The Walking Dead: The Road to Woodbury (2 page)

“Dude … this ain’t gonna hold the weight of it,” complains one of the teens, a slacker kid in an army fatigue coat named Scott Moon. His long blond hair hangs in his face and his breath shows as he huffs and struggles with the other tattooed, pierced goth kids from his high school.

“Stop your pissin’ and moanin’—it’ll hold the thing,” the man in the cap retorts with a grunt. Chad Bingham is his name—one of the family men of the settlement—the father of four girls: a seven-year-old, nine-year-old-twins, and a teenager. Unhappily married to a meek little gal from Valdosta, Chad fancies himself a strict disciplinarian, just like his daddy. But his daddy had boys and never had to deal with the nonsense perpetrated by females. For that matter, Chad’s daddy never had to deal with rotting pus pockets of dead flesh coming after the living. So now Chad Bingham is taking charge, taking on the role of alpha male … because, just as his daddy used to say,
Somebody’s gotta do it.
He glares at the kids. “Hold it steady!”

“That’s as high as it’s gonna go,” one of the goth boys groans through clenched teeth.

“
You’re
high,” Scott Moon quips through a stifled little giggle.

“Keep it steady!” Chad orders.

“What?”

“I said, hold the dad-blamed thing
STEADY
!” Chad snaps a metal cotter pin through a slot in the timber. The outer walls of the massive canvas pavilion shudder in the autumn wind, making a rumbling noise, as other teens scurry toward the far corners with smaller support beams.

As the big top takes shape, and the panorama of the clearing becomes visible to Chad through the tent’s wide opening at one end, he gazes out across the flattened brown weeds of the pasture, past the cars with their hoods up, past the clusters of mothers and children on the ground counting their meager caches of berries and vending-machine detritus, past the half-dozen or so pickups brimming with worldly possessions.

For a moment, Chad locks gazes with the big colored dude thirty yards away, near the north corner of the property, standing guard over Lilly Caul like a gigantic bouncer at some outdoor social club. Chad knows Lilly by name, but that’s about it. He doesn’t know much else about the girl—other than the fact that she’s “some chick friend of Megan’s”—and he knows less about the big man. Chad has been in proximity with the giant for weeks and can’t even remember his name. Jim? John? Jack? As a matter of fact, Chad doesn’t know anything about
any
of these people, other than the fact that they’re all pretty goddamn desperate and scared and crying out for discipline.

But for a while now, Chad and the big black dude have been sharing loaded glances. Sizing each other up. Taking the measure of each other. Not a single word has been exchanged but Chad feels challenges being issued. The big man could probably take Chad in a hand-to-hand situation but Chad would never let it come to that. Size doesn’t matter to a .38 caliber bullet, which is conveniently chambered in the steel-plated Smith & Wesson Model 52 tucked down the back of Chad’s wide Sam Browne belt.

Right now, though, an unexpected current of recognition arcs across the fifty yards between the two men like a lightning bolt. Lilly continues to kneel in front of the black man, angrily beating the crap out of tent stakes, but something dark and troubling glints in the black dude’s gaze suddenly as he stares at Chad. The realization comes quickly, in stages, like an electrical circuit firing.

Later, the two men will conclude, independently, that they—along with everybody else—missed two very important phenomena occurring at this moment. First, the noise of the tent construction in the clearing has been drawing walkers for the last hour. Second, and perhaps more importantly, the property is hampered by a single critical shortcoming.

In the aftermath, the two men will realize, privately, with much chagrin, that due to the natural barrier provided by the adjacent forest, which reaches up to the crest of a neighboring hill, any natural sound behind the trees is dampened, muffled, nearly deadened by the topography.

In fact, a college marching band could come over the top of that plateau, and a settler would not hear it until the cymbals crashed right in front of his face.

*   *   *

Lilly Caul remains blissfully unaware of the attack for several minutes—despite the fact that things begin unfolding at a rapid rate all around her—the noise of the clanging hammers and voices are replaced by the scattered screams of children. Lilly continues angrily driving stakes into the ground—mistaking the yelps of the younger ones for play—right up until the moment Josh grabs the nape of her sweatshirt.

“What—” Lilly jerks with a start, twisting around toward the big man with eyes blinking.

“Lilly, we gotta—”

Josh barely gets the first part of a sentence out when a dark figure stumbles out of the trees fifteen feet away. Josh has no time to run, no time to save Lilly, no time to do anything other than snatch the hammer out of the girl’s hand and shove her out of harm’s way.

Lilly tumbles and rolls almost instinctively before getting her bearings and rising back to her feet, a scream stuck in the back of her throat.

The trouble is, the first corpse that comes staggering into the clearing—a tall, pasty-colored walker in a filthy hospital smock with half his shoulder missing, the cords of his tendons pulsing like worms—is followed by two other creatures. One female and one male, each one with a gaping divot for a mouth, their bloodless lips oozing black bile, their shoe-button eyes fixed and glazed.

The three of them trundle with their trademark spasmodic gait, jaws snapping, lips peeling away from blackened teeth like piranhas.

In the twenty seconds it takes the three walkers to surround Josh, the tent city undergoes a rapid and dramatic shift. The men go for their homemade weapons, those with iron reaching down to their improvised holsters. Some of the more brazen women scramble for two-by-fours and hay hooks and pitchforks and rusty axes. Caretakers sweep their small children into cars and truck cabs. Clenched fists slam down on door locks. Rear loading gates clang upward.

Oddly, the few screams that ring out—from the children, mostly, and a couple of elderly women who may or may not be in early-stage senility—dwindle quickly, replaced by the eerie calm of a drill team or a provisional militia. Within the space of that twenty seconds, the noise of surprise quickly transitions into the business of defense, of repulsion and rage channeled into controlled violence. These people have done this before. There’s a learning curve at work here. Some of the armed men spread outward toward the edges of the camp, calmly snapping hammers, pumping shells into shotgun breeches, raising the muzzles of stolen gun-show pistols or rusty family revolvers. The first shot that rings out is the dry pop of a .22 caliber Ruger—not the most powerful weapon by any means, but accurate and easy to shoot—the blast taking off the top of a dead woman’s skull thirty yards away.

The female barely gets out of the trees before folding to the ground in a baptism of oily cranial fluid, which pours down over her in thick rivulets. This takedown occurs seventeen seconds into the attack. By the twentieth second, things begin happening at a faster clip.

On the north corner of the lot Lilly Caul finds herself moving, rising up on the balls of her feet, moving with the slow, coiled stiffness of a sleepwalker. Instinct takes over, and she finds herself almost
involuntarily
backing away from Josh, who is quickly surrounded by three corpses. He has one hammer. No gun. And three rotting mouths full of black teeth closing in.

He pivots toward the closest zombie while the rest of the camp scatters. Josh drives the sharp end of the hammer through Hospital Smock’s temple. The cracking noise brings to mind the rending of an ice-cube tray. Brain matter fountains, the puff of pressurized decay released in an audible gasp, as the former inpatient collapses.

The hammer gets stuck, wrenched out of Josh’s big hand as the walker folds.

At the same time, other survivors fan out across all corners of the clearing. On the far edge of the trees Chad gets his steel-plated Smith up and roaring, hitting the eye socket of a spindly old man missing half his jaw, the dead geriatric spinning in a mist of rancid fluids, pinwheeling into the weeds. Behind a line of cars a tent pole skewers a growling female through the mouth, pinning her to the trunk of a live oak. On the east edge of the pasture an axe shears open a rotting skull with the ease of a pomegranate being halved. Twenty yards away the blast of a shotgun vaporizes the foliage as well as the top half of a decaying former businessman.

Across the lot, Lilly Caul—still backing away from the ambush engulfing Josh—jerks and quakes at the killing racket. The fear prickles over her flesh like needles, taking her breath away and seizing up her brain. She sees the big black man on his knees now, clawing for the hammer, while the other two walkers scuttle spiderlike across the fallen tent canvas toward his legs. A second hammer lies in the grass just out of his reach.

Lilly turns and runs.

It takes her less than a minute to cover the ground between the row of outer tents and the center of the pasture, where two dozen weaker souls are huddled among the crates and provisions stashed under the partially erected circus tent. Several vehicles have fired up, and are now pulling next to the huddling throng in clouds of carbon monoxide. Armed men on the back of a flatbed guard the women and children as Lilly ducks down behind a battered steamer trunk, her lungs heaving for air, her skin crawling with terror.

She stays like that for the duration of the attack, her hands over her ears. She doesn’t see Josh near the tree line, getting his hand around the hammer embedded in the fallen cadaver, wrenching it free at the last possible instant and swinging it toward the closest attacker. She doesn’t see the blunt end of the hammer striking the male zombie’s mandible, staving in half the rotting skull with the tremendous force of Josh’s blow. And Lilly misses the last part of the struggle; she misses the female nearly getting her black incisors around Josh’s ankle before a shovel comes down on the back of her head. Several men have reached Josh in time to dispatch the final zombie, and Josh rolls away, unharmed and yet trembling with the adrenaline and tremors of a near miss.

The entire attack—now vanquished and fading away in a soft drone of whimpering children, dripping fluids, and the escaping gases of decomposition—has encompassed less than one hundred and eighty seconds.

Later, dragging the remains off into a dry creek bed to the south, Chad and his fellow alpha dogs count twenty-four walkers in all—a totally manageable threat level … for the time being, at least.

*   *   *

“Jesus, Lilly, why don’t you just suck it up and go apologize to the man?” The young woman named Megan sits on a blanket outside the circus tent, staring at the untouched breakfast in front of Lilly.

The sun has just come up, pale and cold in the clear sky—another day in the tent city—and Lilly sits in front of a battered Coleman stove, sipping instant coffee from a paper cup. The congealed remnants of freeze-dried eggs sit in the camp skillet, as Lilly tries to shake the guilt-ridden ruminations of a sleepless night. In this world there is no rest for the weary
or
the cowardly.

All around the great and tattered circus tent—now fully assembled—the bustle of other survivors drones on, almost as if the previous day’s attack never happened. People carry folding chairs and camp tables into the great tent through the wide opening at one end (probably once the entrance for elephants and clown cars), as the tent’s outer walls palpitate with the shifting breezes and changes in air pressure. In other parts of the encampment more shelters are going up. Fathers are gathering and taking inventory of firewood, bottled water, ammunition, weapons, and canned goods. Mothers are tending to children, blankets, coats, and medicine.

Upon closer scrutiny a keen observer would see a thinly veiled layer of anxiety in every activity. But what is uncertain is which danger poses the greatest threat: the undead or the encroaching winter.

“I haven’t figured out what to say yet,” Lilly mutters finally, sipping her lukewarm coffee. Her hands haven’t stopped shaking. Eighteen hours have passed since the attack, but Lilly still stews with shame, avoiding contact with Josh, keeping to herself, convinced that he hates her for running and leaving him to die. Josh has tried to talk to her a few times but she couldn’t handle it, telling him she was sick.

“What is there to say?” Megan fishes in her denim jacket for her little one-hit pipe. She tamps a tiny bud of weed into the end and sparks it with a Bic, taking a healthy toke. An olive-skinned young woman in her late twenties with loose henna-colored curls falling around her narrow, cunning face, she blows the green smoke out with a cough. “I mean look at this dude, he’s huge.”

“What the hell does that mean?”

Megan grins. “Dude looks like he can take care of himself, is all I’m saying.”

“That has nothing to do with it.”

“Are you sleeping with him?”

“What?” Lilly looks at her friend. “Are you serious?”

“It’s a simple question.”

Lilly shakes her head, lets out a sigh. “I’m not even going to dignify that with—”

“You’re not … are you? Good-Little-Doobie-Lilly. Good to the last drop.”

“Would you stop?”

“Why, though?” Megan’s grin turns to a smirk. “Why have you not climbed on top of that? What are you waiting for? That body … those guns he’s got—”

“Stop it!” Lilly’s anger flares, a sharp splitting pain behind the bridge of her nose. Her emotions close to the surface, her trembling returning, she surprises even her
self
with the volume of her voice. “I’m not like you … okay. I’m not a social butterfly. Jesus, Meg. I’ve lost track. Which one of these guys are you with now?”

Megan stares at her for a second, coughs, then loads up another one-hit. “You know what?” Megan offers the pipe. “Why don’t you take it down a little bit? Chill?”

“No, thanks.”