The Walking Dead: The Fall of the Governor (The Walking Dead Series) (3 page)

“STICK AROUND, FOLKS, FOR AN AFTER-SHOW MESSAGE FROM THE GOVERNOR!!”

On cue the speakers crackle and thump with the downbeat of a heavy metal tune, a buzz-saw electric guitar filling the air, as a battalion of stagehands floods the infield. Most are young men in hoodies and leather jackets, carrying long iron pikes with hooked ends.

They circle around the walkers. Chains are detached, collars hooked, voices raised, orders given by foremen, and one by one—in a thunderhead of dust—the workers begin leading the monsters across the infield toward the closest portal. Some of the creatures bite at the air as they are ushered back down into the shadows beneath the arena, others snarling and flinging gouts of black drool like reluctant actors being dragged offstage.

Alice watches this from the stands with silent distaste. The other spectators are on their feet now, clapping along with the headbanger tune, hollering at the horde of undead being led away. Alice reaches down to the floor beneath her and finds her black medical bag under the bench. She grabs it, quickly struggles out of her section, and then hurries down the steps toward the infield.

By the time Alice makes it to track level, the two gladiators—Gabe and Bruce—are walking away, heading toward the south exit. She hurries after them. Out of the corner of her eye, she senses a ghostly figure emerging from the shadows of the north portal behind her, making a dramatic entrance that would rival King Lear treading the boards at Stratford-Upon-Avon.

He comes across the infield in his leathers and studs, his stovepipe boots raising dust, his long coat flapping in the breeze behind him. He looks like a grizzled bounty hunter from the nineteenth century, his pistol banging on his hip as he lopes along. The crowd surges with excitement as they see him, a wave of applause and cheers. One of the workmen, an older man in a Harley T-shirt and ZZ Top beard, scuttles toward him with a hard-wired microphone.

Alice turns and catches up with the two exhausted warriors. “Bruce, hold up!”

Walking with a pronounced limp, the big black man reaches the edge of the south archway, pauses, and turns. His left eye is completely swollen shut, his teeth stained in blood. “Whaddaya want?”

“Let me see that eye,” she says, coming up to him, kneeling down, and opening the medical bag.

“I’m fine.”

Gabe joins them with a smirk on his face. “What’s wrong, Brucie got a boo-boo?”

Alice takes a closer look, dabbing the bridge of his nose with gauze. “Jesus, Bruce … why don’t you let me take you down to see Dr. Stevens.”

“It’s just a busted nose,” Bruce says, pushing her away. “I said I’m fine!”

He kicks the medical bag over, the instruments and supplies spilling across the dirt. Alice lets out an exasperated groan and bends down to pick up the pieces, when the music cuts off and the sound of a low, velvety, amplified voice rings out over the winds and noise of the crowd.

“LADIES AND GENTLEMEN … FRIENDS AND FELLOW RESIDENTS OF WOODBURY … I WANT TO THANK ALL OF YOU FOR ATTENDING THE SHOW TODAY. IT WAS A BARN BURNER!”

Alice glances over her shoulder and sees the Governor standing center field.

The man knows how to work a room. Sizing up the crowd with fire in his gaze, grasping the hand mike with the puffed-up sincerity of a megachurch minister, he has a weird, charismatic aura about him. Not a huge man, not especially handsome—in fact, upon close scrutiny one might even call him a bit scruffy and malnourished—Philip Blake still gives off an air of preternatural confidence. He has dark eyes that reflect the light like geodes, and his gaunt face is festooned with the handlebar whiskers of a third-world bandit.

He turns and nods toward the south exit, stiffening Alice’s spine as she feels his cold gaze on her. The amplified voice crackles and echoes:
“AND I WANT TO SEND A SPECIAL SHOUT OUT TO OUR FEARLESS GLADIATORS, BRUCE AND GABE! SHOW ’EM SOME LOVE, Y’ALL—GIVE ’EM A HAND!”

The cheers and whooping and hollering climb several registers, ringing off the metal stanchions and far awnings like a hungry pack of barking dogs. The Governor lets it play out, a conductor patiently prodding a symphony. Alice closes her medical bag and stands.

Bruce waves heroically to the crowd, and then follows Gabe into the shadows of the cloister, vanishing down the exit ramp with the formality of a religious ritual.

Across the infield, Philip Blake lowers his head, waiting for the wave of cheers to wash back out to sea.

In the gathering silence, he lowers his voice slightly, speaking softly, his velvety voice carrying over the wind:
“NOW … GETTING SERIOUS FOR A MINUTE … I KNOW OUR SUPPLIES HAVE BEEN GETTING A LITTLE LOW. MANY OF YOU HAVE BEEN SCRIMPIN’ AND RATIONING. MAKING SACRIFICES.”

He looks up at his flock, making eye contact as he continues.

“I FEEL THE CONCERN GROWING. BUT I WANT Y’ALL TO KNOW … RELIEF IS ON ITS WAY. GONNA BE MAKING A SERIES OF RUNS … FIRST ONE TOMORROW … AND THESE RUNS ARE GONNA YIELD ENOUGH PROVISIONS TO KEEP US GOING. AND THAT IS THE
KEY,
LADIES AND GENTLEMEN. THAT IS THE MOST IMPORTANT THING. WE WILL KEEP ON KEEPIN’ ON! WE WILL NEVER GIVE UP! EVER!”

A few spectators applaud, but the majority of them remain silent, skeptical, ambivalent in their hard, cold seats. They have lived off the sour, metallic well water and rotting fruit of the untended orchards for weeks. They have given their children the last of the canned meats and the moldy remains of smoked game birds.

From the center of the infield, the Governor holds them in his gaze.

“LADIES AND GENTLEMEN, A NEW COMMUNITY IS BEING BUILT HERE IN WOODBURY … AND IT IS MY SACRED MISSION TO PROTECT THIS COMMUNITY. AND I WILL DO WHAT HAS TO BE DONE. I WILL SACRIFICE WHAT HAS TO BE SACRIFICED. THAT’S WHAT COMMUNITY IS ALL ABOUT! WHEN YOU SACRIFICE YOUR OWN NEEDS FOR THE NEEDS OF THE COMMUNITY, YOU WALK WITH YOUR HEAD HELD HIGH!”

This gooses the applause meter a tad, some of the spectators finding Jesus and letting out yelps. The Governor pours on the sermonizing.

“YOU FOLKS HAVE HAD TO SUFFER IMMENSELY DUE TO THE PLAGUE. YOU HAVE BEEN ROBBED OF EVERYTHING YOU HAVE WORKED SO HARD FOR YOUR ENTIRE LIVES. MANY OF YOU HAVE LOST LOVED ONES. BUT HERE … IN WOODBURY … YOU HAVE SOMETHING THAT CANNOT BE TAKEN AWAY FROM YOU BY MAN NOR BEAST: YOU HAVE EACH OTHER!”

Now some of the residents spring to their feet and put their hands together, while others pump their fists. The noise builds.

“LET ME BOTTOM-LINE IT FOR Y’ALL: THE MOST PRECIOUS POSSESSION WE HAVE IN THE WORLD IS OUR OWN PEOPLE. AND FOR THE SAKE OF OUR PEOPLE … WE WILL
NEVER
GIVE UP …
NEVER
FALTER …
NEVER
LOSE OUR NERVE … AND
NEVER
LOSE FAITH!”

More spectators stand. The cheering and applause rises up into the sky.

“YOU HAVE A COMMUNITY! AND IF YOU HOLD ON TO THIS, THEN THERE IS NO FORCE IN THE WORLD THAT CAN TAKE IT FROM YOU! WE WILL SURVIVE. I PROMISE YOU. WOODBURY WILL SURVIVE! GOD BLESS Y’ALL … AND GOD BLESS WOODBURY!”

Across the arena, Alice carries her medical bag out the south entrance without even looking back.

She’s seen this movie before.

*   *   *

After the post-game show, Philip Blake makes a stop in the men’s room at the end of the arena’s litter-strewn portico. The narrow enclosure reeks of dried urine, black mold, and rat turds.

Philip relieves himself, splashes water on his face, and then gazes for a moment at his cubist reflection in the cracked mirror. Way in the back of his mind, in some far-flung corner of his memories, the sound of a little girl crying echoes faintly.

He finishes up, and then bangs out the door, his metal-tipped boots and long belt-chain jangling. Down one long cinder-block corridor, down a flight of stone steps, down another hallway, and finally down one last flight of stairs, and he finds the “pens”—a row of rolling garage doors riddled with dents and ancient graffiti.

Gabe stands in front of the last door on the left, reaching into a metal oil drum and tossing something wet through a broken-out window. The Governor approaches without a word, pausing in front of one of the windows. “Nice work out there today, sport.”

“Thanks, boss.” Gabe reaches down into the drum and pulls out another morsel, a human foot severed raggedly at the ankle, glistening with gore. He casually tosses it through the jagged aperture.

Philip gazes through the dirty glass at the blood-speckled tile enclosure. He sees the swarming mass of undead—a small orgy of pale-blue faces and blackened mouths, the two dozen surviving walkers from the day’s event gobbling at body parts on the tile floor like a drove of wild pigs fighting over truffles—and he stares and stares, enthralled for a moment, fascinated by the spectacle.

At length, Philip tears his gaze away from the abomination and nods at the bin full of fresh remains. “Who is it this time?”

Gabe looks up, his tattered black turtleneck torn over one pectoral, bulging at the belly with body armor, his underarms stained with the telltale sweat-spots of exertion. He wears rubber surgical gloves that drip with fresh blood. “Whaddaya mean?”

“The chum you’re tossing in, who is it?”

Gabe nods. “Oh … this is that old codger, used to live by the post office.”

“Natural causes, I hope?”

“Yeah.” Gabe nods, and tosses another piece through the opening. “Asthma attack last night, poor dude. Somebody said he had emphysema.”

The Governor lets out a sigh. “He’s gone to Glory now. Gimme an arm. From the elbow down. And maybe one of the smaller organs … a kidney, the heart.”

Gabe pauses, the ghastly wet noises of the feeding frenzy echoing down the corridor. Gabe gives the Governor an odd look, a mixture of sympathy, affection, and maybe even duty, like a Boy Scout about to help his troop leader. “Tell you what,” Gabe says, his husky voice softening. “Why don’t you go home, and I’ll bring ’em to ya.”

The Governor looks at him. “Why?”

Gabe shrugs. “People see me carrying something, they don’t even give it a second thought. You carry something, they’ll want to help … maybe ask you what it is, wonder what you’re doing.”

Philip stares at the man for a moment. “You got a point there.”

“Won’t go over well.”

Philip gives a satisfied nod. “All right then. We’ll do it your way. I’ll be at my place the rest of the night, bring it around back.”

“Copy that.”

The Governor turns to leave, and then pauses for a moment. He turns back to Gabe and smiles. “Gabe … thanks. You’re a good man. Best I got.”

The thick-necked man grins. A merit badge for the top Scout. “Thanks, boss.”

Philip Blake turns and heads for the stairs with a very subtle change in his gait, a vague yet pronounced bounce to his step.

*   *   *

The closest thing Woodbury has to an executive mansion is the three-bedroom apartment spanning the top floor of a large condo building at the end of Main Street. Heavily fortified, the front door guarded at all times by a rotating crew of machine gunners manning the turret across the street, the building is clean yellow brick, nicely tuck-pointed, free of graffiti or grime.

Philip Blake enters the foyer that evening, whistling happily, passing the large bank of metal mailboxes that haven’t seen postal service in over twenty-eight months. He climbs the stairs two at a time, feeling good and righteous and full of affection for his small-town brethren, his extended family, his place in this new world. At his door at the end of the second-floor hallway he pauses, fishes for his keys, and lets himself in.

The place would never make the pages of
Architectural Digest
. The carpeted rooms are mostly unfurnished, a few armchairs here and there surrounded by boxes. But the place is clean and well organized, a macrocosm of Philip Blake’s compartmentalized, ordered mind.

“Daddy’s home,” he announces cheerfully as he enters the living room. “Sorry I’m so late, sweetie pie … busy day.” He unbuckles his gun, sheds his waistcoat, and sets his keys and his pistol on the sideboard by the door.

Across the room, a little girl in a faded pinafore dress has her back turned to him. She softly bumps against the large picture window, a goldfish compulsively trying to escape its bowl.

“How’s my little princess doing?” he says as he approaches the child. Momentarily lost in the domestic bliss of a normal life, Philip kneels down behind her and reaches out as though expecting a hug. “C’mon, babydoll … it’s your daddy. Don’t be afraid.”

The little thing that was once a girl suddenly whirls around to face him, straining against the chain hooked to her iron collar. She lets out a guttural growl, gnashing her rotten teeth at him. Her face—once that of a lovely blue-eyed cherub—now bears the pallid fish-belly color of the dead. Her eyes are empty, milky-white marbles.

All the joy drains out of Philip Blake as he sinks to the floor, sitting cross-legged on the carpet in front of her, just out of her reach.
She doesn’t recognize me.
His mind races, his thoughts returning to their dark, brooding default setting:
Why the fuck doesn’t she recognize me?

Philip Blake believes that the undead can learn, can still access dormant parts of their memories and past. He has no scientific proof of this theory, but he has to believe it, he
has
to.

“It’s okay, Penny, it’s just your daddy.” He offers her his hand as though she might hold it. “Give me your hand, honey. Remember? Remember when we used to hold hands and take long walks up to Lake Rice?”

She fumbles at his hand, tries to pull it to her mouth, her tiny piranha-like teeth clamping down.

He jerks his arm back. “Penny, no!” He tries again, attempts to gently take her hand. But she tries to take another bite out of it. “Penny, stop it!” He struggles to control his anger. “Don’t do this. It’s me … it’s your daddy … don’t you recognize me?”

She grabs at his hand, her blackened, decomposed mouth chewing at the air, noxious, fetid breath puffing out on a watery snarl.

Philip pulls away. He stands. He runs his hands through his hair, his stomach clenching with anguish. “Try to remember, sweetie.” He pleads with her with a catch in his throat, his voice wavering as though verging on a sob. “You can do it. I know you can. Try to remember who I am.”