep going back to more immediate matters: the nagging feeling that the seventh member of the family that once lived here is still somewhere in the house.

Now that Brian has closed the deal among his compatriots that they should indeed stay here indefinitely, he can't stop worrying about it. He hears every creak, every faint ticking of the foundation settling, every hushed whirr of the furnace coming on. For some reason that he cannot explain, he is absolutely certain that the blond-haired kid is still here, in the house, waiting, biding his time for … what? Maybe the kid is the only one in the family who didn't turn. Maybe he's terrified and hiding.

Before turning in that night, Brian had insisted they check the nooks and crannies of the house one last time. Philip had accompanied him with a pickaxe and a flashlight, and they had checked every corner of the basement, every cabinet, every closet and storage locker. They looked inside the meat freezer in the cellar, and even checked the washer and dryer for unlikely stowaways. Nick and Bobby looked up in the attic, behind trunks, in boxes, in wardrobes. Philip looked under all the beds and behind all the dressers. Coming up empty, they still made some interesting discoveries along the way.

They found a dog's food bowl in the basement, but no sign of the animal. They also found an array of very useful power tools in the workshop: jigsaws, drills, routers, and even a nail gun. The nail gun would be especially handy for building barricades since it is somewhat quieter than a pounding hammer.

In fact, Brian is thinking about other uses for that nail gun when, all at once, he hears a noise that instantly frosts his scantily clothed body in goose bumps.

The sound is coming from above him, on the other side of the ceiling.

It's coming from the attic.

 

THREE

Upon hearing the noise—almost subconsciously identifying it as something other than the house settling, or the wind in the dormers, or the furnace rattling—Brian sits up on the edge of the bed.

He cocks his head and listens more carefully. It sounds like somebody scratching at something, or the faint sound of fabric tearing in fits and jerks. At first, Brian feels compelled to go get his brother. Philip would be the best one to deal with this. It could be the kid, for God's sake … or something worse.