"What is it?"
"This isn't an asking situation. This is a doing situation. Either you're ready or you're not."
A moment of hesitation, then she takes my hand. "Show me."
Vidocq takes her other hand, and I pull them both into a shadow and into the room.
"What is this place?"
"The center of the universe."
"What does that mean?"
"You can go anywhere you want. Any street. Any room. Anywhere. Across town, the moon or Elvis's romper room."
"If you can go anywhere you want anytime you want, why are you always stealing cars?"
"Because ghosts walk through walls. People drive cars."
"Mr. Muninn is waiting," says Vidocq. "We should move along."
I take Allegra's hand as Vidocq touches her shoulder and we all step out onto Broadway together. We're right next to the Bradbury Building. It's late enough that the only people who might see us are a couple of winos and some master-of-the-universe business types so in love with their cell phones that a nuke could go off in their pants and they wouldn't notice.
Allegra looks around and punches me in the arm hard enough that I can tell she means it.
"You shit! You could have done this last night, but instead you made me stab you."
"I didn't think you were ready for it."
"Like I said, if you want girls to hurt you, there's plenty of professionals in the phone book."
The inside of the Bradbury Building is a giant Victorian diorama. It looks like aliens dipped one of Jules Verne's wet dreams in amber and dropped it in Los Angeles. The place is all open space in the middle, with masonry walls and wrought iron catwalks leading to offices and shops.
We step into an iron elevator that looks like a cage for an extinct bird the size of a horse. A couple of guys get in behind us. Grim expressions. Dark suits. Shades that look like they've never been taken off and, in fact, have been soldered to their faces. They wear those things in the shower and when they're fucking their best friends' wives. Mostly the guys in the suits bug me because they give off a whiff of bacon-cops earning a little extra money under the table by working as security guards. They might be off duty, but a cop is always a cop and being caged up with them makes me want to chew my way out of this steam-powered rattrap. The funny thing is that while their presence is sending my blood pressure to Mars and back, their heartbeats are rock steady. So is their breathing. Cops make me nervous at the best of times, but when I've been ripping off people and cars every couple of hours for days, and I'm packing a Hellion knife and an incredibly unregistered handgun, it brings out the bad side of my personality. Vidocq hits the button for the fifth floor. One of the men in black presses the button for three. If either of these guys even blinks funny, I'm going to be painting the walls with livers and spinal cords.
But nothing happens. The elevator hits three; the cops get out and walk away without even looking back. The fucked-up part is that I'm actually a little disappointed. I was so ready for a fight that now that it hasn't happened, I feel like I've been tricked. Teased and let down. I desperately want to break something. It occurs to me that I might still be a little drunk and that the only thing that will cure me is a cigarette or random violence. Or maybe a glimpse of the ugliest furniture in the known universe.
There's a home-decor shop right across the elevator. Some kind of high-end Pier I nightmare selling faux-exotic crap for dot-com cokeheads with too much money and no shame. There are life-size porcelain cheetahs with gilt eyes. Fake antique Chinese furniture. Plasticine Buddhas. Paint-by-number Tibetan thangkas. The sight of the place is the kind of horror that will kill you or sober you up. Fortunately, I'm hard to kill.
Vidocq closes the elevator door and we start up to the fifth floor. Before we get there, he pushes the stop button and the car rattles to a halt. Using two fingers, he pushes the one and three buttons on the elevator keypad.
"What did you just do?"
Vidocq says, "We're going to the thirteenth floor."
"There is no thirteenth floor," says Allegra. "Look at the buttons. This building only has five floors. And if it had more, it wouldn't have a thirteenth floor. It's bad luck. No one would move in."
"If you say so," he says, and pulls out the stop button. The car begins to move down. It stops at the third floor.
"See? We're on three again." Then something moves by the home-decor shop.
The window where the porcelain cheetah stood just a minute earlier is dark and lit only by candlelight. The big window is caked with a century's worth of dust and impacted grime. In the cheetah's place is a bell jar at least six feet tall. There's a woman inside. She's transparent and drained of color, nearly black and white. Her hair and dress billow around her, blown by some invisible storm. She screams and claws at the glass walls of her prison. When she sees people getting off the elevator, she goes quiet and stares at us like a lion tracking a herd of zebra. A second later, she's pounding on the bell-jar glass again and showing yellow, sharklike teeth.
The interior of the shop is dark and crowded and has the musty smell of an attic that hasn't been opened in fifty years. A shadow moves out of the shadows. It's a man. He's small, round, and black. Not the way Allegra is black, but black like a raven or an abyss. He's wearing an expensive-looking silk robe and holding a brass telescope.
"I see you've met my Fury," he says. "She's a very recent acquisition from Greece. Of course, I've had all three Furies at one time or another, but never all at once. That would be a coup." I look back at the Fury and out the dirty window. Women in business clothes and men in suits and carrying attache cases pass, completely unaware of the Fury and the strange store.
"Nice to see you all," says Mr. Muninn. "I was beginning to think that you'd forgotten about me."