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That’s more interesting than a two-headed calf singing “Some Velvet Morning” in tight harmony. I have about a million questions, but most aren’t real discreet. I go with the easiest.
“Are they like you? Live in caverns and know everything about everything?”
Muninn shakes his head, lost in thought. He stares at the green liquor bottle.
“I have four brothers, and no, none live in caverns. None of us is even the slightest bit like the others. I haven’t seen any of them in years. Centuries. Occasionally I miss them, but the truth is that I have no real interest in tracking any of them down. I daresay they feel the same thing about me.”
No one says anything. We’ve hit into one of those weird silences that happen when someone drops something too real into the middle of a conversation that should just have been about drinking and patting ourselves on the back. Somehow, while we were talking, Muninn has opened the box and extracted a scroll from the scarab. I pick it up.
“What’s so special about this that we had to bust open Fort Knox to get it?”
Muninn’s eyes lighten. He smiles.
“Yes, that. The scroll is for a gentleman in, let’s say, investment banking. A man like that can do extraordinary damage to his soul. Maybe even several souls. He is always on the market for new souls to wear until he ruins them too. Even L.A.’s many soul mongers can’t keep up with him. The price of souls is going up for everyone. And Los Angeles is a town that needs all the souls it can lay its hands on.”
“So, the scroll is a soul?”
“No. It’s a bit like . . . What do you call the elixir that restores hair?”
“Rogaine?”
“Yes! Rogaine for the soul. It restores and replenishes the user’s original umbra. A re-souling will last him a year or two I hope. Buyers can become testy when they want a new soul and you have to tell them that the cupboard is bare.”
“Suddenly I don’t feel so bad about my life.”
Vidocq says, “If you feel so good, why not come take a trip with me tomorrow?”
“Another job?”
“That’s for you to decide. I sometimes do work for a private investigator. Today she called and asked about you. She has a job that she believes you would be perfect for.”
I finish my drink and smile.
hat="0">“Get mixed up in a total stranger’s problems for no good reason? Sounds like a scream, but I think I’ll pass.” “Maybe doing something for a stranger will settle down your angel,” says Muninn.
The moment he says it, the haloed bastard starts squirming around. It tickles the inside of my skull and not in a good way. I try to push him back into the dark, but he smells a hero moment and won’t budge.
“And there’s my poor, abused knee,” the old man says, patting his leg. “You owe me for tossing me through a window tonight.”
I turn from Vidocq to Muninn.
“Never save a Frenchman’s life. He’ll hold it against you for the rest of yours.”
I look at Vidocq and screw up my face into the least sincere smile I can make.
“What the hell? I haven’t done anything truly stupid in weeks.”
THE BEAT HOTEL is in a typically glamorous area, near the corner of Hollywood Boulevard and North Gower.
Across from the hotel is the Museum of Death, a fenced gray bunker with a ten-foot painted skull out front. Next to it is the long-dead Westbeach Recorders, an empty studio local acts used to record and where Pink Floyd recorded part of The Wall (I believe that like I believe Jesus invented chili dogs). Down the street a car dealership is dying in the desert sun, the parboiled cars like beached fish carcasses slowly cooking to squid jerky. A couple of strip malls and empty parking lots on the corner. The front of the Beat Hotel is painted a pale industrial green. Maybe green paint was on sale that day or maybe it’s supposed to be ironic. I’ve never been sure.
If any of this makes you think I don’t like the Beat Hotel, you’re wrong. It’s like a cross between a seventies swingers no-tell motel and the kind of hipster hot spot where rock stars stay when they don’t want to be seen bringing home good smack or bad strippers. The rooms are comfortable in a Zen halfway-house kind of way. But the kitchens are decorated in bright primary-colored vinyl like a Playboy-chic burger joint. The place looks like where David Lynch would meet Beaver Cleaver’s mom for secret afternoons of bondage and milk shakes. I love it.
Kasabian and I have been there about three weeks. I rented us a room for the month. At the end of the month I’ll probably do it again. You’re not supposed to stay for more than a week, but I pay the right people to change my name on the registry so it looks like someone new moves in every Saturday.
I had to get out of Max Overdrive for a while. All the rebuilding going on after the zombie riots—the saws and hammers and especially the stink of new paint of new was making me feel kind of stabby. None of it bothered Kasabian, of course. He’d put on headphones, crank up the volume on Danger: Diabolik, and peck away on his computer. The smell didn’t bother him because he doesn’t have lungs, so he doesn’t breathe.
Kasabian and I have a lot in common. Like me, he’s a monster; only he wasn’t born that way. I made him one when I cut off his head with the black bone knife I brought back from Hell. The blade that didn’t let him die. Now he’s a chain-smoking, beer-stealing pain in my ass. To get specific, Kasabian is a head without a body. And he won’t shut up about it. He gets around on what to a civilian would look like a polished mahogany skateboard with a couple dozen stubby brass Jules Verne legs underneath. Really, it’s a hoodoo-driven prosthetic for a guy who’s wandering around with nothing but a bad attitude below his neck. It’s his own fault. When I came back from Hell, the idiot shot me, so I cut off his head. It seemed like a good idea at the time. Now I’m stuck with him. We’ve gotten as used to each other as a couple of monsters can be. But I’ll never get used to a roommate surfing around on a magic plank like a beer-swilling Victorian centipede.
