By this point—unbeknownst to the crowd or the woman in the center of the infield—Gabe and Bruce have reached the bottom of the stairs and are racing around the corner of the gate toward the track.
The crowd starts braying—odd donkeylike barking sounds mingling with boos—and to an undiscerning ear it would be hard to tell whether they are angry, scared, or excited. The clamor seems to fuel the woman on the infield. She finishes off the last three reanimated corpses with a graceful combination of grand plié, jeté, and deadly pas de pirouette, the sword detaching crania silently, the dance a baptismal bloodbath, the earth flooding with deep scarlet-black fluids.
Right then, Gabe has crossed the warning track, followed closely by Bruce, and the two men charge toward the woman, who has her back turned. Gabe reaches her first, and he literally dives at her, as though he’s got one chance to tackle an errant running back before the player scores.
The woman goes down hard, the sword flying out of her hands. She eats dust as the two men pile up on her. A gasp forces its way out of her lungs—she has said maybe ten words since she arrived in Woodbury—and she writhes on the ground under their weight, letting out huffs of anguished breath as they shove her face against the dirt. Little plumes of dust puff off the ground, kicked up by her angry breath. Her eyes glaze over with rage and pain.
The audience is struck dumb by all this—absorbing it on a deeper level by now—and the onlookers react again in stunned silence. The hush returns to the arena and presses in on the place until the only sound is the huffing and gasping of the woman on the ground, and a faint click coming from the crow’s nest above the stands.
The Governor emerges, drunk with rage, fists clenching so hard that his fingernails begin to draw blood.
“HEY!”
A deep female voice—tobacco cured and coarsened by hardship—calls out to him from below. He pauses on the parapet.
“You son of a bitch!” The owner of the voice is a woman in a threadbare smock, sitting in a middle row between two waiflike boys in tattered clothes. She gazes up angrily at the Governor. “What the hell was that shit?! I don’t bring my boys out here for that! I bring them to the fights for good clean fun—that was a goddamn massacre! I don’t want my boys watching fucking murder!”
The crowd reacts, as Gabe and Bruce wrestle with the amazon, dragging her off the infield. The audience voices its disapproval. Mutterings rise and meld into angry shouts. Most of the people concur with the woman but something deeper drives the gathering now. Almost a year and a half of hell and starvation and boredom and intermittent terror come pouring out of some of them in a volley of shrieks and howls.
“You’ve traumatized them!” the woman cries out between the shrieking noises. “I came here looking for some broken bones, a few missing teeth—not this! This was way too much! ARE YOU LISTENING TO ME?!”
Up on the parapet, the Governor pauses and gazes down at the crowd, the rage flowing through him like a brush fire gobbling every last cell, making his eyes water and his spine run cold, and deep in the folds of his brain, a part of him breaks apart … control … control the situation … burn the cancer out … burn it out now.
From the bleachers, the woman sees him walking away. “Hey, goddamnit! I’m talking to you! Don’t walk away from me! Get back here!”
The Governor descends the stairs, oblivious to the catcalls and boos, making his departure with hellfire and vengeance on his mind.
*
Running … hurtling headlong … lost in the darkness, night-blind … they plunge through the woods, frantically searching for the safety of their camp. Three women … one in her fifties, one pushing sixty, and one in her twenties … they flail at the foliage and tangled branches, desperately trying to get back to the circle of campers and mobile homes that lie in the darkness less than a mile to the north. All these poor women wanted to do was pick some wild blackberries and now they’re surrounded. Pinned down. Trapped. What went wrong? They were so quiet, so stealthy, so nimble, carrying the berries in the hems of their skirts, careful not to speak to each other, communicating only in hand gestures … and now the walkers are closing in on them from all directions, the stench rising around them, the chorus of watery snarling noises like a threshing machine behind the trees. One woman screams when a dead arm bursts out of a thicket, grabbing at her, tearing her skirt. How did this happen so quickly? The walkers came out of nowhere. How did the monsters detect them? All at once the moving corpses block their path, cutting off their escape, surrounding them, the women panicking, their piercing shrieks rising up now as they struggle against the onslaught … their blood mingling with the dark purple juice of the berries … until it’s too late … and the woods run red with their blood … and their screams are drowned by the unstoppable thresher.
*
“They came to be known as the Valdosta Women,” Lilly says with a shiver, sitting on Austin’s fire escape with a blanket wrapped around her as she tells her cautionary tale.
It’s late, and the two of them have been sitting there for almost an hour, lingering on the platform long after the lights of the arena had begun to sequentially wink out and the disgruntled townspeople had started the long trudge back to their hovels. Now Austin sits next to her, smoking a home-rolled cigarette and listening intently to her strange story. His gut clenches with huge emotions that he can’t quite parse, can’t quite understand, but he needs to process it all before he makes his case, so he says nothing and just listens.
“When I was with Josh and the others,” Lilly goes on in a voice drained of emotion, stretched thin with exhaustion, “they used to say, ‘Be careful … and wear a sanitary napkin at all times during your cycle, and dip it in vinegar to mask the smell … or you’ll end up like the Valdosta Women.’”