Autumn

  AUTUMN:

  THE HUMAN CONDITION

  ‘The best survival horror since Richard Matheson’s I am Legend’

  – Wayne Simmons, author of Flu and Plastic Jesus

  ‘Moody is as imaginative as Barker, as compulsory as King, and as addictive as Palahniuk’

  – Scream the horror magazine

  ‘Takes the genre in a fascinating new direction. If John Wyndham was alive and writing zombie novels, they’d read like this’

  – Jonathan Maberry, best-selling author of Patient Zero and Rot & Ruin

  AUTUMN: THE HUMAN CONDITION

  David Moody

  Copyright © David Moody 2013

  This edition published in 2013 by David Moody / Infected Books at Smashwords

  For more information about David Moody, visit:

  www.davidmoody.net

  www.lastoftheliving.net

  Cover design by Craig Paton

  www.craigpaton.com

  This book is available in print at most online retailers.

  Smashwords Edition, Licence Notes

  This ebook is licenced for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you’re reading this book and did not purchase it, or it was not purchased for your use only, then please return it to Smashwords.com and purchase your own copy.

  Thank you for respecting the hard work of this author.

  TABLE OF CONTENTS

  INTRODUCTION

  BEFORE

  JAKE WILSON

  DAY ONE

  AMY STEADMAN (part i)

  JIM HARPER

  SHERI NEWTON

  SONYA FARLEY

  HARRY STAYT

  JACOB FLYNN (part i)

  BRIGID CULTHORPE

  PETER GUEST

  WEBB

  JACKIE SOAMES

  GARY KEELE

  CARON

  JULIET APPLEBY

  KAREN CHASE

  PHILIP EVANS (part i)

  DAY TWO

  BEGINNING TO DISINTEGRATE (part i)

  DAY THREE

  AMY STEADMAN (part ii)

  PHILIP EVANS (part ii)

  JACOB FLYNN (part ii)

  KIERAN COPE

  INNOCENCE

  DAY FIVE

  AMY STEADMAN (part iii)

  BEGINNING TO DISINTEGRATE (part ii)

  DUCK AND COVER

  BEGINNING TO DISINTEGRATE (part iii)

  PENELOPE STREET

  DIGITAL

  DAY SEVEN

  AMY STEADMAN (part iv)

  JACKSON

  OFFICE POLITICS

  BEGINNING TO DISINTEGRATE (part iv)

  THE HUMAN CONDITION (part i)

  DAY NINE

  THE GARDEN SHED

  KATE JAMES

  OH NO, NOT YOU AGAIN

  ROBERT WOOLGRAVE

  DAY FOURTEEN

  BREAKING POINT

  DAY SEVENTEEN

  AMY STEADMAN (part v)

  DO YOU REMEMBER THE FIRST TIME?

  THE HUMAN CONDITION (part ii)

  DAY TWENTY-THREE

  AMY STEADMAN (part vi)

  KILGORE

  HOME

  SKIN

  DAY THIRTY-EIGHT

  ANNIE NELSON

  ANGEL

  DAY ONE HUNDRED AND NINETEEN

  UNDERGROUND

  JOE AND ME

  WHO’S WHO

  ALSO BY DAVID MOODY

  INTRODUCTION

  I originally envisaged Autumn as a standalone novel, but when I’d finished writing the first book back in 2001, it occurred to me that as I’d destroyed pretty much the entire population by the end of the first page, there would no doubt be many more stories left in my dead world to tell, if anyone wanted to read them. Fortunately, they did. Through the four subsequent novels I’ve been able to take my survivors way beyond the early days of the infection, right into the post-post-apocalypse. The problem was, the more I thought about the end of the world, the more I found to write about. That’s the reason for this book – it’s the very end of the Autumn series.

  Back in 2005, when I first thought I’d wrapped the series up, I released the first edition of this book, describing it at the time as ‘part companion, part guide book and part sequel’. But things change, and the acquisition of the series by Thomas Dunne Books meant the story continued after Purification. More than a year has now passed since the release of the final novel, Aftermath, and it seems the perfect time to revisit and update this collection and bring the series as a whole to a close.

  The stories you’ll find here fall broadly into three categories. Briefest are what I originally called Autumn: Echoes – snapshots of the lives of people caught up in the throes of the apocalypse (where were you when the world ended?). Some are recognisable characters from the novels, others are minor bit-players who had interesting back stories to tell. You’ll find a ‘who’s who’ at the end of the book.

  The second batch of stories focus largely on what happened before or after events described in the novels. For example, in Breaking Point, you’ll read what happened to Michael and Emma between Autumn and The City. In Beginning to Disintegrate, you’ll discover how the group of survivors we meet in Disintegration came to be stuck with each other.

  Finally, there are numerous other shorts here which are self-contained and take place well outside the main story arc. I came up with a number of scenarios which were too interesting to forget about, but which didn’t fit naturally into the novels. For example, in The Garden Shed, a proud man refuses to leave the home he’s worked so hard to own, and in Office Politics, we meet a man whose coping strategy is enviably simple: complete denial.

  I hope you enjoy this collection, and that you’ve enjoyed the rest of the Autumn series. In closing, I wish to record my enormous thanks to everyone who has been involved in the series in one way or another over the last decade: to the editors, artists, and publishers who’ve worked behind the scenes, but most importantly, to the readers who’ve supported the books from the beginning. I’m indebted to all of you.

  David Moody

  June 2013

  BEFORE

  JAKE WILSON

  Eight months ago, Jake Wilson packed up his family and emigrated to Canada from the United Kingdom. A regional manager for a global finance house, Jake agreed to move overseas for a well paid, two year posting. He, his wife Lucy and their two children settled quickly into their new surroundings. The people who found it hardest to adjust were those they’d left behind. Even after more than half a year, Polly Wilson – Jake’s well-meaning but highly strung and over-sensitive mother – still finds the distance between her and her son difficult to deal with. Mrs Wilson and her husband made their first visit to Canada several weeks ago, but it did little to reassure her. If anything it’s made her even more neurotic. Jake has grown to dread the weekly telephone calls from home. It’s now the early hours of Tuesday morning.

  #

  ‘Jake? Jake, is that you?’

  ‘Mom? Bloody hell, do you know what time it is?’

  ‘Are you okay, love?’

  ‘Apart from being woken up in the middle of the night I’m fine. Why shouldn’t I be?’

  ‘Haven’t you heard?’

  ‘Heard what? Bloody hell, Mom…’

  ‘There’s no need for the language, Jake, we were just worried about you, that’s all.’

  ‘Why?’

  ‘Are you far from Vancouver?’

  ‘It’s on the other side of the country. It’s thousands of miles away, why?’

  ‘Because something’s happening there. I don’t know what exactly. I don’t think anyone knows. Your dad and I saw i
t on the news and—’

  ‘You’re not making any sense. Look, Mom, I’m really tired.’

  ‘I’m sorry, love. It’s just that you’re all so far away and we worry about you.’

  ‘I know, I know… What are you doing up so early, anyway? It’s before seven there, isn’t it?’

  ‘Your dad couldn’t sleep. You know what he’s like once he’s awake. And once he’s up and about I can’t relax. He woke me up with his shuffling and his moaning so we both got up and came downstairs. We were watching the news, and when we saw they were talking about Canada we thought we should call…’

  ‘So what exactly is supposed to have happened in Vancouver?’

  ‘They’re not sure. No one’s saying much. No one seems to know.’

  ‘So you’ve woken me up to tell me that no one knows very much about what’s happening in Vancouver? Come on, Mom, I’ve got an important meeting first thing tomorrow and I can’t afford to—’

  ‘No. Listen, son, something’s definitely happened there but they don’t—’

  ‘Well was it an accident or a bomb or…?’

  ‘I don’t know.’

  ‘Mom, you’ve got to stop this. I know you mean well, but this isn’t little old England. This place is huge. Just because something’s happening in the same country, it doesn’t always mean it’s going to affect us.’

  ‘But this sounds serious, love. They say the city’s gone silent.’

  ‘What’s that supposed to mean? Vancouver is a massive city for Christ’s sake. There are thousands and thousands of people there, millions even. You don’t lose contact with millions of people just like that.’

  ‘I know, but—’

  ‘You can’t lose contact with a whole bloody city, Mom.’

  ‘I know, but they have.’

  ‘What channel are you watching? Are you sure it’s genuine? It’s not just a film or one of those drama-documentaries, is it?’

  ‘Jake, your father and I are not stupid. I know what I’m watching. It’s the news and it’s real. We’re sitting in front of the television right now. I’m only telling you because we’re concerned about you, Lucy and the boys.’

  ‘So tell me again, what exactly is it they’re saying?’

  ‘Your dad says to put your TV on, son. You’re bound to have some news where you are. You’re much closer than we are.’

  ‘Okay, give me a second.’

  ‘What can you see?’

  ‘Hold on, that’s strange.’

  ‘What is?’

  ‘I can’t get a picture on some of the channels. Cable must be down. Sometimes this happens when…’

  ‘What about the radio? Try your computer, son. Try the Internet.’

  ‘Hang on, here’s something.’

  ‘What are they saying?’

  ‘Christ, Mom, it’s just like you said, they’ve lost contact with the area around… Hold on, you said Vancouver, didn’t you?’

  ‘Yes, why?’

  ‘Because the station I’m watching here is talking about Winnipeg. That’s miles away. And Seattle, and Portland. They’re talking about a massive part of the country. Bloody hell…’

  ‘Are they saying anything about what’s happened, Jake? Do they know why—’

  ‘Christ, Mom, they’ve put a map up. It looks like it’s spreading out from the west.’

  ‘What is?’

  ‘I don’t know. Nothing… Just nothing… They’re not explaining anything, they’re just…’

  ‘Where are Lucy and the boys, Jake?’

  ‘Lucy’s here in bed with me, the boys are asleep.’

  ‘You should lock your doors. Don’t answer the door if anyone comes.’

  ‘What’s the point of locking the door? This isn’t anything to do with…’

  ‘Jake… Jake, are you still there? What’s the matter, son?’

  ‘Nothing. Thought I heard something.’

  ‘What?’

  ‘Thought I could hear…’

  ‘Jake? What’s happening?’

  ‘Mom, I’m going to put the phone down. Listen, I’ll call you back as soon as I—’

  ‘What’s wrong?’

  ‘Something’s happening on the other side of the river. There’s a fire. It looks like something’s gone into the front of one of the buildings on the waterfront. I can’t see much from here… Hang on a second and I’ll try and… Shit, that’s all I need, the kids are awake now. Bloody hell. Lucy, could you go and…? Lucy? Honey, what’s wrong?’

  ‘What’s the matter, son?’

  ‘Lucy? Don’t struggle, honey, lie back and I’ll get you a—’

  ‘Jake…? Jake, love, are you still there?’

  #

  Over five thousand miles away and completely helpless, Mrs Wilson listened to the muffled sounds of her son, her daughter-in-law and her two grandsons choking to death.

  Their heartbreak was short lived. Within hours both Mrs Wilson and her husband were dead too.

  DAY ONE

  AMY STEADMAN

  Part i

  Amy Steadman is a twenty-four year old graduate. After joining the company on an accelerated training programme, she now manages the lingerie department in an exclusive women’s fashion boutique located in a busy out-of-town shopping outlet. She lives on her own in the town of Rowley in a small one bedroom flat above an antiques shop on a narrow road just off the main high street.

  It’s five-thirty in the morning. Amy’s alarm has gone off, and she’s just dragged herself out of bed after a miserable night’s sleep. This morning Amy has to make her quarterly sales presentation to the company’s senior management team. She dreads these meetings. She doesn’t have a problem with standing up and justifying her performance to these self-important, grey-suited people, but she detests the way they stare back at her. They are smarmy, lecherous men and she can feel them undressing her with their eyes. She hates the way they don’t listen to anything she says, the way they joke and taunt her and make lewd, inappropriate comments. She finds their cheap, double-entendre-laden conversation offensive but she puts up with it. It’s all part of the job, others have told her.

  In Amy’s line of business appearance is everything. She walks the shop floor as a representative of the store and the numerous designer labels it stocks. She knows that she must be perfectly coiffured and immaculately presented at all times. Customers directly associate her with the products she sells. The better she looks, the more chance she has of making a sale.

  After a quick breakfast (she doesn’t feel like eating much this morning) and a lukewarm shower (she needs to get her landlord to sort out the plumbing), Amy dries her hair and sits down in front of the mirror to apply her make-up. An exercise in precision application, this is crucially important to her. Far more than just another part of her perfect appearance, it is a mask. She is painting on her work personality and her customer-facing smile. In fifteen minutes she creates a character far removed from the real Amy Steadman: the girl who sits in front of the television on her own most nights, eating chocolate and relaxing in her pyjamas and baggy jumpers. She hides behind the mask. The senior managers who stare and leer at her see only the fixed smile, the perfect white teeth and the flawless complexion. They are unaware of the contempt she feels for them.

  Less than an hour after getting out of bed, Amy is dressed, psyched-up and ready to go. She leaves her flat and crawls through the early morning traffic in her wreck of a car, arriving at work in just under fifty minutes. It is almost eight o’clock, and the store will shortly open its doors to the first customers of the day.

  #

  ‘These shoes are killing me,’ Lorraine moans.

  ‘Well what do you expect?’ I tell her. Do we have to go through this every morning? Lorraine (who’s had more nips, tucks, false tans and hairstyles than the rest of us put together) is a total slave to fashion. ‘Bloody hell, girl, those heels would be enough to cripple anyone. You’re almost on tiptoe!’

  ‘You’re all right, yo
u’ve got the height you lucky cow,’ she says. ‘Short buggers like me need all the help we can get.’ She stops talking and looks over my shoulder. ‘Oh, hang on, here they come.’

  I turn around and see that the first of our overpaid visitors from Head Office has arrived. My heart sinks. I smile through gritted teeth as the area manager makes his entrance with his entourage. What a vile and odious little shit Jeff Brent is. ‘Morning, Mr Brent.’

  ‘Morning, Andrea,’ he grins, getting my name wrong as he always does. ‘Looking more beautiful than ever!’

  ‘And you’re more of a fucking creep than ever,’ is what I want to say back to him but, of course, I don’t. Instead I just smile politely, force out a little laugh and then relax when Maurice Green appears at my side to take Brent through to the back offices.

  ‘Excuse me, Miss,’ a quiet little voice says from somewhere behind me. I turn around and see an elderly man clutching a negligee, looking more than a little bit uncomfortable. It’s an odd choice of nightwear. He’s either married to a gold-digger or he’s a transvestite.

  ‘What can I do for you, Sir?’ I say, looking around for one of the others. Lorraine has disappeared the way she always does when customers need serving. This isn’t fair. I have to get to my meeting. I haven’t got time to be dealing with customers today.