Prince Lestat: The Vampire Chronicles

by Anne Rice

  Mostly, he fell apart, disintegrated, lost things, woke up in strange bedrooms, got sick with tropical fever, or from bad food, or from drinking himself into a stupor. He had no respect for this raw, mad, essentially colonial town. It wasn’t Paris, this disgusting American place. It might as well have been Hell for all he cared. If the Devil kept pianos in Hell, what did it matter?

  Then Lestat de Lioncourt, that paragon of fashion, who lived in the Rue Royale with his trusted friend Louis de Pointe du Lac and their little ward Claudia, had come into his life with his fabled generosity and swaggering abandon.

  Those days. Ah, those days. How beautiful they seemed in retrospect, and how raw and ugly they had been in fact. That crumbling city of New Orleans, the filth of it, the relentless rains, the mosquitoes and the stench of death from the soggy graveyards, the lawless riverfront streets, and that enigmatic gentleman in exile, Lestat, sustaining him, putting gold in his hands, luring him away from the bars and the roulette wheels and urging him to pound the nearest keyboard.

  Lestat had purchased for him the finest pianoforte that he could find, a magnificent Broadwood grand, shipped from England, and played at one time by the great Frédéric Chopin.

  Lestat had brought servants to clean up his flat. Lestat had hired a cook to see that he ate before he drank, and Lestat had told him that he had a gift and that he must believe in it.

  Such a charmer, Lestat in his elegant black frock coats and glossy four-in-hands, marching up and down on the antique Savonnerie carpet, urging him on with a wink and a flashing smile, his blond hair bushy and rebellious down to his crisp white collar. He smelled of clean linen, fresh flowers, the spring rain.

  “Antoine, you must compose,” Lestat had told him. Paper, ink, everything he needed for his writing. And then those ardent embraces, shrill and chilling kisses when oblivious to the silent and devoted servants they lay in the big cypress four-poster bed together beneath the flaming red silk tester. So cold Lestat had seemed yet so rampantly affectionate. Hadn’t those kisses now and then hurt with a tiny sting like an insect biting into his throat? What did he care? The man intoxicated him. “Compose for me,” he’d whispered in Antoine’s ear, and the command imprinted itself on Antoine’s heart.

  Sometimes he composed for twenty-four hours without stopping—never mind the endless noise from the crowded muddy street outside his windows—then fell down from exhaustion to sleep over the piano itself in a stupor.

  Then Lestat in those shining white gloves and with that glistening silver walking stick was there blazing before him, face moist and cheeks ruddy.

  “Here, get up now, Antoine. You’ve slept enough. Play for me.”

  “Why do you believe in me?” he’d asked.

  “Play!” Lestat pointed to the piano keys.

  Lestat danced in circles as Antoine played, looking up into the smoky light of the crystal chandelier. “That’s it, more, that’s it …”

  And then Lestat himself would flop down into the gold fauteuil behind the desk and begin writing with superb speed and accuracy the notes that Antoine was playing. What had happened to all those songs, all those sheets of parchment, all those leather folders of music?

  How lovely it had been, those candlelight hours, curtains blowing in the wind and sometimes people gathered on the banquette below to listen to his playing.

  Until that awful night when Lestat had come to demand his allegiance.

  Scarred, filthy, dressed in rags that reeked of the swamp, Lestat had become a monster. “They tried to kill me,” he’d said in a harsh whisper. “Antoine, you must help me!”

  Not the precious child, Claudia, not the precious friend, Louis de Pointe du Lac! You cannot mean this. Murderers, those two, the picture-perfect pair who glided through the early evenings as if in some shared dream as they walked the new flagstone pavements?

  Then as this ragged and crippled creature had fastened itself to Antoine’s throat, Antoine had seen it all in visions, seen the crime itself, seen his lover savaged again and again by the monster child’s knife, seen Lestat’s body dumped into the swamp, seen him rise. Antoine now knew everything. The Dark Blood had rushed into his body like a burning fluid exterminating every human particle in its path. The music, his own music, rose in his ears in dizzying volume. Only music could describe this ineffable power, this raging euphoria.

  They had been defeated, both of them, when they went against Claudia and Louis—and Antoine had been hideously burned. That is how Antoine learned what it meant to be Born to Darkness. You could suffer burns like that and endure. You could suffer what should have meant death for a human being, and you could go on. Music and pain, they were the twin mysteries of his existence. Even the Dark Blood itself did not obsess him as did music and pain. As he lay on the four-poster beside Lestat, Antoine saw his pain in bright flashing colors, his mouth open in a perpetual moan. I cannot live like this. And yet he didn’t want to die, no, never to die, not even now, not even with the craving for human blood driving him out into the night though his body was nothing but pain, pain scraped by the fabric of his shirt, his trousers, even his boots. Pain and blood and music.

  For thirty mortal years, he’d lived like a monster, hideous, scarred, preying on the weakest of mortals, hunting in the crowded Irish immigrant slums for his meals. He could make his music without ever touching the keys of a piano. He heard the music in his head, heard it surge and climb as he moved his fingers in the air. The mingled noises of the rat-infested slums, the roaring laughter from a stevedore’s tavern, became a new music to him, caught in the low rumble of voices to the right and to the left, or the cries of his victims. Blood. Give me blood. Music I will possess forever.

  Lestat had gone to Europe, chasing after them, those two, Claudia and Louis, who had been his family, his friends, his lovers.

  But he had been terrified to attempt such a journey. And he had left Lestat at the docks. “Goodbye to you, Antoine.” Lestat had kissed him. “Maybe you will have a life here in the New World, the life I wanted.” Gold and gold and gold. “Keep the rooms, keep the things I’ve given you.”

  But he hadn’t been clever like Lestat. He’d had no skill for living like a mortal among mortals. Not with these songs in his head, these symphonies, and the blood ever beckoning. His own legacy he’d squandered, and Lestat’s gold was gone too at last, though where or how he could never remember. He had left New Orleans, journeying north, sleeping in the cemeteries as he made his way.

  In St. Louis he’d begun to actually play again. It was the strangest thing. Most of his scars were gone by then. He no longer looked infected and contagious with some disfiguring disease.

  It was as if he’d waked from a dream, and for years the violin was his instrument, and he even played for money at mortal gatherings, and managed to become a gentleman again, with clean linen and a small apartment with paintings, a brass clock, and a wooden closet of fine clothes. But all that had come to nothing. He felt loneliness, despair. The world seemed empty of monsters like himself.

  He’d wandered out west, why he didn’t know. By the 1880s, he’d been playing the piano in the Barbary Coast vice dens of San Francisco and hunting the seamen for blood. He worked his way up from the sailors’ saloons to the fancy melodeons and the French and Chinese parlor houses, glutting himself on the riffraff in dark streets where murder was rampant.

  Gradually he came to realize the quality parlor houses loved him, even the finest of them, and he was soon surrounded by admiring ladies of the evening, who were a comfort to him, and therefore immune from his murderous thirst.

  In the Chinatown brothels, he fell in love with the sweet tender exotic slave girls who delighted in his music.

  And finally, in the great music halls, he heard applause for the songs he wrote on the spot, and his dizzying improvisations. He was back in the world again. He was loving it. Dressed like a dandy, he put pomade in his dark hair, clenched a small cheroot between his teeth, and lost himself in the ivory keys, i
ntoxicated by the adulation all around him.

  But other vampires crept into his bloody paradise—the first he’d seen since Lestat set sail from the New Orleans docks.

  Powerful males, clad in brocade vests and fancy frock coats, obviously using their skills to cheat at cards and dazzle their victims, cast a cold eye on him and threatened him before fleeing themselves. In the dark streets of Chinatown he ran up against a Chinese blood drinker in a long dark coat and black hat who threatened him with a hatchet.

  Though he longed desperately to know these vampire strangers—though he longed to trust them, talk with them, share the story of his journey with them—he left San Francisco in terror.

  He left behind the pretty waiter girls and courtesans who’d sustained him with their sweet friendship and the easy pickings of the drunken men.

  From city to city he’d moved, playing in the small raucous orchestras of theaters wherever he got work. It never lasted very long. He was a vampire after all; he merely looked human; and a vampire cannot pass indefinitely as human in the same close group of humans. They begin to stare, to ask questions, then to veer away, and finally there is some fatal aversion as if they’ve discovered a leper in their midst.

  But his many mortal acquaintances continued to warm his soul. No vampire can live on blood and killing; all vampires need human warmth, or so he thought. He made deep friends now and then, those who allowed it and never questioned his eccentricities, his habits, his icy skin.

  The old century died; the new century was born, and he shied away from the electric lights, keeping to the back alleys in blessed darkness. He was completely healed now; there was no sign of his old wounds at all, and indeed, it seemed he’d grown stronger over the years. Yet he felt ugly, loathsome, unfit to live, existing from moment to moment like an addict. He gravitated to the crippled, the diseased, the bohemian, and the downtrodden when he wanted an evening of conversation, just a little cerebral companionship. It kept him from weeping. It kept him from killing too brutally and indiscriminately.

  He slept in graveyards when he could find a large and secret crypt, or in coffins in cellars, and now and then almost trapped by the sun he dug straight down into the moist Mother Earth, uttering a prayer that he would die there.

  Fear and music and blood and pain. That was still his existence.

  The Great War began. The world as he’d known it was coming to an end.

  He couldn’t clearly remember coming to Boston, only that it had been a long journey and he’d forgotten why he had ever chosen that city. And there for the first time, he’d gone underground for the long sleep. Surely he would die in the earth, buried as he was, week after week, month after month with only the memory of blood bringing him back now and then to uneasy consciousness. Surely this would be the finish. And the inevitable and total darkness would swallow mercilessly any question or passion that had ever obsessed him.

  Well, he didn’t die, obviously.

  Half a century passed before he rose again, hungry, emaciated, desperate, but surprisingly strong. And it was music that brought him forth, but not the music he had so loved.

  It was the music of the Vampire Lestat—his old maker—now a rock-star sensation, with music carried on airwaves, blasted from television screens, music seeping from tiny transmitters no bigger than a pack of playing cards to which people listened through plugs in their ears.

  Oh, what sweet glory to see Lestat so splendidly restored! How his heart ached to reach him.

  The Undead were everywhere now on the new continent. Maybe they had always been here, spreading, breeding, creating fledglings as he’d been created. He couldn’t guess. He only knew his powers were greater now; he could read the minds of mortals, hear their thoughts when he didn’t want to hear them, and he could hear that relentless music, and those strange eerie stories that Lestat told in his little video films.

  We had come from ancient parents out of darkest Egypt: Akasha and Enkil. Kill the Mother and the Father and we all die, or so the songs said. What did the Vampire Lestat want with this mortal persona: rock star, outcast, monster, gathering mortals to a concert in San Francisco, gathering the Undead?

  Antoine would have gone out west to see Lestat on the stage. But he was still struggling with the simplest difficulties of life in the late twentieth century when the massacres began.

  All over the world, it seemed, the Undead were being slaughtered, as coven houses and vampire taverns were burnt to cinders. Fledglings and old ones were immolated as they fled.

  All this Antoine learned from the telepathic cries of brothers and sisters whom he’d never known in places he’d never been.

  “Flee, go to the Vampire Lestat, he will save us!”

  Antoine could not fathom it. He played for coins in the subways of New York, and once set upon by a gang of mortal cutthroats for his earnings, he slew them all and fled the city making his way south.

  The voices of the Undead said it was the Mother, Akasha, who’d been slaughtering her children, that ancient Egyptian Queen. Lestat had been taken prisoner by her. Elders were gathering. Antoine, like so many others, was prey to strange dreams. Frantically he played his violin in the streets to surround himself with a solitude he could manage and sustain.

  And then the immortal voices of the world fell silent.

  Some catastrophe had emptied the planet of blood drinkers.

  It seemed he was the last left alive. From city to city he went playing his violin for coins on street corners, sleeping once again in graveyards and abandoned cellars, emerging hungry, dazed, longing for some refuge that seemed beyond his reach. He slipped into crowded taverns or nightclubs in the evening, just to feel human warmth around him, bodies brushing against him, to swim in the sound of happy human voices, and the aroma of blood.

  What had become of Lestat? Where was he, that shining Titian in his red-velvet frock coat and lace, who had roared with such confidence and power from the rock music stage? He did not know, and he wanted to know, but more acutely he wanted to survive, consciously, in this new world, and he set out to accomplish this.

  In Chicago, he managed actual lodgings, and realized reasonable sums from his street-corner playing, and soon a band of mortals gathered to greet him when he appeared each evening. It was a simple matter to move to bars and restaurants again, and once more he found himself seated at the piano in a darkened nightclub with the twenty-dollar bills filling the brandy snifter beside the music stand.

  In time he leased an old three-story white frame house in a suburb called Oak Park that was made up of such beautiful structures, and he bought an old steamer trunk in which to sleep by day, and his own piano. He liked his mortal neighbors. He gave them money to hire the gardener or the cleaning lady for him that they recommended. Sometimes he even swept the sidewalks himself in the very early hours of the morning with a big yellow broom. He liked that, the scrape scrape of the broom, and the leaves piled up, curling and brown, and the pavement so clean. Must we disdain all mortal things?

  The streets of Oak Park with their great trees were soothing to him. Soon he was shopping in brightly lighted emporiums for decent clothes. And in his comfortable parlor from midnight till dawn he watched television, learning all about this modern world in which he’d emerged, how things were done, how things had to be. A steady stream of dramas, soap operas, news broadcasts, and documentaries soon taught him everything.

  He lay back in his large overstuffed easy chair marveling at the blue skies and the brilliant sun he saw before him on the large television screen. He watched sleek and powerful American automobiles speeding on mountain roads and over prairies. He watched a somber, bespectacled teacher speak in sonorous tones of “the ascent of man.”

  And then there were the films of symphony performances, the full-scale operas, the unending virtuoso concerts! He thought he’d go mad with the beauty of it—witnessing in living color and mesmerizing detail the London Philharmonic play Beethoven’s Ninth Symphony, or the great Itzhak
Perlman racing through the Brahms Concerto with an orchestra surrounding him.

  Going into Chicago to hunt, he now purchased tickets to see splendid performances in the immense opera house, marveling at its size and luxury. He was awake to the wealth of the world. He was awake to an age that seemed made for his sensibilities.

  Where was Lestat in this world? What had happened to him? In the music stores, they still sold his old album. You could buy a video of the single concert to which he’d drawn a capacity crowd. But where was the being himself—and would he remember his once-beloved Antoine? Or had he made a legion of followers since those long-ago southern nights?

  Hunting was harder in these great times, yes. One had to seek far and wide to find the detestable human vermin who in ages past had been infinitely more numerous and more at hand. He could find no metropolitan cesspools like the old Barbary Coast. But he didn’t mind that. He didn’t “love” his victims. He never had. He wanted to feed and be done with it.