Mockingjay (The Hunger Games #3)(21)

Bam! Without warning, I'm suddenly on television, standing in the rubble of the bakery.

Plutarch jumps to his feet. "He did it! Beetee broke in!"

The room's buzzing with reaction when Peeta's back, distracted. He has seen me on the monitor. He tries to pick up his speech by moving on to the bombing of a water purification plant, when a clip of Finnick talking about Rue replaces him. And then the whole thing breaks down into a broadcast battle, as the Capitol tech masters try to fend off Beetee's attack. But they are unprepared, and Beetee, apparently anticipating he would not hold on to control, has an arsenal of five- to ten-second clips to work with. We watch the official presentation deteriorate as it's peppered with choice shots from the propos.

Plutarch's in spasms of delight and most everybody is cheering Beetee on, but Finnick remains still and speechless beside me. I meet Haymitch's eyes from across the room and see my own dread mirrored back. The recognition that with every cheer, Peeta slips even farther from our grasp.

The Capitol seal's back up, accompanied by a flat audio tone. This lasts about twenty seconds before Snow and Peeta return. The set is in turmoil. We're hearing frantic exchanges from their booth. Snow plows forward, saying that clearly the rebels are now attempting to disrupt the dissemination of information they find incriminating, but both truth and justice will reign. The full broadcast will resume when security has been reinstated. He asks Peeta if, given tonight's demonstration, he has any parting thoughts for Katniss Everdeen.

At the mention of my name, Peeta's face contorts in effort. "Katniss . . . how do you think this will end? What will be left? No one is safe. Not in the Capitol. Not in the districts. And you . . . in Thirteen . . ." He inhales sharply, as if fighting for air; his eyes look insane. "Dead by morning!"



       
         
       
        

Off camera, Snow orders, "End it!" Beetee throws the whole thing into chaos by flashing a still shot of me standing in front of the hospital at three-second intervals. But between the images, we are privy to the real-life action being played out on the set. Peeta's attempt to continue speaking. The camera knocked down to record the white tiled floor. The scuffle of boots. The impact of the blow that's inseparable from Peeta's cry of pain.

And his blood as it splatters the tiles.





The scream begins in my lower back and works its way up through my body only to jam in my throat. I am Avox mute, choking on my grief. Even if I could release the muscles in my neck, let the sound tear into space, would anyone notice it? The room's in an uproar. Questions and demands ring out as they try to decipher Peeta's words. "And you . . . in Thirteen . . . dead by morning!" Yet no one is asking about the messenger whose blood has been replaced by static.

A voice calls the others to attention. "Shut up!" Every pair of eyes falls on Haymitch. "It's not some big mystery! The boy's telling us we're about to be attacked. Here. In Thirteen."

"How would he have that information?"

"Why should we trust him?"

"How do you know?"

Haymitch gives a growl of frustration. "They're beating him bloody while we speak. What more do you need? Katniss, help me out here!"

I have to give myself a shake to free my words. "Haymitch's right. I don't know where Peeta got the information. Or if it's true. But he believes it is. And they're -" I can't say aloud what Snow's doing to him.

"You don't know him," Haymitch says to Coin. "We do. Get your people ready."

The president doesn't seem alarmed, only somewhat perplexed, by this turn in events. She mulls over the words, tapping one finger lightly on the rim of the control board in front of her. When she speaks, she addresses Haymitch in an even voice. "Of course, we have prepared for such a scenario. Although we have decades of support for the assumption that further direct attacks on Thirteen would be counterproductive to the Capitol's cause. Nuclear missiles would release radiation into the atmosphere, with incalculable environmental results. Even routine bombing could badly damage our military compound, which we know they hope to regain. And, of course, they invite a counterstrike. It is conceivable that, given our current alliance with the rebels, those would be viewed as acceptable risks."

"You think so?" says Haymitch. It's a shade too sincere, but the subtleties of irony are often wasted in 13.

"I do. At any rate, we're overdue for a Level Five security drill," says Coin. "Let's proceed with the lockdown." She begins to type rapidly on her keyboard, authorizing her decision. The moment she raises her head, it begins. 

There have been two low-level drills since I arrived in 13. I don't remember much about the first. I was in intensive care in the hospital and I think the patients were exempted, as the complications of removing us for a practice drill outweighed the benefits. I was vaguely aware of a mechanical voice instructing people to congregate in yellow zones. During the second, a Level Two drill meant for minor crises - such as a temporary quarantine while citizens were tested for contagion during a flu outbreak - we were supposed to return to our living quarters. I stayed behind a pipe in the laundry room, ignored the pulsating beeps coming over the audio system, and watched a spider construct a web. Neither experience has prepared me for the wordless, eardrum-piercing, fear-inducing sirens that now permeate 13. There would be no disregarding this sound, which seems designed to throw the whole population into a frenzy. But this is 13 and that doesn't happen.

Boggs guides Finnick and me out of Command, along the hall to a doorway, and onto a wide stairway. Streams of people are converging to form a river that flows only downward. No one shrieks or tries to push ahead. Even the children don't resist. We descend, flight after flight, speechless, because no word could be heard above this sound. I look for my mother and Prim, but it's impossible to see anyone but those immediately around me. They're both working in the hospital tonight, though, so there's no way they can miss the drill.

My ears pop and my eyes feel heavy. We are coal-mine deep. The only plus is that the farther we retreat into the earth, the less shrill the sirens become. It's as if they were meant to physically drive us away from the surface, which I suppose they are. Groups of people begin to peel off into marked doorways and still Boggs directs me downward, until finally the stairs end at the edge of an enormous cavern. I start to walk straight in and Boggs stops me, shows me that I must wave my schedule in front of a scanner so that I'm accounted for. No doubt the information's going to some computer somewhere to make sure no one's gone astray.

The place seems unable to decide if it's natural or man-made. Certain areas of the walls are stone, while steel beams and concrete heavily reinforce others. Sleeping bunks are hewn right into the rock walls. There's a kitchen, bathrooms, a first-aid station. This place was designed for an extended stay.

White signs with letters or numbers are placed at intervals around the cavern. As Boggs tells Finnick and me to report to the area that matches our assigned quarters - in my case E for Compartment E - Plutarch strolls up. "Ah, here you are," he says. Recent events have had little effect on Plutarch's mood. He still has a happy glow from Beetee's success on the Airtime Assault. Eyes on the forest, not on the trees. Not on Peeta's punishment or 13's imminent blasting. "Katniss, obviously this is a bad moment for you, what with Peeta's setback, but you need to be aware that others will be watching you."

"What?" I say. I can't believe he actually just downgraded Peeta's dire circumstances to a setback.

"The other people in the bunker, they'll be taking their cue on how to react from you. If you're calm and brave, others will try to be as well. If you panic, it could spread like wildfire," explains Plutarch. I just stare at him. "Fire is catching, so to speak," he continues, as if I'm being slow on the uptake.

"Why don't I just pretend I'm on camera, Plutarch?" I say.

"Yes! Perfect. One is always much braver with an audience," he says. "Look at the courage Peeta just displayed!"



       
         
       
        

It's all I can do not to slap him.

"I've got to get back to Coin before lockdown. You keep up the good work!" he says, and then heads off.

I cross to the big letter E posted on the wall. Our space consists of a twelve-by-twelve-foot square of stone floor delineated by painted lines. Carved into the wall are two bunks - one of us will be sleeping on the floor - and a ground-level cube space for storage. A piece of white paper, coated in clear plastic, reads BUNKER PROTOCOL. I stare fixedly at the little black specks on the sheet. For a while, they're obscured by the residual blood droplets that I can't seem to wipe from my vision. Slowly, the words come into focus. The first section is entitled "On Arrival."

1. Make sure all members of your Compartment are accounted for.

My mother and Prim haven't arrived, but I was one of the first people to reach the bunker. Both of them are probably helping to relocate hospital patients.