Mira Grant - Deadline

—From Adaptive Immunities , the blog of Shaun Mason, January 5, 2041

Twenty-seven

I woke up in a white bed in a white room, with the cloying white smell of bleach in my nose and the tangled white cobwebs of mdreams still gnawing, ratlike, at the inside of my brain. I sat up with a gasp, realizing as I did that I was wearing white cotton pajamas and covered by a white comforter with no buttons or snaps. I took a breath, then another, trying to force my heart rate down as I looked around the room, seeking some clue as to where I was.

The only furnishings were the bed I was in and a single bedside table with rounded edges. I reached out and gave it an experimental shake. It was bolted to the floor. The bed probably was, too. Nothing in the room could be used as a weapon, unless I wanted to try strangling myself with the sheets. Even hanging was out of the question, since there was nothing for me to hang myself from.

A huge, inset mirror that almost certainly doubled as an observation window took up one entire wall. That sort of fixture in this sort of room can mean only one thing: medical holding facility, probably owned by the CDC. That fit with the dreams I’d been having, horrible, tangled things about some sort of major outbreak. No, not a major outbreak—there weren’t that many people involved, at least not when we closed the doors. And we had to close the doors. We had to close the doors, because—

“I see you’re awake.”

The voice came from a speaker in the wall above the mirror and caught me entirely by surprise. I screamed a little, clutching the blanket against my chest before I realized I was being an idiot. Whoever had me in here could do a lot worse than talk to me, if they decided that was what they wanted. I eyed the speaker suspiciously, letting go of the blanket.

“I’m awake,” I confirmed.

“Good, good. Now, you may be a little shaky at first. I don’t recommend trying to walk before you’ve had a little time to get adjusted.”

I was out of the bed before the voice was finished with its warning, stalking across the floor toward the mirror. Then I stopped again, stunned by the sight of my own reflection in what should have been—for me—a completely transparent surface. My eyes make one-way glass a pretty fiction.

Or they’re supposed to, anyway. Only for some reason, things weren’t working that way this time, and instead of looking at the hallway beyond the glass, I was looking at myself.

The pajamas I was wearing were at least two sizes too big, or maybe it was just that I’d lost weight: I looked like I was recovering from a long illness, all pale skin and bird-boned limbs. The lines of my collarbone stood out like knives, making me seem downright frail. My hair was too long, falling to hit my shoulders in those annoying thick curls that always seemed to form when I let it grow out, and my eyes… There was something wrong with my eyes. Something very, very wrong.

I was still staring at my reflection when the speaker crackled on again. The voice from before came smoothly into the room, saying, “We’re very glad to see you up and about. Some disorientation is normal at first, and you shouldn’t let it bother you. Now, the speakers in your room are voice-activated; you don’t need to look for a button or anything like that. Just speak loudly and clearly, and we’ll understand you. Can you please tell us your name, and the last thing that you remember?”

I took a deep breath, holding it for a moment before letting it slowly out. Looking directly into my reflection—and hence, directly at anyone who happened to be standing in the hallway outside the one-way mirror, watching their little test subject, I answered.

“My name is Georgia Mason,” I said. “What the fuck is going on here?”

Acknowledgments

Writing a follow-up volume to Feed was both elating and terrifying, and it wouldn’t have been possible without the assistance of a wonderful group of people. I can’t thank them enough. They ranged from medical professionals who worked with both humans and animals to gun experts and epidemiologists. Deadline is the work of many hands, and I am grateful to each and every one of them, because they were the ones who made this all possible.

Michelle Dockrey is a longtime editor of mine who chose to sit out Feed because it included zombies. Upon reading it, she promptly demanded the manuscript for Deadline, and just as quickly used her red pen and insightful eye for blocking to improve the book beyond all measure. (Also, I no longer need to worry about her trying to “sit this one out.” I win at proofreader.) Brooke Lunderville stepped up to become primary medical consultant on this volume, and her keen sense of what you should and shouldn’t do with a syringe can be seen on every page.

Alan Beatts joined the proofing pool as my new weapons expert, and his patient efforts to make me understand why a shotgun isn’t the ideal zombie-fighting weapon did a lot to improve my combat scenes. I am incredibly grateful, especially given that it was really, really late in the process when I decided to say, “Hey, do you think you could…” Thanks also to Torrey Stenmark, Dave Tinney, and Debbie J. Gates for their well-timed, well-considered technical suggestions.

The Machete Squad must also, and always, be thanked. Amanda Perry, Rae Hanson, Sunil Patel, Alison Riley-Duncan, Rebecca Newman, Allison Hewett, Janet Maughan, Penelope Skrzynski, Phil Ames, and Amanda Sanders were all on tap for general proofreading and plot consultation. Through their efforts is this book made incalculably better. Meanwhile, at Orbit, DongWon Song was applying a keen editorial eye to the text, Lauren Panepinto was rocking the cover design, and Alex Lencicki was just plain rocking. Thanks so much, guys. I couldn’t have done this without you.

Finally, acknowledgment for forbearance must go to Kate Secor, Shaun Connolly, and Cat Valente, who put up with an amazing amount of “talking it out” as I tried to make the book make sense; to my agent, Diana Fox, who remains my favorite superhero; to Betsy Tinney, for everything; and to Tara O’Shea and Chris Mangum, the incredible technical team behind www.MiraGrant.com. This book might have been written without them. It would not have been the same.

If you’re curious about the American yellow fever epidemic and mosquito-based vectors, check out The American Plague: The Untold Story of Yellow Fever , by Molly Crosby.

Rise up while you can.

extras

meet the author

Born and raised in California, Mira Grant has made a lifelong study of horror movies, horrible viruses, and the inevitable threat of the living dead. In college, she was voted Most Likely to Summon Something Horrible in the Cornfield, and was a founding member of the Horror Movie Sleep-Away Survival Camp, where her record for time survived in the Swamp Cannibals scenario remains unchallenged.

Mira lives in a crumbling farmhouse with an assortment of cats, horror movies, comics, and books about horrible diseases. When not writing, she splits her time between travel, auditing college virology courses, and watching more horror movies than is strictly good for you. Favorite vacation spots include Seattle, London, and a large haunted corn maze just outside of Huntsville, Alabama.

Mira sleeps with a machete under her bed, and strongly suggests you do the same. Find out more about the author at www.miragrant.com.

introducing

If you enjoyed DEADLINE, look out for

BLACKOUT