Anne Rice - Vampire Chronicles 2 - The Vampire Lestat (1985)

by The Vampire Lestat(Lit)

  "What if there had been several mortals?" I asked, vaguely enchanted with her.

  She shook her head and shrugged. She always slept in the earth now, not in cellars or coffins. No one would ever disturb her rest again. It did not matter to her.

  I did not say so, but I believed there was a grace in sleeping in the crypt. There was a romance to rising from the grave. I was in fact going to the very opposite extreme in that I had coffins made for myself in places where we lingered, and I slept not in the graveyard or the church, as was our most common custom, but in hiding places within the house.

  I can't say that she didn't sometimes patiently listen to me when I told her these things. She listened when I described to her the great works of art I had seen in the Vatican museum, or the chorus I had heard in the cathedral, or the dreams I had in the last hour before rising, dreams that seemed to be sparked by the thoughts of mortals passing my lair. But maybe she was watching my lips move. Who could possibly tell? And then she was gone again without explanation, and I walked the streets alone, whispering aloud to Marius and writing to him the long, long messages that took the whole night sometimes to complete.

  What did I want of her, that she be more human, that she be like me? Armand's predictions obsessed me. And how could she not think of them? She must have known what was happening, that we were growing ever farther apart, that my heart was breaking and I had too much pride to say it to her.

  "Please, Gabrielle, I cannot endure the loneliness! Stay with me."

  By the time we left Italy I was playing dangerous little games with mortals. I'd see a man, or a woman-a human being who looked perfect to me spiritually- and I would follow the human about. Maybe for a week I'd do this, then a month, sometimes even longer than that. I'd fall in love with the being. I'd imagine friendship, conversation, intimacy that we could never have. In some magical and imaginary moment I would say: "But you see what I am," and this human being, in supreme spiritual understanding, would say: "Yes, I see. I understand."

  Nonsense, really. Very like the fairy tale where the princess gives her selfless love to the prince who is enchanted and he is himself again and the monster no more. Only in this dark fairy tale I would pass right into my mortal lover. We would become one being, and I would be flesh and blood again.

  Lovely idea, that. Only I began to think more and more of Armand's warnings, that I'd work the Dark Trick again for the same reasons I'd done it before. And I stopped playing the game altogether. I merely went hunting with all the old vengeance and cruelty, and it wasn't merely the evildoer I brought down.

  In the city of Athens I wrote the following message to Marius:

  "I do not know why I go on. I do not search for truth. I do not believe in it. I hope for no ancient secrets from you, whatever they may be. But I believe in something. Maybe simply in the beauty of the world through which I wander or in the will to live itself. This gift was given to me too early. It was given for no good reason. And already at the age of thirty mortal years, I have some understanding as to why so many of our kind have wasted it, given it up. Yet I continue. And I search for you."

  How long I could have wandered through Europe and Asia in this fashion I do not know. For all my complaints about loneliness, I was used to it all. And there were new cities as there were new victims, new languages, and new music to hear. No matter what my pain, I fixed my mind on a new destination. I wanted to know all the cities of the earth, finally, even the far-off capitals of India and China, where the simplest objects would seem alien and the minds I pierced as strange as those of creatures from another world. .

  But as we went south from Istanbul into Asia Minor, Gabrielle felt the allure of the new and strange land even more strongly, so that she was scarcely ever at my side.

  And things were reaching a horrid climax in France, not merely with the mortal world I still grieved for, but with the vampires of the theater as well.

  3

  Before I ever left Greece, I'd been hearing disturbing news from English and French travelers of the troubles at home. And when I reached the European hostelry in Ankara there was a large packet of letters waiting for me.

  Roget had moved all of my money out of France, and into foreign banks. "You must not consider returning to Paris," he wrote. "I have advised your father and your brothers to keep out of all controversy. It is not the climate for monarchists here."

  Eleni's letters spoke in their own way of the same things:

  Audiences want to see the aristocracy made fools of. Our little play featuring a clumsy queen puppet, who is trampled mercilessly by the mindless troop of puppet soldiers whom she seeks to command, draws loud laughter and screams.

  The clergy is also ripe for derision: In another little drama we have a bumptious priest come to chastise a group of dancing-girl marionettes for their indecent conduct. But alas, their dancing master, who is in fact a redhorned devil, turns the unfortunate cleric into a werewolf who ends his days kept by the laughing girls in a golden cage.

  All this is the genius of Our Divine Violinist, but we must now be with him every waking moment. To force him to write we tie him to the chair. We put ink and paper in front of him. And if this fails, we make him dictate as we write down the plays.

  In the streets he would accost the passers-by and tell them passionately there are horrors in this world of which they do not dream. And I assure you, if Paris were not so busy reading pamphlets that denounce Queen Marie Antoinette, he might have undone us all by now.

  Our Oldest Friend becomes more angry with every passing night.

  Of course I wrote to her at once, begging her to be patient with Nicki, to try to help him through these first years. "Surely he can be influenced," I said. And for the first time I asked: "Would I have the power to alter things if I were to return?" I stared at the words for a long time before signing my name. My hands were trembling. Then I sealed the letter and posted it at once.

  How could I go back? Lonely as I was, I couldn't bear the thought of returning to Paris, of seeing that little theater again. And what would I do for Nicolas when I got there? Armand's long-ago admonition was a din in my ears.

  In fact, it seemed no matter where I was that Armand and Nicki were both with me, Armand full of grim warnings and predictions, and Nicolas taunting me with the little miracle of love turned into hate.

  I had never needed Gabrielle as I did now. But she had gone ahead on our journey long ago. Now and then I remembered the way it had been before we ever left Paris. But I didn't expect anything from her anymore.

  At Damascus, Eleni's answer was waiting for me.

  He despises you as much as ever. When we suggest that perhaps he should go to you, he laughs and laughs. I tell you these things not to haunt you but to let you know that we do our utmost to protect this child who should never have been Born to Darkness. He is overwhelmed by his powers, dazzled and maddened by his vision. We have seen it all and its sorry finish before.

  Yet he has written his greatest play this last month. The marionette dancers, sans strings for this one, are, in the flower of their youth, struck down by a pestilence and laid beneath tombstones and flower wreaths to rest. The priest weeps over them before he goes away. But a young violinist magician comes to the cemetery. And by means of his music makes them rise. As vampires dressed all in black silk ruffles and black satin ribbons, they come out of the graves, dancing merrily as they follow the violinist towards Paris, a beautifully rendered painting on the scrim. The crowd positively roars. I tell you we could feast on mortal victims on the stage and the Parisians, thinking it all the most novel illusion, would only cheer.

  There was also a frightening letter from Roget:

  Paris was in the grip of revolutionary madness. King Louis had been forced to recognize the National Assembly. The people of all classes were uniting against him as never before. Roget had sent a messenger south to see my family and try to determine the revolutionary mood in the countryside for himself.

 
I answered both letters with all the predictable concern and all the predictable feeling of helplessness.

  But as I sent my belongings on to Cairo, I had the dread that all those things upon which I depended were in danger. Outwardly, I was unchanged as I continued my masquerade as the traveling gentleman; inwardly the demon hunter of the crooked back streets was silently and secretly lost.

  Of course I told myself that it was important to go south to Egypt, that Egypt was a land of ancient grandeur and timeless marvels, that Egypt would enchant me and make me forget the things happening in Paris which I was powerless to change.

  But there was a connection in my mind. Egypt, more than any other land the world over, was a place in love with death.

  Finally Gabrielle came like a spirit out of the Arabian desert, and together we set sail.

  It was almost a month before we reached Cairo, and when I found my belongings waiting for me in the European hostelry there was a strange package there.

  I recognized Eleni's writing immediately, but I could not think why she would send me a package and I stared at the thing for a full quarter of an hour, my mind as blank as it had ever been.

  There was not a word from Roget.

  Why hasn't Roget written to me, I thought. What is this package? Why is it here?

  At last I realized that for an hour I had been sitting in a room with a lot of trunks and packing cases and staring at a package and that Gabrielle, who had not seen fit to vanish yet, was merely watching me.

  "Would you go out?" I whispered.

  "If you wish," she said.

  It was important to open this, yes, to open it and find out what it was. Yet it seemed just as important for me to look around the barren little room and imagine that it was a room in a village inn in the Auvergne.

  "I had a dream about you," I said aloud, glancing at the package. "I dreamed that we were moving through the world together, you and I, and we were both serene and strong. I dreamed we fed on the evildoer as Marius had done, and as we looked about ourselves we felt awe and sorrow at the mysteries we beheld. But we were strong. We would go on forever. And we talked. `Our conversation' went on and on."

  I tore back the wrapping and saw the case of the Stradivarius violin.

  I went to say something again, just to myself, but my throat closed. And my mind couldn't carry out the words on its own. I reached for the letter which had slipped to one side over the polished wood.

  It has come to the worst, as I feared. Our Oldest Friend, maddened by the excesses of Our Violinist, finally imprisoned him in your old residence. And though his violin was given him in his cell, his hands were taken away.

  But understand that with us, such appendages can always be restored. And the appendages in question were kept safe by Our Oldest Friend, who allowed our wounded one no sustenance for rave nights.

  Finally, after the entire troupe had prevailed upon Our Oldest Friend to release N. and give back to him all that was his, it was done.

  But N., maddened by the pain and the starvation, for this can alter the temperament completely, slipped into unbreakable silence and remained so for a considerable length of time.

  At last he came to us and spoke only to tell us that in the manner of a mortal he had put in order his business affairs. A stack of freshly written plays was ours to have. And we must call together for him somewhere in the countryside the ancient Sabbat with its customary blaze. If we did not, then he would make the theater his funeral pyre.

  Our Oldest Friend solemnly granted his wish and you have never seen such a Sabbat as this, for I think we looked all the more hellish in our wigs and fine clothes, our black ruffled vampire dancing costumes, forming the old circle, singing with an actor's bravado the old chants.

  "We should have done it on the boulevard," he said. "But here, send this on to my maker," and he put the violin in my hands. We began to dance, all of us, to induce the customary frenzy, and I think we were never more moved, never more in terror, never more sad. He went into the flames.

  I know how this news will affect you. But understand we did all that we could to prevent what occurred. Our Oldest Friend was bitter and grieved. And I think you should know that when we returned to Paris, we discovered that N. had ordered the theater to be named officially the Theater of the Vampires and these words had already been painted on the front. As his best plays have always included vampires and werewolves and other such supernatural creatures, the public thinks the new title very amusing, and no one has moved to change it. It is merely clever in the Paris of these times.

  Hours later when I finally went down the stairs into the street, I saw a pale and lovely ghost in the shadows-image of the young French explorer in soiled white linen and brown leather boots, straw hat down over the eyes.

  I knew who she was, of course, and that we had once loved each other, she and I, but it seemed for the moment to be something I could scarce remember, or truly believe.

  I think I wanted to say something mean to her, to wound her and drive her away. But when she came up beside me and walked with me, I didn't say anything. I merely gave the letter to her so that we didn't have to talk. And she read it and put it away, and then she had her arm around me again the way she used to long ago, and we were walking together through the black streets.

  Smell of death and cooking fires, of sand and camel dung. Egypt smell. Smell of a place that has been the same for six thousand years.

  "What can I do for you, my darling?" she whispered. "Nothing," I said.

  It was I who did it, I who seduced him, made him what he was, and left him there. It was I who subverted the path his life might have taken. And so in dark obscurity, removed from its human course, it comes to this.

  Later she stood silent as I wrote my message to Marius on an ancient temple wall. I told about the end of Nicolas, the violinist of the Theater of the Vampires, and I carved my words deep as any ancient Egyptian craftsman might have done. Epitaph for Nicki, a milestone in oblivion, which none might ever read or understand.

  It was strange to have her there. Strange to have her staying with me hour by hour.

  "You won't go back to France, will you?" she asked me finally. "You won't go back on account of what he's done?"

  "The hands?" I asked her. "The cutting off of the hands?"

  She looked at me and her face smoothed out as if some shock had robbed it of expression. But she knew. She had read the letter. What shocked her? The way I said it perhaps.

  "You thought I would go back to get revenge?"

  She nodded uncertainly. She didn't want to put the idea in my head.

  "How could I do that?" I said. "It would be hypocrisy, wouldn't it, when I left Nicolas there counting on them all to do whatever had to be done?"

  The changes in her face were too subtle to describe. I didn't like to see her feel so much. It wasn't like her.

  "The fact is, the little monster was trying to help when he did it, don't you think, when he cut off the hands. It must have been a lot of trouble to him, really, when he could have burnt up Nicki so easily without a backward glance."

  She nodded, but she looked miserable, and as luck would have it, beautiful, too. "I rather thought so," she said. "But I didn't think you would agree."

  "Oh, I'm monster enough to understand it," I said. "Do you remember what you told me years ago, before we ever left home? You said it the very day that he came up the mountain with the merchants to give me the red cloak. You said that his father was so angry with him for his violin playing that he was threatening to break his hands. Do you think we find our destiny somehow, no matter what happens? I mean, do you think that even as immortals we follow some path that was already marked for us when we were alive? Imagine it, the coven master cut off his hands."

  It was clear in the nights that followed that she didn't want to leave me alone. And I sensed that she would have stayed on account of Nicki's death, no matter where we were. But it made a difference that we were in Egypt. It helped tha
t she loved these ruins and these monuments as she had loved none before.

  Maybe people had to be dead six thousand years for her to love them. I thought of saying that to her, teasing her with it a little, but the thought merely came and went. These monuments were as old as the mountains she loved. The Nile had coursed through the imagination of man since the dawn of recorded time.

  We scaled the pyramids together, we climbed into the arms of the giant Sphinx. We pored over inscriptions of ancient stone fragments. We studied the mummies one could buy from thieves for a pittance, bits of old jewelry, pottery, glass. We let the water of the river move through our fingers, and we hunted the tiny streets of Cairo together, and we went into the brothels to sit back on the pillows and watch the boys dance and hear the musicians play a heated erotic music that drowned out for a little while the sound of a violin that was always in my head.