Нэнси Кресс - The End Is Now

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Famine. Death. War. Pestilence. These are the harbingers of the biblical apocalypse, of the End of the World. In science fiction, the end is triggered by less figurative means: nuclear holocaust, biological warfare/pandemic, ecological disaster, or cosmological cataclysm. But before any catastrophe, there are people who see it coming. During, there are heroes who fight against it. And after, there are the survivors who persevere and try to rebuild.
THE APOCALYPSE TRIPTYCH will tell their stories. Edited by acclaimed anthologist John Joseph Adams and bestselling author Hugh Howey, The Apocalypse Triptych is a series of three anthologies of apocalyptic fiction.
THE END IS NIGH focuses on life before the apocalypse.
THE END IS NOW turns its attention to life during the apocalypse. And THE END HAS COME explores life after the apocalypse.
THE END IS NIGH is about the match.
THE END HAS COME is about what will rise from the ashes.
THE END IS NOW is about the conflagration.

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She recoiled from him, eyes suddenly huge. In a small and plaintive voice she asked, “What is it, Tom?”

Then the bushes trembled and parted.

There were more of them.

Them.

“Sherrie,” Tom said quickly, “get in the car.”

“What is it?”

“Get in the damn car.”

He pushed her away, fumbled with the door handle, pushed Benny inside. No time for car seats. Let them give him a ticket. A ticket would be nice.

“Sherrie, come on?”

She looked at him as if he was speaking a language composed of nonsense words. Vertical frown lines appeared between her brows.

“What is it?” she asked.

The people were coming now.

Many more of them.

Most of them strangers now. People from other parts of the town. Coming through yards and across lawns.

Coming.

Coming.

“Jesus, Sherri, get in the damn car!”

She stepped back from him, shaking her head, almost smiling the way people do when they think you just don’t get it.

“Sherrie—no!”

She backed one step too far.

Tom made a grab for her.

Ten hands grabbed her, too. Her arms, her clothes, her hair.

“What is it, Tom?” she asked once more. Then she was gone.

Gone.

Sickened, horrified, Tom spun away and staggered toward the car. He thrust his sword into the passenger footwell and slid behind the wheel. Pulled the door shut as hands reached for him. Clawed at the door, at the glass.

It took forever to find the ignition slot even though it was where it always was.

Behind him, Benny kept screaming.

The moans of the people outside were impossibly loud.

He turned the key.

He put the car in drive.

He broke his headlights and smashed his grill and crushed both fenders getting down the street. The bodies flew away from him. They rolled over his hood, cracked the windows with slack elbows and cheeks and chins. They lay like broken dolls in the lurid glow of his taillights.

-7-

Tom and Benny headed for L.A.

They were still eighty miles out when the guy on the radio said that the city was gone.

Gone.

Far in the west, way over the mountains, even at that distance, Tom could see the glow. The big, ugly, orange cloud bank that rose high into the air and spread itself out to ignite the roots of heaven.

He was too far away to hear it.

The nuclear shockwave would have hit the mountains anyway. Hit and bounced high and troubled the sky above them.

But the car went dead.

So did his cell phone and the radio.

All around him the lights went out.

Tom knew the letters. He’d read them somewhere. EMP. But he forgot what they stood for.

That didn’t matter. He understood what they meant.

The city was gone.

An accident?

An attempt to stop the spread?

He sat in his dead car and watched the blackness beyond the cracked windshield and wondered if he would ever know. On the back seat, Benny was silent. Tom turned and looked at him. His brother was asleep. Exhausted and out.

Or . . .

A cold hand stabbed into Tom’s chest and clamped around his heart.

Was Benny sleeping?

Was he?

Was he?

Tom turned and knelt on the seat. Reaching over into the shadows back there was so much harder than anything else he’d had to do. Harder than leaving Mom and Dad. Harder than using his sword on the neighbors.

This was Benny.

This was his baby brother.

This was everything that he had left. This was the only thing that was going to hold him to the world.

No.

God, no.

His mouth shaped the words, but he made no sound at all.

He did not dare.

If Benny was sleeping, he didn’t want to wake him.

If Benny was not sleeping, then he didn’t want to wake that, either.

He reached across a million miles of darkness.

Please, he begged.

Of God, if God was even listening. If God was even God.

Please.

Of the world, of the night.

Please.

How many other voices had said that, screamed that, begged that? How many people had clung to that word as the darkness and the deadness and the hunger came for them?

How many?

The math was simple.

Everyone he knew.

Except him. Except Benny.

Please.

He touched Benny’s face. His brother’s cheeks were cool.

Cool or cold?

He couldn’t tell.

Then he placed his palm flat on Benny’s chest. Trying to feel something. Anything. A breath. A beat.

He waited.

And around him the night seemed to scream.

He waited.

This time he said it aloud.

“Please.”

In the back seat, Benny Imura heard his voice and woke up.

Began to cry.

Not moan.

Cry.

Tom laid his forehead on the seatback, held his hand against his brother’s trembling chest, and wept.

ABOUT THE AUTHOR

Jonathan Maberryis a New York Times bestselling author, multiple Bram Stoker Award winner, and comic book writer. He’s the author of many novels including Code Zero, Fire & Ash, The Nightsiders, Dead of Night, and Rot & Ruin ; and the editor of the V-Wars shared-world anthologies. His nonfiction books on topics ranging from martial arts to zombie pop-culture. Jonathan writes V-Wars and Rot & Ruin for IDW Comics, and Bad Blood for Dark Horse, as well as multiple projects for Marvel. Since 1978 he has sold more than 1200 magazine feature articles, 3000 columns, two plays, greeting cards, song lyrics, poetry, and textbooks. Jonathan continues to teach the celebrated Experimental Writing for Teens class, which he created. He founded the Writers Coffeehouse and co-founded The Liars Club; and is a frequent speaker at schools and libraries, as well as a keynote speaker and guest of honor at major writers and genre conferences. He lives in Del Mar, California. Find him online at jonathanmaberry.com.

PENANCE

Jake Kerr

Samuel Esposito couldn’t escape the faces that haunted him. The captain established dining hours at set times, and no matter when he went to the galley to eat, someone was always there. He asked the captain if he could be served in his cabin, which got him an angry look and the response of, “We’re not your fucking servants.” He tried going late; he tried going early, but the two-hour windows to eat were set in stone. If he missed it, he didn’t eat. Sam skipped breakfast and did his best to skip one of the other meals.

In the end, however, he couldn’t avoid the faces of his fellow passengers, all of them full of hope as they fled the asteroid on a collision course with North America. Yet that very same hope had lived in the faces of all the people the moment before Sam had sentenced them to death. Sam tried to convince himself that his job before he was evacuated on the ship wasn’t evil. He was simply a messenger. The Expatriation Lottery was fair, and he was simply letting people know the results.

But it was evil. Everyone came in with hope. But then Sam would give them the news, and they would leave with none. Emotionless, hopeless faces. Practically dead already. Their appointment with Sam was an appointment with death, despite the professionalism and sympathy.

The appointments had been every fifteen minutes. His boss had told him to act professional but sympathetic. Stick to the facts. Provide tissues if necessary. Don’t be afraid to hit the panic button if the client becomes violent.

That’s what he had called them: clients—the citizens who had come in, sat down or paced the room as they waited to hear their fate. Sam let them do whatever made them the most comfortable, but in the end there was no real comfort, only the extremes of fear and hope. Sam would then tell them whether they had won the Expatriation Lottery and would be sent to Europe or Africa or somewhere else. Where didn’t quite matter; the winners would be free to live. But the others—the losers—had been told they had to stay in North America and wait for the asteroid to kill them. There just weren’t enough planes or ships to take everyone.

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