Devil Said Bang (Sandman Slim 4)

I really was planning on coming back when I found some hoodoo that would let me stay in real L.A. while saving Hell from burning. Now I know I can’t ever come back. If I do, I’ll never leave. I won’t grow horns or hooves, but if I come back, I’ll never stop being Lucifer and it will prove what I’ve always secretly suspected. Hell didn’t make me a monster. It just confirmed all my worst fears about myself.

I rev the bike, pop the clutch, and burn rubber down the driveway, past the gates, and onto the street. The hellhound pack sprints behind. After a couple of blocks, they catch up and fan out around me. We blitzkrieg traffic off the roads and pedestrians off the streets. We tear up the asphalt, burst store windows, and rip the bumpers from idling trucks. Unlike the troops at the palace, these haven’t figured out I’m deserting their sorry asses. They scream and fire their weapons into the air like it’s New Year’s as we blow by.

I head to the 405 entrance at Wilshire. There’s less than a mile of freeway left but that’s plenty. I crank the throttle until the bike’s engine glows cherry red. The hellhounds can’t keep up. They begin to fall back. I hear them howling and baying above the noise of the engine. They’ll be okay. They have the run of the palace now, and if no one feeds them, well, they’ll just have to dine on whatever meat they can find.

This is it. The end of the road. A hundred yards ahead, the city spreads out below the thicket of jagged rebar that marks where the freeway has collapsed. I get low in the saddle. Every time we hit a pothole, Lucifer’s armor collides with the gas tank and kicks sparks into my eyes. I’m blasting down a broken road toward the heart of a half-dead city with fireworks burning my face. Whatever happens next, it’s a hell of a trip.

Jetting off the end of the freeway, the universe goes quiet and a ghost melody fills my head. “The Girlfriend of the Whirling Dervish” by Martin Denny. Carlos’s favorite song on the jukebox at the real Bamboo House of Dolls. I picture home but I’m still in Hell. What am I doing wrong?

The front of the bike noses down toward the rubble.

Did I use up all the armor’s power on Brimborion?

Wouldn’t that be a hilarious goddamn end to everything?

The ground comes up fast. “The Girlfriend of the Whirling Dervish” mixes with the rising sound of the engine. What did I expect? Fucking up is my true home and I’m heading there fast.

I wish I had a cigarette.

Then there’s nothing at all.

Then there’s something.

The front wheel hits pavement. A rush of vertigo. Lights. Smeared and jittering. The nothing parts like heavy curtains. Or a trapdoor.

The rear wheel drops. The impact is like being rear-ended by a battleship. I can’t hold the bike. So I lean it to the side. Lay it down and let it slide. Ten or twenty yards. The asphalt grinds against my legs but the leathers hold. I’m not so sure about the coat. Have I mentioned I’m hard on clothes?

When the bike finally stops, it’s sliced a deep groove in the roadbed. I grab the handlebars, get my weight low, and tilt the bike upright. It’s not even scratched.

Welcome home.

It feels good to say it and mean it. How do I know? The place doesn’t smell like bad meat and misery. The sky is clear and full of stars. Clue number three: the bike’s stopped right in front of the Hollywood Forever Cemetery. Tombstones never looked so good.

A big screen is set up by the columbarium. People sit and sprawl on blankets among the dead. Movie night at the cemetery. It’s not as weird as it might sound. On Día de los Muertos, families offer food and eat meals with their dead. In Hollywood, we show up with offerings of cowboys and show tunes.

Tonight we’re entertaining our favorite stiffs with a pristine print of The Bad Seed. Pigtailed moppet Patty McCormack just set Leroy the janitor on fire and her mother and best friend watch him burn from an upstairs window. How are you enjoying the movie so far, dead people? We could have shown The Sound of  Music but we thought we’d scare the last few scraps of coffin jerky off your bones.

I’m back on the bike when I notice a kid by the cemetery gates. A girl in a frilly blue party dress. Maybe nine or ten years old and she’s all alone. Who brings their kid to a murder movie in a graveyard drive-in and lets her run off alone? Hell, who brings their kid to one of these things at all? The place is half stoners and speed-freak hipsters. The moment the show is over the whole block will turn into one big bumper-car ride.

The kid doesn’t move. Just stares at me until she realizes I’m staring back. Then she turns and runs through the cemetery gates. I can hear her laughing all the way across the street. With an attitude like that, she’s going to grow up and start a mind-blowing band or become a serial killer. I flash on Candy: that could have been her years ago bouncing into Hollywood Forever, a tombstone Disneyland for kids too carnivorous for teacup rides and cotton candy.

I step on the kick-starter and the bike fires up on the first try.

First question. Where’s Candy? No way she’s at the Beat Hotel anymore. What’s the second choice? L.A. is a lot to take in when it’s not on fire. I can’t get used to seeing the sky. I need to get my bearings and screw my head on straight.

I’m starting to feel just a little conspicuous on this Hellion hog, with a headlight that could blind the space shuttle, no driver’s license, license plate, title, or insurance. Not that I ever had any of those things. But now I don’t have them and I’m on an illegally imported foreign motorcycle. Back on Earth thirty seconds and I’m already a felon. Welcome home, shithead. I’ll stick to the side streets for now.

I cross Hollywood Boulevard and pull the bike into the alley next to Maximum Overdrive video, the store where I lived with Kasabian. Kasabian used to be dead. I know because I cut off his head. It’s where I’ve been staying since I got back from Hell the first time, which makes it the closest thing I’ve had to a home in eleven years.

A man and a woman walk by holding hands as I turn into the alley. It looks like they’ve been picnicking by a coal-mine fire. Their hands and faces—every exposed patch of skin—is smeared with gritty dirt, but their clothes are clean and pressed. I’ve never see two dirtier clean people in my life. They catch me looking at them and cross to the other side of the street.

The alley by Max Overdrive is a snowdrift of junk. The Dumpster overflows with plastic trash bags and food cartons. There are enough broken bottles that the alley looks like a salt plain. I don’t think the garbage has been picked up in weeks. I steer the bike and park in the Dumpster’s shadow.

In the old days I’d use the Key to the Room of Thirteen Doors to walk into the store through a shadow but Saint James has that. I take the duffel off the bike, get out the black blade, and slip the tip into the door lock. One turn and it clicks open.

Inside, the place stinks of paint. The floors and display stands are covered with plastic drop cloths, but there’s a fine layer of dust on them. No one’s done any work in a long time.>I step around the hexes in the floor. I should have told Semyazah about them but he’s a smart guy. He’ll send in another smart guy to check the place out first. With any luck, he’ll be smart enough to look before he leaps. If not, it will be just one more Hellion watercooler story. Did you hear the one about Phil’s head exploding in the library?

I open the false bookshelves, lock them from the inside, and go down the stairs.