when he's hungry."
" 'Bye, Kitty," I said, half wishing the cat would follow me instead. I'd put out a saucer of milk, buy a can of tuna, make a little bed in the corner. Pale Guy continued on his way, Kitty in tow, tail hoisted high. I guess they've seen enough guests come and go not to bother. Pale Guy and Kitty were nuggets, though, not gold, but solid pieces of the texture of the hotel. I looked down and saw the rosemary right there at my feet. I bent to pinch a stem, thinking, as I always do when I pilfer flowers, if everyone did this there would be none left.
The Hotel Muse is old by Hollywood measure, a nightclub originally, from the late '40s, featuring acts better suited to a cir cus sideshow. The hotel was added later. Halfway up the hill is the upper part where we are situated— modest cousin to the main hotel on the avenue. It's the director's whim that his wife and principal crew (mostly imports from the East Coast) be installed up top, forming a kind of colony. Andre likes the availability of his people grouped together, but there are fewer amenities up top. Be low, the pool is heated; Turkish bathrobes, wireless, DVDs, and cable are provided— perks for those who prefer sanitized luxury. With us scruffier sorts above, services are hit- and- miss; no DVDs or wireless. Internet and breakfast are had by trekking downhill to the main lobby area, laptop in tow. The lobby is small so most mornings Internet users from uphill gather around the pool, rain or shine, chill or warm, huddling under patio umbrellas. I've noticed a number of German film types at breakfast. They talked loudly on Skype as they pace, necks swathed in scarves, woolen caps pulled low.
Andre's quirks usually pay off. I like his crew, and the arty types up here, for once inheriting the earth— or the spectacular view, anyhow. Our outsized, east- facing balcony overlooks a coral tree where wild green parrots squawk and screech each morning among the bright red flower petals. The landscape reminds me of the south of France, houses and villas tumbling steeply down the hills in a hodgepodge of styles, an architectural balancing act. The view to the right veers neurotically into L.A.'s urban sprawl and the sudden verticality of downtown. Straight ahead I can see the gray dome of the Griffith Observatory. On mornings when fog or the yellow- brown curtain of smog lifts, the San Gabriel Mountains are visible, snow- capped and reassuring in the distance. Brown- dotted hills segue into mountains in snow, urban and wild in the same snapshot. I hear there are lions in those mountains. I look out each day and imagine the city living on borrowed time, that the earth under Hollywood will someday shift and shrug houses and people, the observatory, trees, birds, coyotes, squirrels, cats, snakes, and everyone's dreams off the hills into the yawning abyss.
Another day has passed— faded meaninglessly into evening. I went outside for the sunset. The wind and chill were sharp up at the benched pavilion. Someone had taken a rake to the grounds; the condom was gone, and the narrative seemed lost without it. Over my shoulder a stream of distant planes flowed silently from the east, into LAX. To the west a slip of the Pacific Ocean shone like a piece of broken plate under a limpid sky. When the earth finally does shake the hills loose, the ocean will flood the coast and slimy sea monsters will roam the earth, lapping at the fallen city's face.
That's what I was imagining when I saw that the old gray man and his dog were back. He's been there every evening I've come up. He stood below the condom pavilion, at the top of the restaurant parking lot. His dog, an ugly black- and- brown pit bull, stared up at me. The grizzled man never turned my way, if he knew I was there. I made a friendly little click toward the dog, who continued to stare. I thought the old man had libation with him, a jar with purple remnants, communion with the setting sun. He was not a guest but arrived by a narrow path through the undergrowth outside the chain- link fence, past the pool. I'd thought of disguising scotch in a coffee mug to carry with me as I bade the day adieu but had decided I'd reward myself when I returned to the rooms, chilled from my own sunset homage.
Walking back toward the pool I heard voices, customers from the restaurant, the cocktail hour officially on. Asian tourists held cameras, peered toward the west, murmuring their pleasure; a night out on the town, living it up, spending plenty of yen. I wanted to slip out of sight (tricky since they were above me with a clear advantage), feeling like the old man, pretending I was alone to keep the moment to myself. I had a friend once— no, he was a writer pal of Joe's, a lanky poetic type who said I was a hoarder of moments. Maybe that's true. As I turned at the waterfall at the top of the stairs, heading down to my rooms, the kitty ran out in front of me.
" Where did you come from?" I said, bending to pet him. His purr was a minor roar. He sidled along my legs, rubbing around and back again. "Want to come home with me?" I asked, kneading my fingers through his thick fur. He followed as I veered back to the pool, then ran up a squat tree with perpetually shedding purple flowers, showing off. I watched for a few minutes, but he didn't follow when I turned to go.
Back at the rooms I poured myself a proper scotch— two ice cubes— into one of the glasses I'd purchased for the purpose. I went out to the balcony, the cashmere shawl Andre had given me the previous Christmas over my shoulders, Mexican- serape style. The last orange traces of sun were leaving the tops of the hills, the houses below already deep in shadow. The observatory held the golden glow longest, and then it too dimmed to a colorless form. I saw, across the hill, that the man was there in his garden.
I have been watching the man. I call him White Shirt because white seems to be his preference. His house is perched on the hill pretty much dead opposite my balcony, on the other side of a steep arroyo. It's French country style with a blue front door. I'd trade a toe for my binoculars back in New York. I could buy a pair here but that seems as if it would be cheating. My method of hotel discovery is slow, hints here and there, bits of life: an outdoor umbrella shifted, soft illumination from a nighttime window, the glow of a television or computer screen flickering in the middle of the night. I tried to drive up White Shirt's hill yesterday but got lost winding my way, ending up on Mulholland, at the top of Runyon Canyon. I parked the car in the small unpaved lot. A sign at the entrance warned of rattlesnakes. I walked alone along a dirt trail in the baking- hot sun until I came to one of the pinnacles. I could have been anywhere; the view shifted from angle to angle and felt foreign. Nothing was clarified, but I'm in no hurry. Things reveal themselves in their own time, time being a commodity I currently have to spare.
White Shirt was the first sign of life on that side of the hill. There is another house, a large two- family Spanish style. I look down on its backyard, where a lollipop- shaped tree is lit up each night with white lights. There was a cocktail party one evening on the patio, which I enjoyed watching, but the people in that house don't interest me. There is a chewable normalcy to the "Spanish Heights" house, something too obvious. White Shirt does interest me. His house is on the other side of the street from the Spanish Heights, and his yard is a square, grassy plot on top of his garage. One of the garage doors— white flap- downs— is broken; a dim light stays on all night over a white sports car.
White Shirt is home a lot. So am I. I watch him as David watched Bathsheba, though so far I am not lusting. Without binoculars I can see only that he is tall and slim with a full head of light brown hair. He must know he faces a hotel with large balconies; he must know he can be seen. In the Bible story David was supposed to be at war with his men; it was spring, the time kings went to war. Full stop. Why would kings, as a matter of course, go to war in the spring? Anyway, David was up on his roof prowling in the wee hours, and Bathsheba was up on hers having a late- night bath. Did a full moon illuminate her wet alabaster skin? Why was she bathing at that hour? Were they both insomniacs? Her husband, Uriah the Hittite, was at war, where David ought to have been instead of spying on bathing women. He sent one of his servants to invite her over. He was king, so his was probably an invitation one literally could not refuse. What did he want? Come lie with me, Mrs., we will have a grand old time.
The Bible doesn't bother with her take on the situation, other
than mentioning that Bathsheba cleaned herself after the act. We are not told if she tried to beg off with a headache or if she was flattered; after all, this was David who slew the giant, handsome, powerful King David. Did she love her husband? Uriah was a dedicated warrior; perhaps she felt neglected. Soon after David lay with her, Bathsheba let him know she was with child. David hadn't thought of that, apparently, but he figured he'd bring Uriah back from battle and pin the child on him. Go to your house, he told Uriah after faking a query about how the war