Already Dead (Joe Pitt Series #1)

Already Dead (Joe Pitt Series #1)

by Charlie Huston
Already Dead (Joe Pitt Series #1)

Already Dead (Joe Pitt Series #1)

by Charlie Huston

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Overview

Those stories you hear? The ones about things that only come out at night? Things that feed on blood, feed on us? Got news for you: they’re true. Only it’s not like the movies or old man Stoker’s storybook. It’s worse. Especially if you happen to be one of them. Just ask Joe Pitt.

There’s a shambler on the loose. Some fool who got himself infected with a flesh-eating bacteria is lurching around, trying to munch on folks’ brains. Joe hates shamblers, but he’s still the one who has to deal with them. That’s just the kind of life he has. Except afterlife might be better word.

From the Battery to the Bronx, and from river to river, Manhattan is crawling with Vampyres. Joe is one of them, and he’s not happy about it. Yeah, he gets to be stronger and faster than you, and he’s tough as nails and hard to kill. But spending his nights trying to score a pint of blood to feed the Vyrus that’s eating at him isn’t his idea of a good time. And Joe doesn’t make it any easier on himself. Going his own way, refusing to ally with the Clans that run the undead underside of Manhattan–it ain’t easy. It’s worse once he gets mixed up with the Coalition–the city’s most powerful Clan–and finds himself searching for a poor little rich girl who’s gone missing in Alphabet City.

Now the Coalition and the girl’s high-society parents are breathing down his neck, anarchist Vampyres are pushing him around, and a crazy Vampyre cult is stalking him. No time to complain, though. Got to find that girl and kill that shambler before the whip comes down . . . and before the sun comes up.

Product Details

ISBN-13: 9780345478245
Publisher: Random House Worlds
Publication date: 12/27/2005
Series: Joe Pitt Casebooks , #1
Pages: 288
Sales rank: 700,045
Product dimensions: 5.50(w) x 8.19(h) x 0.65(d)

About the Author

About The Author
Charlie Huston is the author of the bestsellers The Mystic Arts of Erasing All Signs of Death and The Shotgun Rule, as well as the Henry Thompson trilogy, the Joe Pitt casebooks, and several titles for Marvel Comics. He lives with his family in Los Angeles.

Read an Excerpt

I smell them before I see them. All the powders, perfumes and oils the half-smart ones smear on themselves. The stupid ones just stumble around reeking. The really smart ones take a Goddamn shower. The water doesn’t help them in the long run, but the truth is, nothing is gonna help them in the long run. In the long run they’re gonna die. Hell, in the long run they’re already dead.

So this pack is half-smart. They’ve splashed themselves with Chanel No. 5, Old Spice, whatever. Most folks just think they have a heavy hand at the personal scent counter. I close my eyes and inhale deeper, because it could just be a group of bridge and tunnelers in from Jersey or Long Island. But it’s not. I take that second breath and sure enough, there it is underneath: the sweet, subtle tang of something not quite dead. Something freshly rotting. I’m betting they’re the ones I’m looking for. And why wouldn’t they be? It’s not like these things are thick on the ground. Not yet. I walk a little farther down Avenue A and stop at the sidewalk window of Nino’s, the pizza joint on the corner of St. Marks.

I rap on the counter with the ring on my middle finger and one of the Neapolitans comes over.

—Yeah?

—What’s fresh?

He looks blank.

—The pizza, what’s just out of the oven?

—Tomato and garlic.

—No way, no fucking garlic. How ’bout the broccoli, it been out all day?

He shrugs.

—Fine, give me the broccoli. Not too hot, I don’t want to burn the roof of my mouth.

He cuts a slice and slides it into the oven to warm up. I could eat the tomato and garlic if I wanted to. It’s not like the garlic would hurt me or anything. I just don’t like the shit.

While I wait I lean on the counter and watch the customers inside the joint. The usual crowd for a Friday night: couple drunk NYU kids, couple drunk greasers, a drunk squatter, two drunk yuppies on an East Village adventure, a couple drunk hip-hoppers, and the ones I’m looking for. There are three of them standing around the far corner table: an old-school goth chick, and two rail-thin guys, with impossibly high cheekbones, that have fashion junkie written all over them. The kind of guys who live in a squat but make the fashion-week scene by virtue of the skag they bring to the parties. Just my favorite brand of shitdogs all in all.

—Broccoli.

The Neapolitan is back with my slice. I hand him three bucks. The goth and the fashion junkies watch the two NYU kids stumble out the door. They push their slices around for another minute, then follow. I sprinkle red pepper flakes on my slice and take a big bite, and sure enough it’s too hot and I burn the roof of my mouth. The pizza jockey comes back and tosses my fifty cents change on the counter. I swallow, the molten cheese scorching my throat.

—I told you not too hot.

He shrugs. All the guy has to do all day is throw slices in the oven and take them out when they’re ready. Ask for one not too hot and you might as well be requesting coq au vin. I grab my change, toss the slice back on the counter and take off after the junkies and the goth chick. Fucking thing had garlic in the sauce anyway.

The NYU kids have crossed the street to cut through Tompkins Square before the cops shut it down at midnight. The trio lags behind about eight yards back, walking past the old water fountain with Faith, Hope, Temperance, Charity carved in the stone above it. The kids reach the opposite side of the park and keep heading east on Ninth Street, deeper into Alphabet City. Great.

This block of 9th between Avenues B and C is barren, as in empty of everyone except the NYU kids, their trailers and me.

The junkies and the goth pick up the pace. I stroll. They’re not going anywhere without my seeing it. What they want to do takes a bit of privacy. Better for me if they get settled someplace where they feel safe, before I move in.

They’re right on the kids now. They move into a dark patch under a busted streetlamp and spread out, one on either side of the kids and one behind. There’s a scuffle, movement and noise, and they all disappear. Fuck.

I jog up the street and take a look. On my left is an abandoned building. It used to be a Puerto Rican community center and performance space, before that it was a P.S. Now it’s just condemned.

I follow the scent up the steps and across the small courtyard to the graffiti-covered doors. They’ve been chained shut for a few years, but tonight the chain is hanging loose below the hacksawed hasp of a giant Master lock. Looks like they prepped this place in advance of their ambush. Looks like they may be a little more than half-smart.

I ease the door open and take a look. Hallway goes straight for about twelve yards then hits a T intersection. Dark. That’s OK. I don’t mind the dark. The dark is just fine. I slip in, close the door behind me and take a whiff. They’re here, smells like they’ve been hanging out for a couple days. I hear the first scream and know where to go. Up to the intersection, down the hall to the right, and straight to the open classroom door.

One of the NYU kids is facedown on the floor with the goth chick kneeling on his back. She’s already shoved her knife through the back of his neck, killing him. Now she’s trying to jam the blade into his skull so she can split it open. The junkie guys stand by, waiting for the piñata to bust.

The other kid has jammed himself in a corner in the obligatory pool of his own fear-piss. His eyes are rolling around and he’s making the high-pitched noise that people make when they’re so scared they might die from it. I hate that noise.

I hear something crunchy.

The chick has the knife in. She gives it a wrenching twist and the dead kid’s skull cracks open. She claws her fingers into the crack, gets a good grip and pulls, tearing the kid’s head open like a piece of rotted fruit. A pomegranate. The junkies edge closer as she starts scooping out clumps of brain. Too late for that kid, so I wait a couple seconds more, watching them as they start to eat, and listening to the other kid’s moaning go up another octave. Then I do my job.

It takes me three silent steps to reach the first one. My right arm loops over his right shoulder. I grab his face with my right hand while my left hand grips the back of his head. I jerk sharply clockwise, pulling up at the same time. I feel his spinal cord tear and drop him, grabbing the second one’s hair before the first one hits the ground. The chick is getting up off the kid’s corpse, coming at me with the knife. I punch the second junkie in the throat and let him drop. It won’t kill him, but he’ll stay down for a second. The chick whips the knife in a high arc and the tip rakes my forehead. Blood oozes from the cut and into my eyes.

Whatever she was before she got bit, she knew a little about using a knife, and still remembers some of it. She’s hanging back, waiting for her pal to get up so they can take me together. I measure the blank glaze in her eyes. Yeah, there’s still a little of her at home. Enough to order pizza and pick out these kids as marks, enough to cut through a lock, but not enough to be dangerous. As long as I’m not stupid. I step in and she thrusts at me with the knife. I grab the blade.

She looks from me to the knife. I’m holding it tightly, blood spilling out between my clenched fingers. The dim light in her eyes gets minutely brighter as something gives her the word: she’s fucked. I twist the knife out of her hand, toss it in the air and catch it by the handle. She turns to run. I grab the back of her leather jacket, step close and jam the knife into her neck at the base of her skull, chopping her medulla in half. I leave the knife there and let her drop to the floor. The second junkie is just getting back up. I kick him down, put my boot on his throat and stomp, twisting my foot back and forth until I hear his neck snap.

I kneel and wipe my hand on his shirt. My blood has already coagulated and the cuts in my hand have stopped bleeding, likewise the cut in my forehead. I check the bodies. One of the guys is missing a couple teeth and has some lacerations on his gums. Looks like he’s been chewing someone’s skull. Probably it belonged to the clown I took care of a couple days ago, the one with the hole in his head who tipped me off to this whole thing. Anyway, his teeth aren’t what I’m interested in.

Both guys have small bites on the backs of their necks. The bite radius and size of the tooth marks make me take a look at the girl’s mouth. Looks like a match. Figure she bit these two and infected them with the bacteria. Happens that way sometimes. Generally a person gets infected, the bacteria starts chewing on their brain and pretty soon they’re reduced to the simple impulse to feed. But sometimes, before they reach that point, they infect a few others. They take a bite, but don’t eat the whole meal if you get me. No one really knows why. Some sob sisters would tell you it’s because they’re lonely. But that’s bullshit. It’s the bacteria compelling them, spreading itself. It’s fucking Darwin doing his thing.

I check the girl’s neck. She infected the others, but something infected her first. The bite’s been marred by the knife I stuck in her, but it’s there. It’s bigger than the others, more violent. In fact, there are little nips all over her neck. Fucking carrier that got her couldn’t decide if it wanted to just infect her or eat her. Whatever, all the same to me. Except it means the job isn’t done yet. Means there’s a carrier still out there. I start to stand up. But something else; a smell on her. I kneel next to her and take a whiff. Something moves behind me.

The other NYU kid. Right, forgot about him. He’s trying to dig his way through the wall. I walk over to him. I’m just about to pop him in the jaw when he does the job for me and passes out. I look him over. No bites. Now normally I wouldn’t do this, but I lost a little blood and I never got to eat my pizza, so I’m pretty hungry. I take out my works and hook the kid up. I’ll only take a pint. Maybe two.

The phone wakes me in the morning. Why the hell someone is calling me in the morning I don’t know, so I let the machine get it.

—This is Joe Pitt. Leave a message.

—Joe, it’s Philip.

I don’t pick up the phone, not for Philip Sax. I close my eyes and try to find my way back to sleep.

—Joe, I think maybe I got something if ya can pick up the phone.

I roll over in bed and pull the covers up to my chin. I try to remember what I was dreaming about so I can get myself back there.

—I don’t wanna bug ya, Joe, but I figure ya gotta be in. It’s ten in the morning, where ya gonna be?

Sleep crawls off into a corner where I can’t find it and I pick up the damn phone.

Interviews

Explorations Interview with Charlie Huston

Paul Goat Allen: Charlie, I have to tell you right off the bat -- in the almost ten years I've been reviewing books for B&N, I don't think I've ever heard as much raving pre-press buzz for one novel. After the wildly successful Caught Stealing and Six Bad Things, what was your motivation for releasing a vampire noir novel at this time?

Charlie Huston: Well, I wish I could say that there was some strategy here, but the truth is that it just kind of worked out like this. After I had finished both Caught Stealing and Six Bad Things -- but months before either had published -- I was looking to sell another book. (That's what happens after your advance money is gone!) There were certain limits on what kind of book I might be able to pitch to publishers at that time without raising the ire of my friends at Random House/Ballantine. Horror was one of them.

As fate would have it, Already Dead was a project I had at the back of a drawer. I fleshed it out, and my agent took it to my editor at Ballantine for a first-look courtesy and, quite unexpectedly, he liked it. The fact that it's being released after I have two straight thrillers already out there is utterly random. So I guess you could say that my motivation for releasing a vampire novel at this time is that I was trying not to starve too much about two years ago.

PGA: One of the beauties of this novel is its cross-genre appeal -- mystery, horror, and dark fantasy fans are all going to be attracted to a story like this. Was that a conscious decision on your part to write a genre-transcendent novel?

CH: Not at first. Initially I had the idea for a vampire story with a kind of tough-guy vamp at its center. Out the gate I was trying hard to avoid many of the standard noir P.I. clichés. At some point I flipped and went for the opposite. I started rereading Chandler and Hammett, actively trying to get that stoic, wisecracking kind of voice in my head. Eventually it started to flow pretty naturally. Embracing some of those hardcore noir conventions has been much of the fun in writing the books so far.

PGA: Speaking of Raymond Chandler, I've read that he called his iconic protagonist, Philip Marlowe, his alter ego. How similar to -- or different from -- Charlie Huston is Joe Pitt?

CH: [We're] not similar at all. Joe is a tough, capable, and pretty damn smart loner who wants nothing from no one. I'm a pushover. I can barely cross a street without being run over; I'm dumb as a stump, can't sleep when my wife is away, and live for my family and friends. But the drinking blood thing and all that kind of stuff, yeah, that's pretty much all me.

PGA: After creating such a memorable realm -- the vampyre underworld of New York City -- and such cool characters, there have to be several more projected Joe Pitt novels in the future, right? (I'm crossing my fingers as I ask this…)

CH: I can assure you at least one more. I've already written a sequel called No Dominion that will come out next year [2006]. If I have my way I'll write a total of five or six. I pitched the Joe Pitt Casebooks as a terminal series. Which isn't to say I plan on killing Joe off at the end. Just that I have a single major story arc that's running through all the books and that will conclude at the end of the series. Each book will also have a self-contained plot that can stand on its own. Like I say, that's the plan. The reality will have to wait.

PGA: When I first read Caught Stealing and Six Bad Things -- and now Already Dead -- I immediately connected with that adrenaline-fueled, ultra-violent, and ultra-graphic pulp fiction narrative style. Did pulp fiction have a dramatic effect on you during your formative years?

CH: Yes, but most of the pulp I was reading as a kid and a teen came in the form of fantasy, science fiction, and comic books. I read a lot of Sherlock Holmes around then, but that was about it for me and mysteries. At some point in my early 20s I read The Maltese Falcon for the first time. I went on a Hammett binge and from there to a Chandler bender. I know it's somewhat more than obvious, but those guys are still the masters. Nothing I've read in the genre since has hit me as hard as they did. And I don't think it's just "first kiss syndrome." You can pick up The Dain Curse or The Long Goodbye today, and they stand just as tall as they ever did.

PGA: Was being a writer always a dream of yours? If not, what were some of your career aspirations?

CH: Truth is, being any kind of writer was never a dream of mine. I have always written, and I was veeeeeery briefly a creative writing major; but the idea of publishing or making a living at it was never something I thought about too much. I remember looking at the submission guidelines for some SF magazines in the '80s, but that's about as close as I came. I spent most of my college years planning to be a teacher before graduating and pursuing an acting career while supporting myself as a bartender -- which tells you right there how the acting career turned out.

If you want a clear picture of how I came into the publishing business, you have to imagine a hapless drunk orphan stumbling into a bad neighborhood he's never been in before and being pulled out of the way of a speeding delivery van by a stranger who turns out to be a rich and generous long-lost uncle who takes him home and makes him his heir. Wait a minute, there might be a story in that…hmm…what if the orphan was hit and killed by the van and the uncle was a mad scientist who put him back together and resurrected him? Dickens meets Shelley! Genius! Someone get my agent on the phone!

PGA: Who are some of your favorite authors now?

CH: Right now I'm reading White Noise by Don DeLillo, who is a longtime favorite of mine. I'm also a fan of Ian McEwan and loved Saturday. Cormac McCarthy makes my eyes bleed and was actually very much on my mind when I was writing Caught Stealing. Not that you'd know that by reading any of my books. Those guys jump right to mind because I've read them all recently. Also on the list, but in no particular order: Jack Womack, Patricia Highsmith, Jonathan Lethem, Chuck Palahniuk, Alan Furst, Elmore Leonard, Richard Price, Charles Bukowski, Graham Greene, William Gibson, James Elroy (but just the L.A. Quartet books and some of his nonfiction), and, or course, Hammett, Chandler, and Hemingway. Hemingway is new for me. I somehow made it through nearly 40 years of life without reading any of his books. What's cool about that is seeing in retrospect the huge impact he had on American prose in general and hard-boiled prose specifically. That clipped, "just the bare facts" style of his became the signature voice of noir fiction. Cool.

PGA: I have to ask: when will fans of Henry "Hank" Thompson be able to get their hands on the sequel to Caught Stealing and Six Bad Things?

CH: The final book in the trilogy is written. It's called A Dangerous Man. My understanding is that it will be released in the fall of next year. In the meantime, I've got a fun side gig with Marvel Comics, writing a series based on their '70s classic "Moon Knight" that will premiere in April 2006. And I update my web journal (www.pulpnoir.com) every week, which includes some behind-the-scenes peeks at unpublished Joe Pitt material.

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