Part VI

On The Devil's Road From Paris To Cairo

1

The last time we saw Armand in the eighteenth century, he was standing with Eleni and Nicolas and the other vampire mummers before the door of Renaud's theater, watching as our carriage made its way into the stream of traffic on the boulevard.

I'd found him earlier closeted in my old dressing room with Nicolas in the midst of a strange conversation dominated by Nicki's sarcasm and peculiar fire. He wore a wig and a somber red frock coat, and it seemed to me that he had already acquired a new opacity, as if every waking moment since the death of the old coven was giving him greater substance and strength.

Nicki and I had no words for each other in these last awkward moments, but Armand politely accepted the keys of the tower from me, and a great quantity of money, and the promise of more when he wanted it from Roget.

His mind was closed to me, but he said again that Nicolas would come to no harm from him. And as we said our farewells, I believed that Nicolas and the little coven had every chance for survival and that Armand and I were friends.

By the end of that first night, Gabrielle and I were far from Paris, as we vowed we would be, and in the months that followed, we went on to Lyons, Turin, and Vienna, and after that to Prague and Leipzig and St. Petersburg, and then south again to Italy, where we were to settle for many years.

Eventually we went on to Sicily, then north into Greece and Turkey, and then south again through the ancient cities of Asia Minor and finally to Cairo, where we remained for some time.

And in all these places I was to write my messages to Marius on the walls.

Sometimes it was no more than a few words that I scratched with the tip of my knife. In other places, I spent hours chiseling my ruminations into the stone. But wherever I was, I wrote my name, the date, and my future destination, and my invitation: "Marius, make yourself known to me."

As for the old covens, we were to come upon them in a number of scattered places, but it was clear from the outset that the old ways were everywhere breaking down. Seldom more than three or four vampires carried on the old rituals, and when they came to realize that we wanted no part of them or their existence they let us alone.

Infinitely more interesting were the occasional rogues we glimpsed in the middle of society, lone and secretive vampires pretending to be mortal just as skillfully as we could pretend. But we never got close to these creatures. They ran from us as they must have from the old covens. And seeing nothing more than fear in their eyes, I wasn't tempted to give chase.

Yet it was strangely reassuring to know that I hadn't been the first aristocratic fiend to move through the ballrooms of the world in search of my victims -- the deadly gentleman who would soon surface in stories and poetry and penny dreadful novels as the very epitome of our tribe. There were others appearing all the time.

But we were to encounter stranger creatures of darkness as we moved on. In Greece we found demons who did not know how they had been made, and sometimes even mad creatures without reason or language who attacked us as if we were mortal, and ran screaming from the prayers we said to drive them away.

The vampires in Istanbul actually dwelt in houses, safe behind high wall and gates, their graves in their gardens, and dressed as all humans do in that part of the world, in flowing robes, to hunt the nighttime streets.

Yet even they were quite horrified to see me living amongst the French and the Venetians, riding in carriages, joining the gatherings at the European embassies and homes. They menaced us, shouting incantations at us, and then ran in panic when we turned on them, only to come back and devil us again.

The revenants who haunted the Mameluke tombs in Cairo were beastly wraiths, held to the old laws by hollow-eyed masters who lived in the ruins of a Coptic monastery, their rituals full of Eastern magic and the evocation of many demons and evil spirits whom they called by strange names. They stayed clear of us, despite all their acidic threats, yet they knew our names.

As the years passed, we learned nothing from all these creatures, which of course was no great surprise to me.

And though vampires in many places had heard the legends of Marius and the other ancient ones, they had never seen such beings with their own eyes. Even Armand had become a legend to them, and they were likely to ask: "Did you really see the vampire Armand?" Nowhere did I meet a truly old vampire. Nowhere did I meet a vampire who was in any way a magnetic creature, a being of great wisdom or special accomplishment, an unusual being in whom the Dark Gift had worked any perceivable alchemy that was of interest to me.

Armand was a dark god compared to these beings. And so was Gabrielle and so was I.

But I jump ahead of my tale.

Early on, when we first came into Italy, we gained a fuller and more sympathetic knowledge of the ancient rituals. The Roman coven came out to welcome us with open arms. "Come to the Sabbat," they said. "Come into the catacombs and join in the hymns."

Yes, they knew that we'd destroyed the Paris coven, and bested the great master of dark secrets, Armand. But they didn't despise us for it. On the contrary, they could not understand the cause of Armand's resignation of his power. Why hadn't the coven changed with the times?

For even here where the ceremonies were so elaborate and sensuous that they took my breath away, the vampires, far from eschewing the ways of men, thought nothing of passing themselves off as human whenever it suited their purposes. It was the same with the two vampires we had seen in Venice, and the handful we were later to meet in Florence as well.

In black cloaks, they penetrated the crowds at the opera, the shadowy corridors of great houses during balls and banquets, and even sometimes sat amid the press in lowly taverns or wine shops, peering at humans quite close at hand. It was their habit here more than anywhere to dress in the costumes of the time of their birth, and they were often splendidly attired and most regal, possessing jewels and finery and showing it often to great advantage when they chose.

Yet they crept back to their stinking graveyards to sleep, and they fled screaming from any sign of heavenly power, and they threw themselves with savage abandon into their horrifying and beautiful Sabbats.

In comparison, the vampires of Paris had been primitive, coarse, and childlike; but I could see that it was the very sophistication and worldliness of Paris that had caused Armand and his flock to retreat so far from mortal ways.

As the French capital became secular, the vampires had clung to old magic, while the Italian fiends lived among deeply religious humans whose lives were drenched in Roman Catholic ceremony, men and women who respected evil as they respected the Roman Church. In sum the old ways of the fiends were not unlike the old ways of people in Italy, and so the Italian vampires moved in both worlds. Did they believe in the old ways? They shrugged. The Sabbat for them was a grand pleasure. Hadn't Gabrielle and I enjoyed it? Had we not finally joined in the dance?

"Come to us anytime that you wish," the Roman vampires told us.

As for this Theater of the Vampires in Paris, this great scandal which was shocking our kind the world over, well, they would believe that when they saw it with their own eyes. Vampires performing on a stage, vampires dazzling mortal audiences with tricks and mimicry -- they thought it was too terribly Parisian! They laughed.

Of course I was hearing more directly about the theater all the time. Before I'd even reached St. Petersburg, Roget had sent me a long testament to the "cleverness" of the new troupe:

They have gotten themselves up like giant wooden marionettes [he wrote]. Gold cords come down from the rafters to their ankles and their wrists and the tops of their heads, and by these they appear to be manipulated in the most charming dances. They wear perfect circles of rouge on their white cheeks, and their eyes are wide as glass buttons. You cannot believe the perfection with which they make themselves appear inanimate.

But the orchestra is another marvel. Faces blank and painted in the very same style, the players imitate mechanical musicians -- the jointed dolls one can buy that, on the winding of a key, saw away at their little instruments, or blow their little horns, to make real music!

It is such an engaging spectacle that ladies and gentlemen of the audience quarrel amongst themselves as to whether or not these players are dolls or real persons.

Some aver that they are all made of wood and the voices coming out of the actors' mouths are the work of ventriloquists.

As for the plays themselves, they would be extremely unsettling were they not so beautiful and skillfully done.

There is one most popular drama they do which features a vampire revenant, risen from the grave through a platform in the stage. Terrifying is the creature with rag mop hair and fangs. But lo, he falls in love at once with a giant wooden puppet woman, never guessing that she is not alive. Unable to drink blood from her throat, however, the poor vampire soon perishes, at which moment the marionette reveals that she does indeed live, though she is made of wood and with an evil smile she performs a triumphant dance upon the body of the defeated fiend.

I tell you it makes the blood run cold to see it. Yet the audience screams and applauds.

In another little tableau, the puppet dancers make a circle about a human girl and entice her to let herself be bound up with golden cords as if she too were a marionette. The sorry result is that the strings make her dance till the life goes out off her body. She pleads with eloquent gestures to be released, but the real puppets only laugh and cavort as she expires.

The music is unearthly. It brings to mind the gypsies of the country fairs. Monsieur de Lenfent is the director. And it is the sound of his violin which often opens the evening fare.

I advise you as your attorney to claim some of the profits being made by this remarkable company. The lines for each performance stretch a considerable length down the boulevard.

Roget's letters always unsettled me. They left me with my heart tripping, and I couldn't help but wonder: What had I expected the troupe to do? Why did their boldness and inventiveness surprise me? We all had the power to do such things. By the time I settled in Venice, where I spent a great deal of time looking in vain for Marius's paintings, I was hearing from Eleni directly, her letters inscribed with exquisite vampiric skill.

They were the most popular entertainment in nighttime Paris, she wrote to me. "Actors" had come from all over Europe to join them. So their troupe had swelled to twenty in number, which even that metropolis could scarce "support."

"Only the most clever artists are admitted, those who possess truly astonishing talent, but we prize discretion above all else. We do not like scandal, as you can well guess."

As for their "Dear Violinist," she wrote of him affectionately, saying he was their greatest inspiration, that he wrote the most ingenious plays, taking them from stories that he read. "But when he is not at work, he can be quite impossible. He must be watched constantly so that he does not enlarge our ranks. His dining habits are extremely sloppy. And on occasion he says most shocking things to strangers, which fortunately they are too sensible to believe."

In other words, he tried to make other vampires. And he didn't hunt in stealth.

In the main it is Our Oldest Friend [Armand, obviously] who is relied upon to restrain him. And that he does with the most caustic threats. But I must say that these do not have an enduring effect upon our Violinist. He talks often of old religious customs, of ritual fires, of the passage into new realms of being.

I cannot say that we do not love him. For your sake we would care for him even if we did not. But we do love him. And Our Oldest Friend, in particular, bears him great affection. Yet I should remark that in the old times, such persons would not have endured among us for very long.

As for Our Oldest Friend, I wonder if you would know him now. He has built a great manse at the foot of your tower, and there he lives among books and pictures very like a scholarly gentleman with little care for the real world.

Each night, however, he arrives at the door of the theater in his black carriage. And he watches from his own curtained box.

And he comes after to settle all disputes among us, to govern as he always did, to threaten Our Divine Violinist, but he will never, never consent to perform on the stage. It is he who accepts new members among us. As I told you, they come from all over. We do not have to solicit them. They knock upon our door ....

Come back to us [she wrote in closing]. You will find us more interesting than you did before. There are a thousand dark wonders which I cannot commit to paper. We are a starburst in the history of our kind. And we could not have chosen a more perfect moment in the history of this great city for our little contrivance. And it is your doing, this splendid existence we sustain. Why did you leave us? Come home.

I saved these letters. I kept them as carefully as I kept the letter from my brothers in the Auvergne. I saw the marionettes perfectly in my imagination. I heard the cry of Nicki's violin. I saw Armand, too, arriving in his dark carriage, taking his seat in the box. And I even described all of this in veiled and eccentric terms in my long messages to Marius, working in a little frenzy now and then with my chisel in a dark street while mortals slept.

But for me, there was no going back to Paris, no matter how lonely I might become. The world around me had become my lover and my teacher. I was enraptured with the cathedrals and castles, the museums and palaces that I saw. In every place I visited, I went to the heart of society: I drank up its entertainments and its gossip, its literature and its music, its architecture and its art.

I could fill volumes with the things I studied, the things I struggled to understand. I was enthralled by gypsy violinists and street puppeteers as I was by great castrati sopranos in gilded opera houses or cathedral choirs. I prowled the brothels and the gambling dens and the places where the sailors drank and quarreled. I read the newspapers everywhere I went and hung about in taverns, often ordering food I never touched, merely to have it in front of me, and I talked to mortals incessantly in public places, buying countless glasses of wine for others, smelling their pipes and cigars as they smoked, and letting all these mortal smells get into my hair and clothes.

And when I wasn't out roaming, I was traveling the realm of the books that had belonged to Gabrielle so exclusively all through those dreary mortal years at home.

Before we even got to Italy, I knew enough Latin to be studying the classics, and I made a library in the old Venetian palazzo I haunted, often reading the whole night long.

And of course it was the tale off Osiris that enchanted me, bringing back with it the romance of Armand's story and Marius's enigmatic words. As I pored over all the old versions, I was quietly thunderstruck by what I read.

Here we have an ancient king, Osiris, a man of unworldly goodness who turns the Egyptians away from cannibalism and teaches them the art of growing crops and making wine. And how is he murdered by his brother Typhon? Osiris is tricked into lying down in a box made to the exact size of his body, and his brother Typhon then nails shut the lid. He is then thrown into the river, and when his faithful Isis finds his body, he is again attacked by Typhon, who dismembers him. All parts of his body are found save one.

Now, why would Marius make reference to a myth such as this? And how could I not think on the fact that all vampires sleep in coffins which are boxes made to the size off their bodies -- even the miserable rabble of les Innocents slept in their coffins. Magnus said to me, "In that box or its like you must always lie." As for the missing part of the body, the part that Isis never found, well, there is one part of us which is not enhanced by the Dark Gift, isn't there? We can speak, see, taste, breathe, move as humans move, but we cannot procreate. And neither could Osiris, so he became Lord of the Dead.

Was this a vampire god?

But so much puzzled me and tormented me. This god Osiris was the god of wine to the Egyptians, the one later called Dionysus by the Greeks. And Dionysus was the "dark god" of the theater, the devil god whom Nicki described to me when we were boys at home. And now we had the theater full of vampires in Paris. Oh, it was too rich.

I couldn't wait to tell all this to Gabrielle.

But she dismissed it indifferently, saying there were hundreds of such old stories.

"Osiris was the god of the corn," she said. "He was a good god to the Egyptians. What could this have to do with us?" She glanced at the books I was studying. "You have a great deal to learn, my son. Many an ancient god was dismembered and mourned by his goddess. Read of Actaeon and Adonis. The ancients loved those stories."

And she was gone. And I was alone in the candlelighted library, leaning on my elbows amid all these books.

I brooded on Armand's dream of the sanctuary of Those Who Must Be Kept in the mountains. Was it a magic that went back to the Egyptian times? How had the Children of Darkness forgotten such things? Maybe it had all been poetry to the Venetian master, the mention of Typhon, the slayer of his brother, nothing more than that.

I went out into the night with my chisel. I wrote my questions to Marius on stones that were older than us both. Marius had become so real to me that we were talking together, the way that Nicki and I had once done. He was the confidant who received my excitement, my enthusiasm, my sublime bewilderment at all the wonders and puzzles of the world.

But as my studies deepened, as my education broadened, I was getting that first awesome inkling of what eternity might be. I was alone among humans, and my writing to Marius couldn't keep me from knowing my own monstrosity as I had in those first Paris nights so long ago. After all, Marius wasn't really there.

And neither was Gabrielle.

Almost from the beginning, Armand's predictions had proved true.