6

As soon as Gabrielle rose, I drew her away from Nicki, out into the quiet of the forest, and I told her all that had taken place the preceding night. I told her all that Armand had suggested and said. In an embarrassed way, I spoke of the silence that existed between her and me, and of how I knew now that it wasn't to change.

"We should leave Paris as soon as possible," I said finally. "This creature is too dangerous. And the ones to whom I gave the theater -- they don't know anything other than what they've been taught by him. I say let them have Paris. And let's take the Devil's Road, to use the old queen's words."

I had expected anger from her, and malice towards Armand. But through the whole story she remained calm.

"Lestat, there are too many unanswered questions," she said. "I want to know how this old coven started, I want to know all that Armand knows about us."

"Mother, I am tempted to turn my back on it. I don't care how it started. I wonder if he himself even knows."

"I understand, Lestat," she said quietly. "Believe me, I do. When all is said and done, I care less about these creatures than I do about the trees in this forest or the stars overhead. I'd rather study the currents of wind or the patterns in the falling leaves. . . "

"Exactly."

"But we mustn't be hasty. The important thing now is for the three of us to remain together. We should go into the city together and prepare slowly for our departure together. And together, we must try your plan to rouse Nicolas with the violin."

I wanted to talk about Nicki. I wanted to ask her what lay behind his silence, what could she divine? But the words dried up in my throat. I thought as I had all along of her judgment in those first moments: "Disaster, my son."

She put her arm around me and led me back towards the tower.

"I don't have to read your mind," she said, "to know what's in your heart. Let's take him to Paris. Let's try to find the Stradivarius." She stood on tiptoe to kiss me. "We were on the Devil's Road together before all this happened," she said. "We'll be on it soon again."

It was as easy to take Nicolas into Paris as to lead him in everything else. Like a ghost he mounted his horse and rode alongside of us, only his dark hair and cape seemingly animate, whipped about as they were by the wind.

When we fed in the Ile de la Cite, I found I could not watch him hunt or kill.

It gave me no hope to see him doing these simple things with the sluggishness of a somnambulist. It proved nothing more than that he could go like this forever, our silent accomplice, little more than a resuscitated corpse.

Yet an unexpected feeling came over me as we moved through the alleyways together. We were not two, but three, now. A coven. And if only I could bring him around. But the visit to Roget had to come first. I alone had to confront the lawyer. So I left them to wait only a few doors from his house, and as I pounded the knocker, I braced myself for the most grueling performance yet of my theatrical career.

Well, I was very quickly to learn an important lesson about mortals and their willingness to be convinced that the world is a safe place. Roget was overjoyed to see me. He was so relieved that I was "alive and in good health" and still wanted his services, that he was nodding his acceptance before my preposterous explanations had even begun.

(And this lesson about mortal peace of mind I never forgot. Even if a ghost is ripping a house to pieces, throwing tin pans all over, pouring water on pillows, making clocks chime at all hours, mortals will accept almost any "natural explanation" offered, no matter how absurd, rather than the obvious supernatural one, for what is going on.)

Also it became clear almost at once that he believed Gabrielle and I had slipped out of the flat by the servants' door to the bedroom, a nice possibility I hadn't considered before. So all I did about the twisted-up candelabra was mumble something about having been mad with grief when I saw my mother, which he understood right off.

As for the reason for our leaving, well, Gabrielle insisted upon being removed from everyone and taken to a convent, and there she was right now.

"Ah, Monsieur, it's a miracle, her improvement," I said. "If you could only see her -- but never mind. We're going on to Italy immediately with Nicolas de Lenfent, and we need currency, letters of credit, whatever, and a traveling coach, a huge traveling coach, and a good team of six. You take care of it. Have it all ready by Friday evening early. And write to my father and tell him we're taking my mother to Italy. My father is all right, I presume?"

"Yes, yes, of course, I didn't tell him anything but the most reassuring -- "

"How clever of you. I knew I could trust you. What would I do without you? And what about these rubies, can you turn them into money for me immediately? And I have here some Spanish coins to sell, quite old, I think."

He scribbled like a madman, his doubts and suspicions fading in the heat of my smiles. He was so glad to have something to do!

"Hold my property in the boulevard du Temple vacant," I said. "And of course, you'll manage everything for me. And so forth and so on."

My property in the boulevard de Temple, the hiding place of a ragged and desperate band of vampires unless Armand had already found them and burnt them up like old costumes. I should find the answer to that question soon enough.

I came down the steps whistling to myself in strictly human fashion, overjoyed that this odious task had been accomplished. And then I realized that Nicki and Gabrielle were nowhere in sight.

I stopped and turned around in the street.

I saw Gabrielle just at the moment I heard her voice, a young boyish figure emerging full blown from an alleyway as if she had just made herself material on the spot.

"Lestat, he's gone -- vanished," she said.

I couldn't answer her. I said something foolish, like "What do you mean, vanished!" But my thoughts were more or less drowning out the words in my own head. If I had doubted up until this moment that I loved him, I had been lying to myself.

"I turned my back, and it was that quick, I tell you," she said. She was half aggrieved, half angry.

"Did you hear any other..."

"No. Nothing. He was simply too quick."

"Yes, if he moved on his own, if he wasn't taken..."

"I would have heard his fear if Armand had taken him," she insisted.

"But does he feel fear? Does he feel anything at all?" I was utterly terrified and utterly exasperated. He'd vanished in a darkness that spread out all around us like a giant wheel from its axis. I think I clenched my fist. I must have made some uncertain little gesture of panic.

"Listen to me," she said. "There are only two things that go round and round in his mind..."

"Tell me!"

"One is the pyre under les Innocents where he was almost burned. And the other is a small theater-footlights, a stage."

"Renaud's," I said.

She and I were archangels together. It didn't take us a quarter of an hour to reach the noisy boulevard and to move through its raucous crowd past the neglected facade of Renaud's and back to the stage door.

The boards had all been ripped down and the locks broken. But I heard no sound of Eleni or the others as we slipped quietly into the hallway that went round the back of the stage. No one here.

Perhaps Armand had gathered his children home after all, and that was my doing because I would not take them in.

Nothing but the jungle of props, the great painted scrims of night and day and hill and dale, and the open dressing rooms, those crowded little closets where here and there a mirror glared in the light that seeped through the open door we had left behind.

Then Gabrielle's hand tightened on my sleeve. She gestured towards the wings proper. And I knew by her face that it wasn't the other ones. Nicki was there.

I went to the side of the stage. The velvet curtain was drawn back to both sides and I could see his dark figure plainly in the orchestra pit. He was sitting in his old place, his hands folded in his lap. He was facing me but he didn't notice me. He was staring off as he had done all along.

And the memory came back to me of Gabrielle's strange words the night after I had made her, that she could not get over the sensation that she had died and could affect nothing in the mortal world.

He appeared that lifeless and that translucent. He was the still, expressionless specter one almost stumbles over in the shadows of the haunted house, all but melded with the dusty furnishings -- the fright that is worse perhaps than any other kind.

I looked to see if the violin was there -- on the floor, or against his chair -- and when I saw that it wasn't, I thought, Well, there is still a chance.

"Stay here and watch," I said to Gabrielle. But my heart was knocking in my throat when I looked up at the darkened theater, when I let myself breathe in the old scents. Why did you have to bring us here, Nicki? To this haunted place? But then, who am I to ask that? I had come back, had I not?

I lighted the first candle I found in the old prima donna's dressing room. Open pots of paint were scattered everywhere, and there were many discarded costumes on the hooks. All the rooms I passed were full of cast-off clothing, forgotten combs and brushes, withered flowers still in the vases, powder spilled on the floor.

I thought of Eleni and the others again, and I realized that the faintest smell of les Innocents lingered here. And I saw very distinct naked footprints in the spilled powder. Yes, they'd come in. And they had lighted candles, too, hadn't they? Because the smell of the wax was too fresh.

Whatever the case, they hadn't entered my old dressing room, the room that Nicki and I had shared before every performance. It was locked still. And when I broke open the door, I got an ugly shock. The room was exactly the way I'd left it.

It was clean and orderly, even the mirror polished, and it was filled with my belongings as it had been on the last night I had been here. There was my old coat on the hook, the castoff I'd worn from the country, and a pair of wrinkled boots, and my pots of paint in perfect order, and my wig, which I had worn only at the theater, on its wooden head. Letters from Gabrielle in a little stack, the old copies of English and French newspapers in which the play had been mentioned, and a bottle of wine still half full with a dried cork.

And there in the darkness beneath the marble dressing table, partly covered by a bundled black coat, lay a shiny violin case. It was not the one we'd carried all the way from home with us. No. It must hold the precious gift I'd bought for him with the "coin of the realm" after, the Stradivarius violin.

I bent down and opened the lid. It was the beautiful instrument all right, delicate and darkly lustrous, and lying here among all these unimportant things.

I wondered whether Eleni and the others would have taken it had they come into this room. Would they have known what it could do?

I set down the candle for a moment and took it out carefully, and I tightened the horsehair of the bows as I'd seen Nicki do a thousand times. And then I brought the instrument and the candle back to the stage again, and I bent down and commenced to light the long string of candle footlights.

Gabrielle watched me impassively. Then she came to help me. She lit one candle after another and then lighted the sconce in the wings.

It seemed Nicki stirred. But maybe it was only the growing illumination on his profile, the soft light that emanated out from the stage into the darkened hall. The deep folds of the velvet came alive everywhere; the ornate little mirrors affixed to the front of the gallery and the loges became lights themselves.

Beautiful this little place, our place. The portal to the world for us as mortal beings. And the portal finally to hell.

When I was finished, I stood on the boards looking at the gilded railings, the new chandelier that hung from the ceiling, and up at the arch overhead with its masks of comedy and tragedy like two faces stemming from the same neck.

It seemed so much smaller when it was empty, this house. No theater in Paris seemed larger when it was full.

Outside was the low thunder of the boulevard traffic, tiny human voices rising now and then like sparks over the general hum. A heavy carriage must have passed then because everything within the theater shivered slightly: the candle flames against their reflectors, the giant stage curtain gathered to right and left, the scrim behind of a finely painted garden with clouds overhead.

I went past Nicki, who had never once looked up at me, and down the little stairs behind him, and came towards him with the violin.

Gabrielle stood back in the wings again, her small face cold but patient. She rested against the beam beside her in the easy manner of a strange long-haired man.

I lowered the violin over Nicki's shoulder and held it in his lap. I felt him move, as if he had taken a great breath. The back of his head pressed against me. And slowly he lifted his left hand to take the neck of the violin and he took the bow with his right.

I knelt and put my hands on his shoulders. I kissed his cheek. No human scent. No human warmth. Sculpture of my Nicolas.

"Play it," I whispered. "Play it here just for us."

Slowly he turned to face me, and for the first time since the moment of the Dark Trick, he looked into my eyes. He made some tiny sound. It was so strained it was as if he couldn't speak anymore. The organs of speech had closed up. But then he ran his tongue along his lip, and so low I scarcely heard him, he said:

"The devil's instrument."

"Yes," I said. If you must believe that, then believe it. But play.

His fingers hovered above the strings. He tapped the hollow wood with his fingertip. And now, trembling, he plucked at the strings to tune them and wound the pegs very slowly as if he were discovering the process with perfect concentration for the first time.

Somewhere out on the boulevard children laughed. Wooden wheels made their thick clatter over the cobblestones. The staccato notes were sour, dissonant, and they sharpened the tension.

He pressed the instrument to his ear for a moment. And it seemed to me he didn't move again for an eternity, and then he slowly rose to his feet. I went back out of the pit and into the benches, and I stood staring at his black silhouette against the glow of the lighted stage.

He turned to face the empty theater as he had done so many times at the moment of the intermezzo, and he lifted the violin to his chin. And in a movement so swift it was like a flash of light in my eye, he brought the bow down across the strings.

The first full-throated chords throbbed in the silence and were stretched as they deepened, scraping the bottom of sound itself. Then the notes rose, rich and dark and shrill, as if pumped out of the fragile violin by alchemy, until a raging torrent of melody suddenly flooded the hall.

It seemed to roll through my body, to pass through my very bones.

I couldn't see the movement of his fingers, the whipping of the bow; all I could see was the swaying of his body, his tortured posture as he let the music twist him, bend him forward, throw him back.

It became higher, shriller, faster, yet the tone of each note was perfection. It was execution without effort, virtuosity beyond mortal dreams. And the violin was talking, not merely singing, the violin was insisting. The violin was telling a tale.

The music was a lamentation, a future of terror looping itself into hypnotic dance rhythms, jerking Nicki even more wildly from side to side. His hair was a glistening mop against the footlights. The blood sweat had broken out on him. I could smell the blood.

But I too was doubling over; I was backing away from him, slumping down on the bench as if to cower from it, as once before in this house terrified mortals had cowered before me.

And I knew, knew in some full and simultaneous fashion, that the violin was telling everything that had happened to Nicki. It was the darkness exploded, the darkness molten, and the beauty of it was like the glow of smoldering coals; just enough illumination to show how much darkness there really was.

Gabrielle too was straining to keep her body still under the onslaught, her face constricted, her hands to her head. Her lion's mane of hair had shaken loose around her, her eyes were closed.

But another sound was coming through the pure inundation of song. They were here. They had come into the theater and were moving towards us through the wings.

The music reached impossible peaks, the sound throttled for an instant and then released again. The mixture of feeling and pure logic drove it past the limits of the bearable. And yet it went on and on.

And the others appeared slowly from behind the stage curtain -- first the stately figure of Eleni, then the boy Laurent, and finally Mix and Eugenie. Acrobats, street players, they had become, and they wore the clothes of such players, the men in white tights beneath dagged harlequin jerkins, the women in full bloomers and ruffled dresses and with dancing slippers on their feet. Rouge gleamed on their immaculate white faces; kohl outlined their dazzling vampire eyes.

They glided towards Nicki as if drawn by a magnet, their beauty flowering ever more fully as they came into the glare of the stage candles, their hair shimmering, their movements agile and feline, their expressions rapt.

Nicki turned slowly to face them as he writhed, and the song went into frenzied supplication, lurching and climbing and roaring along its melodic path.

Eleni stared wide-eyed at him as if horrified and enchanted. Then her arms rose straight up above her head in a slow dramatic gesture, her body tensing, her neck becoming ever more graceful and long. The other woman had made a pivot and lifted her knee, toe pointed down, in the first step of a dance. But it was the tall man who suddenly caught the pace of Nicki's music as he jerked his head to the side and moved his legs and arms as if he were a great marionette controlled from the rafters above by four strings.

The others saw it. They had seen the marionettes of the boulevard. And suddenly they all went into the mechanical attitude, their sudden movements like spasms, their faces like wooden faces, utterly blank.

A great cool rush of delight passed through me, as if I could breathe suddenly in the blasted heat of the music, and I moaned with pleasure watching them flip and flop and throw up their legs, toes to the ceiling, and twirl on their invisible strings.

But it was changing. He was playing to them now even as they danced to him.

He took a stride towards the stage, and leapt up over the smoky trough of the footlights, and landed in their midst. The light slithered off the instrument, off his glistening face.

A new element of mockery infected the never ending melody, a syncopation that staggered the song and made it all the more bitter and -- all the more sweet at the same time.

The jerking stiff-jointed puppets circled him, shuffling and bobbing along the floorboards. Fingers splayed, heads rocking from side to side, they jigged and twisted until all of them broke their rigid form as Nicki's melody melted into harrowing sadness, the dance becoming immediately liquid and heartbroken and slow.

It was as if one mind controlled them, as if they danced to Nicki's thoughts as well as his music, and he began to dance with them as he played, the beat coming faster, as he became the country fiddler at the Lenten bonfire, and they leapt in pairs like country lovers, the skirts of the women flaring, the men bowing their legs as they lifted the women, all creating postures of tenderest love.

Frozen, I stared at the image: the preternatural dancers, the monster violinist, limbs moving with inhuman slowness, tantalizing grace. The music was like a fire consuming us all.

Now it screamed of pain, of horror, of the pure rebellion of the soul against all things. And they again carried it into the visual, faces twisted in torment, like the mask of tragedy graven on the arch above them, and I knew that if I didn't turn my back on this I would cry.

I didn't want to hear any more or see any more. Nicki was swinging to and fro as if the violin were a beast he could no longer control. And he was stabbing at the strings with short rough strokes of the bow.

The dancers passed in front of him, in back of him, embraced him, and caught him suddenly as he threw up his hands, the violin held high over his head.

A loud piercing laughter erupted from him. His chest shivered with it, his arms and legs quaking with it. And then he lowered his head and he fixed his eyes on me. And at the top of his voice he screamed:

"I GIVE YOU THE THEATER OF THE VAMPIRES! THE THEATER OF THE VAMPIRES! THE GREATEST SPECTACLE OF THE BOULEVARD!"

Astonished, the others stared at him. But again, all of one mind, they "clapped" their hands and roared. They leapt into the air, giving out shrieks of joy. They threw their arms about his neck and kissed him. And dancing around him in a circle, they turned him with their arms. The laughter rose, bubbling out of all of them, as he brought them close in his arms and answered their kisses, and with their long pink tongues they licked the blood sweat off his face.

"The Theater of the Vampires!" They broke from him and bawled it to the nonexistent audience, to the world. They bowed to the footlights, and frolicking and screaming they leapt up to the rafters and then let themselves drop down with a stoma of reverberation of the boards.

The last shimmer of the music was gone, replaced by this cacophony of shrieking and stomping and laughter, like the clang of bells.

I do not remember turning my back on them. I don't remember walking up the steps to the stage and going past them. But I must have.

Because I was suddenly sitting on the low narrow table of my little dressing room, my back against the corner, my knee crooked, my head against the cold glass of the mirror, and Gabrielle was there.

I was breathing hoarsely and the sound of it bothered me. I saw things -- the wig I'd worn on the stage, the pasteboard shield -- and these evoked thundering emotions. But I was suffocating. I could not think.

Then Nicki appeared in the door, and he moved Gabrielle to the side with a strength that astonished her and astonished me, and he pointed his finger at me:

"Well, don't you like it, my lord patron?" he asked, advancing, his words flowing in an unbroken stream so that they sounded like one great word. "Don't you admire its splendor, its perfection? Won't you endow the Theater of the Vampires with the coin of the realm which you possess in such great abundance? --  How was it now, `the new evil, the canker in the heart of the rose, death in the very midst of things' . . ."

From a mute he had passed into mania, and even when he broke off talking, the low senseless frenzied sounds still issued from his lips like water from a spring. His face was drawn and hard and glistening with the blood droplets clinging to it, and staining the white linen at his neck.

And behind him there came an almost innocent laughter from the others, except for Eleni, who watched over his shoulder, trying very hard to comprehend what was really happening between us.

He drew closer, half laughing, grinning, stabbing at my chest with his finger:

"Well, speak. Don't you see the splendid mockery, the genius?" He struck his own chest with his fist. "They'll come to our performances, fill our coffers with gold, and never guess what they harbor, what flourishes right in the comer of the Parisian eye. In the back alleys we feed on them and they clap for us before the lighted stage.. ."

Laughter from the boy behind him. The tink of a tambourine, the thin sound of the other woman singing. A long streak of the man's laughter -- like a ribbon unfurling, charting his movement as he rushed around in a circle through the rattling scrims.

Nicki drew in so that the light behind him vanished. I couldn't see Eleni.

"Magnificent evil!" he said. He was full of menace and his white hands looked like the claws of a sea creature that could at any given moment move to tear me to bits. "To serve the god of the dark wood as he has not been served ever and here in the very center of civilization. And for this you saved the theater. Out off your gallant patronage this sublime offering is born."

"It is petty!" I said. "It is merely beautiful and clever and nothing more."

My voice had not been very loud but it brought him to silence, and it brought the others to silence. And the shock in me melted slowly into another emotion, no less painful, merely easier to contain.

Nothing but the sounds again from the boulevard. A glowering anger flowed out of him, his pupils dancing as he looked at me.

"You're a liar, a contemptible liar," he said.

"There is no splendor in it," I answered. "There is nothing sublime. Fooling helpless mortals, mocking them, and then going out from here at night to take life in the same old petty manner, one death after another in all its inevitable cruelty and shabbiness so that we can live. And man can kill another man! Play your violin forever. Dance as you wish. Give them their money's worth if it keeps you busy and eats up eternity! It's simply clever and beautiful. A grove in the Savage Garden. Nothing more."

"Vile liar!" he said between his teeth. "You are God's fool, that's what you are. You who possessed the dark secret that soared above everything, rendered everything meaningless, and what did you do with it, in those months when you ruled alone from Magnus's tower, but try to live like a good man! A good man!"

He was close enough to kiss me, the blood of his spittle hitting my face.

"Patron of the arts," he sneered. "Giver of gifts to your family, giver of gifts to us!" He stepped back, looking down on me contemptuously.

"Well, we will take the little theater that you painted in gold, and hung with velvet," he said, "and it will serve the forces of the devil more splendidly than he was ever served by the old coven." He turned and glanced at Eleni. He glanced back at the others. "We will make a mockery of all things sacred. We will lead them to ever greater vulgarity and profanity. We will astonish. We will beguile. But above all, we will thrive on their gold as well as their blood and in their midst we will grow strong."

"Yes," said the boy behind him. "We will become invincible." His face had a crazed look, the look of the zealot as he gazed at Nicolas. "We will have names and places in their very world."

"And power over them," said the other woman, "and a vantage point from which to study them and know them and perfect our methods of destroying them when we choose."

"I want the theater," Nicolas said to me. "I want it from you. The deed, the money to reopen it. My assistants here are ready to listen to me."

"You may have it, if you wish," I answered. "It is yours if it will take you and your malice and your fractured reason off my hands."

I got up off the dressing table and went towards him and I think that he meant to block my path, but something unaccountable happened. When I saw he wouldn't move, my anger rose up and out of me like an invisible fist. And I saw him moved backwards as if the fist had struck him. And he hit the wail with sudden force.

I could have been free of the place in an instant. I knew Gabrielle was only waiting to follow me. But I didn't leave. I stopped and looked back at him, and he was still against the wall as if he couldn't move. And he was watching me and the hatred was as pure, as undiluted by remembered love, as it had been all along.

But I wanted to understand, I wanted really to know what had happened. And I came towards him again in silence and this time it was I who was menacing, and my hands looked like claws and I could feel his fear. They were all, except for Eleni, full of fear.

I stopped when I was very close to him and he looked directly at me, and it was as if he knew exactly what I was asking him.

"All a misunderstanding, my love," he said. Acid on the tongue. The blood sweat had broken out again, and his eyes glistened as if they were wet. "It was to hurt others, don't you see, the violin playing, to anger them, to secure for me an island where they could not rule. They would watch my ruin, unable to do anything about it."

I didn't answer. I wanted him to go on.

"And when we decided to go to Paris, I thought we would starve in Paris, that we would go down and down and down. It was what I wanted, rather than what they wanted, that I, the favored son, should rise for them. I thought we would go down! We were supposed to go down."

"Oh, Nicki..." I whispered.

"But you didn't go down, Lestat," he said, his eyebrows rising. "The hunger, the cold -- none of it stopped you. You were a triumph!" The rage thickened his voice again. "You didn't drink yourself to death in the gutter. You turned everything upside down! And for every aspect of our proposed damnation you found exuberance, and there was no end to your enthusiasm and the passion coming out of you -- and the light, always the light. And in exact proportion to the light coming out of you, there was the darkness in me! Every exuberance piercing me and creating its exact proportion of darkness and despair! And then, the magic, when you got the magic, irony of ironies, you protected me from it! And what did you do with it but use your Satanic powers to simulate the actions of a good man!"

I turned around. I saw them scattered in the shadows, and farthest away, the figure of Gabrielle. I saw the light on her hand as she raised it, beckoning for me to come away.

Nicki reached up and touched my shoulders. I could feel the hatred coming through his touch. Loathsome to be touched in hate.

"Like a mindless beam of sunlight you routed the bats of the old coven!" he whispered. "And for what purpose? What does it mean, the murdering monster who is filled with light!"

I turned and smacked him and sent him hurtling into the dressing room, his right hand smashing the mirror, his head cracking against the far wall.

For one moment he lay like something broken against the mass of old clothing, and then his eyes gathered their determination again, and his face softened into a slow smile. He righted himself and slowly, as an indignant mortal might, he smoothed his coat and his rumpled hair.

It was like my gestures under les Innocents when my captors had sent me down in the dirt.

And he came forward with the same dignity, and the smile was as ugly as any I had ever seen.

"I despise you," he said. "But I am done with you. I have the power from you and I know how to use it, which you do not. I am in a realm at last where I choose to triumph! In darkness, we're equal now. And you will give me the theater, that because you owe it to me, and you are a giver of things, aren't you -- a giver of gold coins to hungry children -- and then I won't ever look upon your light again."

He stepped around me and stretched out his arms to the others:

"Come, my beauties, come, we have plays to write, business to attend to. You have things to learn from me. I know what mortals really are. We must get down to the serious invention of our dark and splendid art. We will make a coven to rival all covens. We will do what has never been done."

The others looked at me, frightened, hesitant. And in this still and tense moment I heard myself take a deep breath. My vision broadened. I saw the wings around us again, the high rafters, the walls of scenery transecting the darkness, and beyond, the little blaze along the foot of the dusty stage. I saw the house veiled in shadow and knew in one limitless recollection all that had happened here. And I saw a nightmare hatch another nightmare, and I saw a story come to an end.

"The Theater of the Vampires," I whispered. "We have worked the Dark Trick on this little place." No one of the others dared to answer. Nicolas only smiled.

And as I turned to leave the theater I raised my hand in a gesture that urged them all towards him. I said my farewell.

We were not far from the lights of the boulevard when I stopped in my tracks. Without words a thousand horrors came to me -- that Armand would come to destroy him, that his newfound brothers and sisters would tire of his frenzy and desert him, that morning would find him stumbling through the streets unable to find a hiding place from the sun. I looked up at the sky. I couldn't speak or breathe.

Gabrielle put her arms around me and I held her, burying my face in her hair. Like cool velvet was her skin, her face, her lips. And her love surrounded me with a monstrous purity that had nothing to do with human hearts and human flesh.

I lifted her off her feet embracing her. And in the dark, we were like lovers carved out of the same stone who had no memory of a separate life at all.

"He's made his choice, my son," she said. "What's done is done, and you're free of him now."

"Mother, how can you say it?" I whispered. "He didn't know. He doesn't know still..."

"Let him go, Lestat," she said. "They will care for him."

"But now I have to find that devil, Armand, don't I?" I said wearily. "I have to make him leave them alone."

The following evening when I came into Paris, I learned that Nicki had already been to Roget.

He had come an hour earlier pounding the doors like a madman. And shouting from the shadows, he had demanded the deed to the theater, and money that he said I promised to him. He had threatened Roget and his family. He had also told Roget to write to Renaud and his troupe in London and to tell them to come home, that they had a new theater awaiting them, and he expected them back at once. When Roget refused, he demanded the address of the players in London, and began to ransack Roget's desk.

I went into a silent fury when I heard this. So he would make them all vampires, would he, this demon fledgling, this reckless and frenzied monster?

This would not come to pass.

I told Roget to send a courier to London, with word that Nicolas de Lenfent had lost his reason. The players must not come home.

And then I went to the boulevard du Temple and I found him at his rehearsals, excited and mad as he had been before. He wore his fancy clothes again and his old jewels from the time when he had been his father's favorite son, but his tie was askew, his stockings crooked, and his hair was as wild and unkempt as the hair of a prisoner in the Bastille who hadn't seen himself in a mirror in twenty years.

Before Eleni and the others I told him he would get nothing from me unless I had the promise that no actor or actress of Paris would ever be slain or seduced by the new coven, that Renaud and his troupe would never be brought into the Theater of the Vampires now or in the years to come, that Roget, who would hold the purse strings of the theater, must never come to the slightest harm.

He laughed at me, he ridiculed me as he had before. But Eleni silenced him. She was horrified to learn of his impulsive designs. It was she who gave the promises, and exacted them from the others. It was she who intimidated him and confused him with jumbled language of the old ways, and made him back down.

And it was to Eleni finally that I gave control of the Theater of the Vampires, and the income, to pass through Roget, which would allow her to do with it what she pleased.

Before I left her that night, I asked her what she knew of Armand. Gabrielle was with us. We were in the alleyway again, near the stage door.

"He watches," Eleni answered. "Sometimes he lets himself be seen." Her face was very confusing to me. Sorrowful. "But God only knows what he will do," she added fearfully, "when he discovers what is really going on here."

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