Piled high with bodies.
Back rooms crammed with them. Trucks hauling away the dead. I think about Coalition and Society and Hood and Cure at one another’s throats. I think about it spreading to Brooklyn and the Bronx. I think about hunting parties of Van Helsings drawn by the chaos. And then organized hunting parities of soldiers and police.
I think about the future.
You can’t hide from it. Dig a hole of your own, climb in, pull the dirt in over you, and the future will burrow up beneath you and pull you deeper.
You can’t hide from the future.
But like most everything else, if you hate it enough, you can kill it.
And I hate it plenty right now.
I take off my jacket and go through the pockets, moving my few possessions to my pants.
—Yeah, I got to go.
She doesn’t look away from the books.
—Yeah.
I hold out the jacket, the one she gave me on a fake birthday years ago.
—Hang onto this for me?
She looks at it.
—Seen better days.
I snap my Zippo open.
—I still like it.
She takes the jacket from me.
I light up.
—And I’ll be back to get it.
She shakes her head.
—Joe, you shouldn’t bother.
I blow smoke.
—Baby, you don’t want me now, I’ll go. But I’m coming back.
She shakes her head again.
—Joe.
Smoke gets in my eye, blinding me for an instant.
—Evie. I started a war so I could see you.
I rub the smoke from my eye.
—You being pissed at me isn’t gonna keep me away.
She almost smiles. But doesn’t, not really.
Instead she tears some of the lining from inside the jacket.
—Come here.
I go there.
She reaches up and ties the strip of black cloth so that it covers my dead eye.
—Now, go Arrghh.
—Arrghh.
She nods.
—There. You’re a pirate.
And she kisses me.
Bitter.
But a kiss all the same.
—Whoa, whoa, that’s it, you’re just walking out?
I stop walking out and look at the Count.
—You want to make something of it, now’s the time.
He points up at the lofts.
—After all the time you spent up there with her nibs, I thought you might have got her to see some realities.
I look up there.
—She sees the realities.
I shrug.
—She just doesn’t like them.
He frowns.
—Then why doesn’t she just get out?
I adjust the patch she put over my dead eye.
—Near as I can figure it, she thinks you’re a psycho and she wants to stick around to make sure you don’t do anything too fucked up.
He flexes his toes. One of the bones jutting from his bad foot scrapes the concrete floor.
—Make sure I don’t do anything too fucked up. Bitch is begging to see some fucked-up shit she don’t get out of my face in here.
I look at that ruined foot.
—Know what I think every time I see you, Count?
He puts his hands on his hips.
—What’s that?
I scratch my head.
—I think to myself, Why the hell haven’t I killed this asshole already? And then I remember, Oh yeah, there’s no rush, I can always do it another time.
He nods, cocks his head, cups a hand to his ear.
—Hear that? You hear that, man? That ticking sound? Know what that is?
He takes his hand from his ear and starts swinging it back and forth like a metronome.
—That’s your time running out.
He slows his finger.
—Now, I don’t know exactly how much is left on it, but it’s close. See, you got exactly two uses to me. Once those are done, so’s your time.
He holds up his other index finger.
—One, you crapped out on. I mean, why the fuck do you think you’re here, man? That crazy bitch is your chick. If you can’t talk some sense into her, then I don’t know what. So that’s Use Number One down the shitter.
He holds up another finger.
—Use Number Two is what I said before, about a field general. Which, from what attitude I’m getting here, is a job you’re clearly not interested in.
—Always quick on the uptake, that’s you.
His finger stops swinging.
—Ding!
He shakes his head.
—Time’s up.
I find a cigarette.
—Is that the sound it makes when your time is up? Ding? Talk about an anticlimax.
—You should have just collected your chick and got out, man.
I put flame to cigarette.
—Count.
I drop my voice to a whisper.
—You might want to stop talking shit before it gets you in too deep.
He puts his face in mine.
—You can’t take me, man. Not anymore. I’ll have your heart in my hand and be chewing on it before you stop breathing.
—No doubt, no doubt. But let me tell you a secret.
I put my mouth next to his ear.
—That girl up there, she still loves me.
I lean back and nod.
—Yeah, hard to believe, huh?
I raise a hand.
—Now I’m not saying she’s all weak-kneed about me, but she still has the feeling. I can tell.
His eyes flick at the lofts.
I take a drag and nod.
—That’s right. You kill me, she’s likely to stop just sitting up there keeping an eye on things. She might decide that this is the right time to come down here and settle some shit.
If he had eyebrows, they’d be pulled together.
—Doesn’t matter. She’s only got a handful behind her.
I tap my forehead.
—You sure of that?
Our eyes meet up.
—What I’m asking is, You sure when push and shove go at it that you got your supporters all locked down? You sure some of them might not go over to the other side if things came to the big chop-sockey in here? Mean, when the limbs start flying, there’s no telling which way some people might jump. And saying you carry it off, what do you lose? Daniel, he was top dog here for how long? Ever hear about internecine bloodshed on his watch? How long after that before serious doubts are raised about the quality of your leadership, O chosen one? Speaking of which?
I tap his chest with my fingertip.
—I ever tell you about how Daniel was always hinting that I might be the right guy to follow him?
I look over at the Enclave away in the shadows.
—Some of these guys know. Maybe, here’s an idea.
I point at the stairs to the lofts.
—Maybe I should stay. Might be cozy. Me and her up there, you down here.
I drop my smoke on the floor between us.
—Or maybe you should back the fuck off.
I grind the cigarette under my boot.
—Before you embarrass yourself in front of your people, making threats you’re not gonna move on just now.
I turn away and start for the door.
—Don’t lose the suit, Count, it’s you.
He starts after me.
—Uh-uh. Hang up, toughguy. You don’t get last words in this place.
He raises an arm, circles it over his head.
—This is my house. And there are rules. And you need to be schooled in one of them.
He raises his voice, the sounds of sparring dying as his words echo.
—Like, OK, you don’t want to make the scene. You don’t want to stay and add your name to mine. You don’t want to lead the troops when they hit the
streets. Basically, you just don’t want to help me. OK, cool. I’d be lying if I said I was surprised. Like, I thought you’d take your girl with you, but I know she’s changed and so maybe she doesn’t do it for you anymore. OK. But leaving here, that’s not a casual thing. You’re either Enclave, or you’re not. You’re either in here with us, or you’re not. The open-door policy, that is closed. No in-and-out privileges anymore. No one gets their hand stamped with a big E and gets to come and go as they please.
I’m at the door.
He arm-bars me.
—Like you got banished once, down the sewer, and how you got out I do not know, but this time it’s final. You go out, you don’t come back.
He shakes his head.
—Not for her. Not for no reason. Gone. And how we settle our differences in here, the chick and me, that will happen without your help either way.
I scratch the back of my neck.
—The way I know that girl, anyone’s gonna need help in here, it’s gonna be you.
We stare.
And he blinks first.
Which is a relief to me and my handful of bluff.
The last of the clubbers are inside. Daylight’s trying to catch me out.
What the fuck now?
A rat rattles some trash cans and I sniff the humid air and smell the rat and kick the cans aside and pick it up by its scruff.
—Hey, Joe, what’s up?
—Phil.
I let him go.
—Funny place to find you.
—Well, just a coincidence. I happened to be in the area to conduct some business.
I put an arm over his shoulder.
—Strange you should mention this business that you were conducting. It seems someone ratted me to the Count.
He shivers with outrage.
—What? A rat? Who, Joe? Tell me who it is and I’ll take care of it for ya.
I pat his arm.
—It’s a nice thought, but I wouldn’t want you to go jumping in the river with your neck tied to a sewer grate on my account.
He flinches.
—Um, yeah, that, that’s not my style. Um, Joe?
—Yeah, Phil?
He puts his palms together.
—There something I can do to get this over with quick? Like, can I just run in front of a cab and take my lumps and we call it even? As opposed to you cutting off my nose and all, I mean.
I give him a little shake. No old ladies’ purses fall out of his pants legs, which is a bit of a shock.
—Cut you? Not gonna happen.
He wipes his forehead.
—Honest? No cutting?
—No cutting.
He smiles, pats me on the chest.
—Ah, that’s great, that’s just great.
He grins, skips a couple times.
—Well ain’t that a beautiful thing.
He plucks a cigarette from the pack I offer him, winks.
—Ya mind me askin’ what ya been up to, Joe? Not that I’m being nosy, just that I’m always curious about what my friends are up to.
I light his cigarette for him.
—I’ve been getting into trouble, Phil.
He laughs.
—So the usual, huh?
—Yeah, the usual.
He swallows.
—Say, Joe, ya don’t mind me sayin’, you’re acting kind of weird. Like, not cutting me and all. Makes a man think that maybe you’re waiting to lower the boom on him.
He bites the tip of his tongue.
—You sure we’re OK here?
I pat his shoulder.
—Yeah, we’re OK. See, you got something I need, Philip.
He clutches his throat.
—Aw no, Joe, not that.
I shake my head, curl my arm around him again.
—Easy, easy. All I’m talking about is your big fucking mouth.
His hand covers his mouth.
—Joe, no, I swear, I never sold you out, not once never.
—You sold me out so many times, Phil, you should be paying me royalties.
He makes to talk again and my razor flips open. I hold it across his mouth.
—Just hush a minute and listen.
I smoke.
—I’m going away, Phil. I came back, and now I’m going away.
I tap the middle of his forehead.
—And I want you to make sure everyone knows it. See, I made a mistake coming back. There’s nothing for me here. Nothing but trouble. And I don’t swing the weight I used to. Can’t take the heat. So I’m going away. Joe Pitt is out of play. Gone. Crossing the water and taking his chances. Anyone has a score to settle, they missed their shot. Color me gone, Phil.
I take him by the ear.
—’Cause the only thing that will bring me back is if I hear you didn’t do as I said. I’ll come back and we’ll assume this position again. And I’ll make your big mouth a whole lot bigger.
He starts to nod, scrapes his lips on the blade, freezes.
I shake my head.
—Now I’m gonna hit you.
He rolls his eyes.
I nod.
—I’m doing it to knock you out so you don’t see where I head off to. Not so hard that I’ll break your jaw or any teeth, but I’m gonna put you to sleep.
I fold the razor away.
He wipes his mouth.
—Jesus, Joe, I could just close my eyes.
I flick my butt away.
—Shut the fuck up, Phil, you’re getting off easy.
He covers his eyes with his hands.
—If you say so. Just get it over with.
I cock my fist.
—Hey, Phil, is that your dealer?
He uncovers his eyes.
—Where, where?
I punch him in the face and break his jaw and a couple teeth and he’s down.
I wipe his blood from my fingers as I walk to the middle of the street and look to the next block. I see what I want and head that way.
I keep my feet moving, my eyes forward, fighting the draw of the building behind me, a force that drags on me, pulling open a wound as I move farther away.
Figure it’s life. Figure we all got one. Figure how you gamble yours is nobody else’s nevermind.
She says she doesn’t know who I am.
Well I can’t help her on that score.
Figure the wound is just as raw whoever I am.
Figure I could have said more. Told her where I came from. Who birthed me. What I was like when I was a kid. What school I dropped out of. My whole curriculum vitae.
Figure I could have gone over all the years we had together. Cut open every one. Told her what I was thinking and when. Why I told every lie. What they cost me to tell. What I hoped they were buying me.
Who’s got time to waste in that? A catalogue of lies.
Bottom line.
You want something to be safe, you pay a price.
And that’s the deal in the end. She’s safer in there than she is out here.
In there, she’s got people who got her back. Out here, she’s only got me. And once Predo starts sniffing after what I’m here for, he’ll find her. He’ll smell her like my blood in the water, and go straight to her.
And I won’t be able to stop him.
She’s safe inside. Safer, anyway. And anything I could have said to talk her into leaving would just have dragged her into the middle of something out of all control.
But that doesn’t change a fact.
Letting her tear loose leaves a wound.
That wound don’t close. No reason it should.
Wound like that, if you want to not feel it, you better have something planned to keep your mind off the pain.
I come to the next block and kneel in the street and work my fingers into the slots at the edges of a manhole cover and pull it free.
I look down the hole, and I think about the other hole.
A war.
Such a thing, you got to be on one side or the othe
r. You got to know what you want, or get caught in the flames.
I smoke, kick a bottle to the gutter, spit, and smoke some more.
Kill the future.
Save the lost.
Choose a side.
I start down the hole. Burying myself. Away from what I want. But close enough. Close enough to protect it.
Close enough to feel it.
Love above me, shuttered away, pulling, pulling me still.
A gravity that can’t be broken.
No matter who I am.
ABOUT THE AUTHOR
CHARLIE HUSTON is the author of the Henry Thompson trilogy, the Joe Pitt casebooks, and the Los Angeles Times bestseller The Shotgun Rule. He is also the writer of the re-launched Moon Knight comic book. He lives with his family in Los Angeles.
ALSO BY CHARLIE HUSTON
The Shotgun Rule
In the Joe Pitt casebooks:
Already Dead
No Dominion
Half the Blood of Brooklyn
In the Henry Thompson trilogy:
Caught Stealing
Six Bad Things
A Dangerous Man
Every Last Drop is a work of fiction. Names, characters, places, and incidents are the products of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
A Del Rey Books Trade Paperback Original
Copyright © 2008 by Charlie Huston
Maps copyright © 2008 by David Lindroth
All rights reserved.
Published in the United States by Del Rey Books, an imprint of The Random House Publishing Group, a division of Random House, Inc., New York.
DEL REY is a registered trademark and the Del Rey colophon is a trademark of Random House, Inc.
LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA
Huston, Charlie.
Every last drop: a novel / Charlie Huston.
p. cm.
“A Del Rey trade paperback original”—T.p. verso.
1. Pitt, Joe (Fictitious character)—Fiction. 2. Private investigators—New York (State)—New York—Fiction. 3. Vampires—Fiction. 4. Manhattan (New York, N.Y.)—Fiction. I. Title.
PS3608.U855E94 2008
813'.6—dc22 2008026441
www.delreybooks.com
eISBN: 978-0-345-50965-9
v3.0
Every Last Drop Page 22