The spectacle of the attack temporarily distracts Lilly from the noise behind the girls.
A bloody arm lurches under the tent flap only inches away from Sarah’s legs.
Sarah shrieks as a dead hand clamps down on her ankle, its blackened fingernails digging in like talons. The arm is gouged and tattered, clad in the ripped sleeve of a burial suit, and the girl convulses in shock. Moving on instinct, the teenager crawls away—the force of her movement yanking the rest of the zombie inside the tent.
A dissonant chorus of squeals and shrieks rings out from the sisters as Lilly springs to her feet with the shovel clutched tightly in sweaty palms. Instinct kicks in, Lilly spinning and cocking the shovel high. The dead man bites at the air with snapping-turtle fury, as the teenager writhes and crawls across the cold ground, crying out garbled yelps of terror, dragging the zombie with her.
Before the rotting teeth get a chance to penetrate, Lilly brings the shovel down hard on the zombie’s skull, the impact making a flat clanging noise like the chime of a broken gong. The crack of the cranium vibrates up Lilly’s wrists and makes her cringe.
Sarah breaks free of the cold fingers and struggles to her feet.
Lilly brings the shovel down again … and again … as the iron scoop rings its flat church-bell clang and the dead thing deflates in a rhythmic black gush of arterial blood and rotting gray matter. By the fourth blow, the skull caves in, making a wet cracking noise, the black spume bubbling across the matted grass.
By this point, Sarah has joined her sisters, each girl clinging to the other, each bug-eyed and whimpering with horror as they back toward the exit, the great canvas flap billowing noisily in the wind behind them.
Lilly turns away from the mangled corpse in the tattered pin-striped suit and starts toward the opening twenty-five feet away, when all at once she freezes in place, grabbing Sarah’s sleeve. “Wait, Sarah, wait—WAIT!”
At the other end of the circus tent, the giant tarpaulin flap furls upward in the wind, revealing at least half a dozen walkers crowding in on the exit. They shuffle spastically into the tent—all adults, both male and female, clad in torn, blood-spattered street clothes, bunched together in an awkward grouping—their wormy cataract-filmed eyes fixing on the girls.
“This way!” Lilly yanks Sarah toward the opposite end of the circus tent—maybe a hundred and fifty feet away—and Sarah scoops the tike up into her arms. The twins scurry after them, slipping on the wet, matted grass. Lilly points at the bottom of the canvas wall—now a hundred feet away—and whispers breathlessly, “Gonna sneak under the tent.”
They get halfway to the opposite wall when another walker appears in their path.
Apparently this slimy, mutilated corpse in faded denim dungarees—with half its face torn away on one side in a ragged starburst of red pulp and teeth—got in under the tarp and now comes straight for Sarah. Lilly steps between the zombie and the girl and swings the shovel as hard as she can, making contact with the mangled cranium and sending the thing staggering sideways.
The zombie slams into the center pillar, and the raw inertia and deadweight knocks the timber out of its mooring. Guidelines snap. There’s a cracking noise like a ship breaking through ice and three of the four Bingham girls let out ululating shrieks as the massive big top collapses into itself, snapping the smaller rigging posts like matchsticks and pulling stakes out of the ground around it. The conical ceiling sinks like a vast soufflé.
The tent falls on the girls and the world goes dark and airless and full of slithering movement.
Lilly flails at the heavy fabric and struggles to get her bearings, still grasping the shovel, the tarpaulin pressing down on her with the sudden weight of an avalanche. She hears the muffled squealing of the children and she sees daylight fifty feet away. She crabs under the tent toward the light with the shovel in one hand.
At last she brushes a foot against Sarah’s shoulder. Lilly cries out: “Sarah! Take my hand! Grab the girls with the other and PULL!”
* * *
At this point, for Lilly, the passage of time—as it often does in catastrophes-in-progress—begins to retard, as several things transpire almost simultaneously. Lilly reaches the end of the tent and bursts out from under the deflated canvas, and the wind and cold wake her up, and she yanks Sarah out with all her might, and two of the other girls get dragged out behind Sarah—their voices shrieking like teakettles on the boil.
Lilly springs to her feet and helps Sarah up with the other two little girls.
One girl—Lydia, the youngest of the twins by a “good half an hour,” as Sarah claims—is missing. Lilly pushes the other girls away from the tent and tells them to stay back but stay close. Then Lilly whirls toward the tent and sees something that stops her heart.
Shapes are moving under the fallen circus tent. Lilly drops the shovel. She stares. Her legs and spine seize up into blocks of ice. She can’t breathe. She can only stare at the small lump of fabric undulating madly twenty feet away—little Lydia struggling to escape—the sound of the child’s scream dampened by the tarp.
The worst part—the part that encases Lilly Caul in ice—is the sight of the other lumps tunneling steadily, molelike, toward the little girl.
At that moment, the fear pops a fuse in Lilly’s brain, the cleansing fire of rage traveling through her tendons and down her marrow.
She lurches into action, the burst of adrenaline driving her to the edge of the fallen tent, the rocket fuel of anger in her muscles. She yanks the canvas up and over her head, crouching down and reaching for the girl. “LYDIA, SWEETIE, I’M RIGHT HERE!! COME TO ME, SWEETIE!!”
Lilly sees in the pale diffuse darkness under the tarpaulin the little flaxen-haired girl, fifteen feet away, frog-kicking and scrambling to escape the clutches of the canvas. Lilly hollers again and dives under the tarp and reaches out and gets a piece of the little girl’s jumper. Lilly pulls with all her might.
That’s when Lilly sees the ragged arm and bloodless blue face appearing in the dark only inches behind the child, making a drunken grab for the little girl’s Hello Kitty sneaker. The rotting, jagged fingernails claw the sole of the child’s tennis shoe just as Lilly manages to yank the nine-year-old out from under the folds of reeking fabric.
Both Lilly and child tumble backward into the cold light of day.
They roll a few feet, and then Lilly manages to pull the little girl into a bear hug. “It’s okay, baby, it’s okay, I got you, you’re safe.”
The child sobs and gasps for breath but there’s no time to comfort her. The din of voices and rustling canvas rises around them as the camp is attacked.
Lilly, still on her knees, waves the other girls over to her. “Okay, girls, listen to me, listen, we have to be quick now, quick, stay close, and do exactly as I say.” Lilly huffs and puffs as she stands. She grabs the shovel, turns, and sees the chaos spreading across the tent city.
More walkers have descended upon the camp. Some of them move in clusters of three and four and five, growling and drooling with rabid, feral hunger.
Amid the screams and pandemonium—settlers fleeing in all directions, car engines firing up, axes swinging, clotheslines collapsing—some of the tents shudder with violent struggles going on inside, the assailants burrowing through gaps, ferreting out the paralyzed inhabitants. One of the smaller tents falls onto its side, legs scissoring out one end. Another enclosure quakes in a feeding frenzy, the translucent nylon walls displaying silhouettes of blood mist like ink blots.
Lilly sees a clear path leading to a row of parked cars fifty yards away and turns to the girls. “I need you all to follow me … okay? Stay very close and don’t make a sound. All right?”
After a series of frantic, silent nods, Lilly yanks the girls across the lot … and into the fray.
* * *
The survivors of this inexplicable plague have quickly learned that the biggest advantage a human enjoys over a reanimated corpse is speed. Under the right circumstances, a human
can easily outrun even the stoutest walking cadaver. But this physical superiority is overwhelmed in the face of a swarm. The danger increases exponentially with each additional zombie … until the victim is engulfed in a slow-moving tsunami of ragged teeth and blackened claws.
Lilly learns this harsh reality on her way to the closest parked car.
The battered, gore-streaked silver Chrysler 300 with the luggage cap on the roof sits on the gravel shoulder of the access road less than fifty yards from the circus tent, parked at an angle in the shade of a locust tree. The windows are up, but Lilly still has reason to believe they can at least gain access, if not start the car. The odds are about even that the keys are in the ignition. People have been leaving keys in cars for a while now for quick escapes.
Unfortunately, the property now teems with the dead, and Lilly and the girls barely traverse ten yards of weed-whiskered turf before several attackers move in on each flank. “Stay behind me!” Lilly cries out to her charges, and then swings the shovel.
The rusty iron bangs into the mottled cheek of a female in a blood-spattered housecoat, sending the walker careening into a pair of nearby males in greasy dungarees, who tumble like bowling pins to the ground. But the female stays upright, staggering at the blow, flailing for a moment, then coming back for more.
Lilly and the girls get another fifteen yards closer to the Chrysler when another battery of zombies blocks their path. The shovel zings through the air, smashing through the bridge of a younger walker’s nose. Another blow hits the mandible of a dead woman in a filthy mink coat. Yet another blow cracks the skull of an old hunched crone with intestines showing through her hospital smock, but the old dead lady merely staggers and backpedals.
At last, the girls reach the Chrysler. Lilly tries the passenger door and finds it—blessedly—unlocked. She gently but quickly shoves Ruthie into the front seat as the pack of walkers closes in on the sedan. Lilly sees the keys dangling off the slot in the steering column—another stroke of luck. “Stay in the car, honey,” Lilly says to the seven-year-old, and then slams the door.
By this point, Sarah reaches the right rear passenger door with the twins.
“SARAH, LOOK OUT!”
Lilly’s keening scream rises above the primordial din of growling that fills the air, as a dozen or so dead loom behind Sarah. The teenager yanks open the rear door, but has no time to get the twins inside the car. The two smaller girls trip and sprawl to the grass.
Sarah screams a primal wail. Lilly tries to get in between the teen and the attackers with the shovel, and Lilly manages to bash in another skull—the huge cranium of a putrified black man in a hunting jacket—sending the attacker staggering back into the weeds. But there are too many walkers now, lumbering in from all directions to feed.
In the ensuing chaos, the twins manage to crawl into the car and slam the door.
Her sanity snapping, her eyes filling with white-hot rage, Sarah turns and lets out a garbled cry as she shoves a slow-moving walker out of her way. She finds an opening, pushes her way through it, and flees.
Lilly sees the teenager racing toward the circus tent. “SARAH, DON’T!!”
Sarah gets halfway across the field before an impenetrable pack of zombies closes in on her, blocking her path, latching on to her back and overpowering her. She goes down hard, eating turf, as more of the dead swarm around her. The first bite penetrates her imitation-angora sweater at the midriff, taking a chunk of her torso, sparking an earsplitting shriek. Festering teeth sink into her jugular. The dark tide of blood washes across her.
Twenty-five yards away, near the car, Lilly fights off a growing mass of gnashing teeth and dead flesh. Maybe twenty walkers in all now—most of them exhibiting the grotesque buzzing adrenaline of a feeding frenzy as they surround the Chrysler—their blackened mouths working and smacking voraciously, while behind blood-smeared windows, the faces of three little girls look on in catatonic horror.
Lilly swings the shovel again and again—her efforts futile against the growing horde—as the cogs and gears of her brain seize up, mortified by the grisly sounds of Sarah’s demise on the ground across the property. The teenager’s shrieking deteriorates and sputters into a watery series of caterwauls. At least a half-dozen walkers are on her now, burrowing in, chewing and tearing at her gushing abdomen. Blood fountains from her shuddering form.
Over by the row of cars, Lilly’s midsection goes icy cold as she slams the shovel into another skull, her mind crackling and flickering with terror, ultimately fixing on a single course of action: Get them away from the Chrysler.
The silent dog-whistle urgency of that single imperative—get them away from the children—galvanizes Lilly and sends a jolt of energy down her spine. She turns and swings the shovel at the Chrysler’s front quarter panel.
The clang rings out. The children inside the car jerk with a start. The livid blue faces of the dead turn toward the noise.
“C’MON! C’MON!!” Lilly lunges away from the Chrysler, moving toward the nearest car lined up in the haphazard row of vehicles—a beat-up Ford Taurus with one window covered in cardboard—and she strikes the edge of the roof as hard as she can, making another harsh metallic clang that gets the attention of more of the dead.
Lilly darts toward the next car in line. She bangs the scoop against the front left quarter panel, issuing another dull clang.
“C’MON!! C’MON!! C’MON!!”
Lilly’s voice rises above the clamor like the bark of a sick animal, stretched thin with horror, hoarse with trauma, toneless, a touch of madness in it. She slams the shovel against car after car, not really knowing exactly what she’s doing, not really in control of her actions anymore. More zombies take notice, their lazy, awkward movements drawn to the noise.
It takes Lilly mere seconds to reach the end of the row of vehicles, slamming the shovel into the last vehicle—a rust-pocked Chevy S-10 pickup—but by that point, most of the assailants have latched on to her clarion call, and now slowly, stupidly, clumsily wander toward the sound of her traumatized shouts.
The only walkers that remain are the six that continue to devour Sarah Bingham on the ground in the clearing by the great, billowing circus tent.
* * *
“C’MON!! C’MON!! C’MON!! C’MON!! C’MON!! C’MON!! C’MON!! C’MONNNNN!!!!!” Lilly vaults across the gravel road and dashes up the hill toward the tree line.
Pulse racing, vision blurred, lungs heaving for air, she drops the shovel and digs her hiking boots into the mire as she ascends the soft forest floor. She plunges into the trees. Her shoulder bangs against the trunk of an ancient birch, the pain flaring in her skull, stars shooting across her line of vision. She moves instinctively now, a horde of zombies coming up the rise behind her.
Zigzagging through the deeper woods, she loses her sense of direction. Behind her, the pack of walkers has slowed and lost her scent.
Time loses all meaning. As though in a dream, Lilly feels motion slow down, her screams refusing to come out, her legs bogging down in the invisible quicksand of nightmares. The darkness closes in as the forest thickens and deepens.
Lilly thinks of Sarah, poor Sarah, in her sweet little pink angora sweater, now bathed in her own blood, and the tragedy drags Lilly down, yanking her off her feet and throwing her down to the soft floor of matted pine needles and decaying matter and endless cycles of death and regeneration. Lilly lets out a paroxysm of pain on a breathless sob, her tears rolling down her cheeks and moistening the humus.
Her weeping—heard by no one—goes on for quite some time.
* * *
The search party finds Lilly late that afternoon. Led by Chad Bingham, the group of five men and three women—all heavily armed—see Lilly’s light blue fleece jacket behind a deadfall log a thousand yards due north of the tent city, in the gelid darkness of the deep woods, in a small clearing under a canopy of loblolly branches. She appears to be unconscious, lying in a patch of brambles. “Careful!” Chad Bingham calls out to h
is second-in-command, a skinny mechanic from Augusta by the name of Dick Fenster. “If she’s still movin’, she might’ve turned already!”
Nervous breaths showing in the chill air, Fenster cautiously goes over to the clearing with his snub-nosed .38 drawn and ready, hammer back, trigger finger twitching. He kneels down by Lilly, takes a good long look, and then turns back to the group. “She’s all right! She’s alive … ain’t bit or nothing … still conscious!”
“Not for long,” Chad Bingham utters under his breath as he marches toward the clearing. “Chickenshit fucking whore gets my baby killed—”
“Whoa! Whoa!” Megan Lafferty steps between Chad and the deadfall. “Hold on a second, hold on.”
“Get outta my way, Megan.”
“You gotta take a deep breath.”
“Just gonna talk to her.”
An awkward pause seems to weigh down on everybody present. The other members of the search party stand back in the trees, looking down, their drawn, exhausted faces reflecting the day’s horrible work. Some of the men are red-eyed, stricken with loss.
Returning from their firewood-gathering expedition, the noise of their engines and axes still ringing in their ears, they were shocked to find the tent city in ghastly disarray. Both human and zombie alike littered the blood-soaked grounds, sixteen settlers slaughtered, some of them devoured—nine of them children. Josh Lee Hamilton did the dirty work of finishing off the remaining walkers and the unfortunate humans whose remains were left intact. Nobody else had the heart to shoot their friends and loved ones in the head to ensure their eternal rest. The incubation period—strangely—seems to be more and more unpredictable lately. Some victims reanimate within minutes after a bite. Others take hours—even days—to turn. At this moment, in fact, Josh is still back at camp, supervising a disposal crew, preparing the victims for mass burial. It’ll take them another twenty-four hours to get the circus tent back up.
“Dude, listen, seriously,” Megan Lafferty says to Chad, her voice lowering and becoming softly urgent. “I know you’re torn up and all but she saved three of your girls.… I told you I saw it with my own eyes. She drew the walkers away, she fucking risked her life.”
The Walking Dead: The Road to Woodbury Page 5
