THE STORY OF ARMAND
3
The chamber had faded. The walks were gone.
Horsemen came. A gathering cloud on the horizon. Then screams of terror. And an auburn-haired child in crude peasant's clothes running on and on, as the horsemen broke loose in a horde and the child fighting and kicking as he was caught and thrown over the saddle of a rider who bore him away beyond the end of the world. Armand was this child.
And these were the southern steppes of Russia, but Armand didn't know that it was Russia. He knew Mother and Father and Church and God and Satan, but he didn't even understand the name of home, or the name of his language, or that the horsemen who carried him away were Tartars and that he would never see anything that he knew or loved again.
Darkness, the tumultuous movement of the ship and its never ending sickness, and emerging out of the fear and the numbing despair, the vast glittering wilderness of impossible buildings that was Constantinople in the last days of the Byzantine Empire, with her fantastical multitudes and her slave-auction blocks. The menacing babble of foreign tongues, threats made in the universal language of gesture, and all around him the enemies he could not distinguish or placate or escape.
Years and years would pass, beyond a mortal lifetime, before Armand would look back on that awesome moment and give them names and histories, the Byzantine officials of the courts who would have castrated him and the harem keepers of Islam who would have done the same, and the proud Mameluke warriors of Egypt who would have taken him to Cairo with them had he been fairer and stronger, and the radiant softspoken Venetians in their leggings and velvet doublets, the most dazzling creatures of all, Christians even as he was a Christian, yet laughing gently to one another as they examined him, as he stood mute, unable to answer, to plead, even to hope.
I saw the seas before him, the great rolling blue of the Aegean and the Adriatic, and his sickness again in the hold and his solemn vow not to live.
And then the great Moorish palaces of Venice rising from the gleaming surface of the lagoon, and the house to which he was taken, with its dozens and dozens of secret chambers, the light of the sky glimpsed only through barred windows, and the other boys speaking to him in that soft strange tongue that was Venetian and the threats and the cajoling as he was convinced, against all his fear and superstitions, of the sins that he must commit with the endless procession of strangers in this landscape of marble and torchlight, each chamber opening to a new tableau of tenderness that surrendered to the same ritual and inexplicable and finally cruel desire.
And at last one night when, for days and days he had refused to submit and he was hungry and sore and would not speak any longer to anyone, he was pushed through one of those doors again, just as he was, soiled and blind from the dark room in which he'd been locked, and the creature standing there to receive him, the tall one in red velvet, with the lean and almost luminous face, touched him so gently with cool fingers that, half dreaming, he didn't cry as he saw the coins exchange hands. But it was a great deal of money. Too much money. He was being sold off. And the face, it was too smooth, it might have been a mask.
At the final moment, he screamed. He swore he would obey, he wouldn't fight anymore. Will someone tell him where he's being taken, he won't disobey anymore, please, please. But even as he was pulled down the stairs towards the dank smell of the water, he felt the firm, delicate fingers of his new Master again, and on his neck cool and tender lips that could never, never hurt him, and that first deadly and irresistible kiss.
Love and love and love in the vampire kiss. It bathed Armand, cleansed him, this is everything, as he was carried into the gondola and the gondola moved like a great sinister beetle through the narrow stream into the sewers beneath another house.
Drunk on pleasure. Drunk on the silky white hands that smoothed back his hair and the voice that called him beautiful; on the face that in moments of feeling was suffused with expression only to become as serene and dazzling as something made of jewels and alabaster in repose. Like a pool of moonlit water it was. Touch it even with the fingertip and all its life rises to the surface only to vanish in quiet once again.
Drunk in the morning light on the memory of those kisses as, alone, he opened one door after another upon books and maps and statues in granite and marble, the other apprentice finding him and leading him patiently to his work -- letting him watch as they ground the brilliant pigments, teaching him to blend the pure color with the yellow egg yolk, and how to spread the lacquer of the egg yolk over the panels, and taking him up on the scaffolding as they worked with careful strokes on the very edges of the vast depiction of sun and clouds, showing him those great faces and hands and angels' wings which only the Master's brush would touch.
Drunk as he sat at the long table with them, gorging himself on the delicious foods that he had never tasted before, and the wine which never ran out.
And falling asleep finally to wake at that moment of twilight when the Master stood beside the enormous bed, gorgeous as something imagined in his red velvet, with his thick white hair glistening in the lamplight, and the simplest happiness in his brilliant cobalt blue eyes. The deadly kiss.
"Ah, yes, never to be separated from you, yes, ... not afraid."
"Soon, my darling one, we will be truly united soon."
Torches blazing throughout the house. The Master atop the scaffolding with the brush in his hand: "Stand there, in the light, don't move," and hours and hours frozen in the same position, and then before dawn, seeing his own likeness there in the paint, the face of the angel, the Master smiling as he moved down the endless corridor...
"No, Master, don't leave me, let me stay with you, don't go...
Day again, and money in his pockets, real gold, and the grandeur of Venice with her dark green waterways walled in palaces, and the other apprentices walking arm in arm with him, and the fresh air and the blue sky over the Piazza San Marco like something he had only dreamed in childhood, and the palazzo again at twilight, and the Master coming, the Master bent over the smaller panel with the brush, working faster and faster as the apprentices gazed on half horrified, half fascinated, the Master looking up and seeing him and putting down the brush, and taking him out of the enormous studio as the others worked until the hour of midnight, his face in the Master's hands as, alone in the bedchamber again, that secret, never tell anyone, kiss.
Two years? Three years? No words to recreate it or embrace it, the glory that was those times -- the fleets that sailed away to war from that port, the hymns that rose before those Byzantine altars, the passion plays and the miracle plays performed on their platforms in the churches and in the piazza with their hell's mouth and cavorting devils, and the glittering mosaics spreading out over the walls of San Marco and San Zanipolo and the Palazzo Ducale, and the painters who walked those streets, Giambono, Uccello, the Vivarini and the Bellini; and the endless feast days and processions, and always in the small hours in the vast torchlighted rooms of the palazzo, alone with the Master when the others slept safely locked away. The Master's brush racing over the panel before it as if uncovering the painting rather than creating it -- sun and sky and sea spreading out beneath the canopy of the angel's wings.
And those awful inevitable moments when the Master would rise screaming, hurling the pots of paint in all directions, clutching at his eyes as if he would pull them out of his head.
"Why can I not see? Why can I not see better than mortals see?"
Holding tight to the Master. Waiting for the rapture of the kiss. Dark secret, unspoken secret. The Master slipping out of the door sometime before dawn.
"Let me go with you, Master."
"Soon, my darling, my love, my little one, when you're strong enough and tall enough, and there is no flaw in you anymore. Go now, and have all the pleasures that await you, have the love of a woman, and have the love of a man as well in the nights that follow. Forget the bitterness you knew in the brothel and taste of these things while there is still time."
And rarely did the night close that there wasn't that figure come back again, just before the rising sun, and this time ruddy and warm as it bent over him to give him the embrace that would sustain him through the daylight hours until the deadly kiss at twilight again.
He learned to read and write. He took the paintings to their final destinations in the churches and the chapels of the great palaces, and collected the payments and bargained for the pigments and the oils. He scolded the servants when the beds weren't made and the meals weren't ready. And beloved by the apprentices, he sent them to their new service when they were finished, with tears. He read poetry to the Master as the Master painted, and he learned to play the lute and to sing songs.
And during those sad times when the Master left Venice for many nights, it was he who governed in the Master's absence, concealing his anguish from the others, knowing it would end only when the Master returned.
And one night finally, in the small hours when even Venice slept:
"This is the moment, beautiful one. For you to come to me and become like me. Is it what you wish?"
"Yes."
"Forever to thrive in secret upon the blood of the evildoer as I thrive, and to abide with these secrets until the end of the world."
"I take the vow, I surrender, I will ... to be with you, my Master, always, you are the creator of all things that I am. There has never been any greater desire."
The Master's brush pointing to the painting that reached to the ceiling above the tiers of scaffolding.
"This is the only sun that you will ever see again. But a millennium of nights will be yours to see light as no mortal has ever seen it, to snatch from the distant stars as if you were Prometheus an endless illumination by which to understand all things."
How many months were there after? Reeling in the power of the Dark Gift.
This nighttime life of drifting through the alleyways and the canals together -- at one with the danger of the dark and no longer afraid of it -- and the age-old rapture of the killing, and never, never the innocent souls. No, always the evildoer, the mind pierced until Typhon, the slayer of his brother, was revealed, and then the drinking up of the evil from the mortal victim and the transmuting of it into ecstasy, the Master leading the way, the feast shared.
And the painting afterwards, the solitary hours with the miracle of the new skill, the brush sometimes moving as if by itself across the enameled surface, and the two of them painting furiously on the triptych, and the mortal apprentices asleep among the paint pots and the wine bottles, and only one mystery disturbing the serenity, the mystery that the Master, as in the past, must now and then leave Venice for a journey that seemed endless to those left behind.
All the more terrible now the parting. To hunt alone without the Master, to lie alone in the deep cellar after the hunt, waiting. Not to hear the ring of the Master's laughter or the beat of the Master's heart.
"But where do you go? Why can't I go with you?" Armand pleaded. Didn't they share the secret? Why was this mystery not explained?
"No, my lovely one, you are not ready for this burden. For now, it must be, as it has been for over a thousand years, mine alone. Someday you will help me with what I have to do, but only when you are ready for the knowledge, when you have shown that you truly wish to know, and when you are powerful enough that no one can ever take the knowledge from you against your will. Until then understand I have no choice but to leave you. I go to tend to Those Who Must Be Kept as I have always done."
Those Who Must Be Kept.
Armand brooded upon it; it frightened him. But worst of all it took the Master from him, and only did he learn not to fear it when the Master returned to him again and again.
"Those Who Must Be Kept are in peace, or in silence," he would say as he took the red velvet cloak from his shoulders. "More than that we may never know."
And to the feast again, the stalking of the evildoer through the alleys of Venice, he and the Master would go.
How long might it have continued -- through one mortal lifetime? Through a hundred?
Not a half year in this dark bliss before the evening at twilight when the Master stood over his coffin in the deep cellar just above the water, and said:
"Rise, Armand, we must leave here. They have come!"
"But who are they, Master? Is it Those Who Must Be Kept?"
"No, my darling. It is the others. Come, we must hurry!"
"But how can they hurt us? Why must we go?"
The white faces at the windows, the pounding at the doors. Glass shattering. The Master turning this way and that as he looked at the paintings. The smell of smoke. The smell of burning pitch. They were coming up from the cellar. They were coming down from above.
"Run, there is not time to save anything." Up the stairs to the roof.
Black hooded figures heaving their torches through the doorways, the fire roaring in the rooms below, exploding the windows, boiling up the stairway. All the paintings were burning.
"To the roof, Armand. Come!"
Creatures like ourselves in these dark garments! Others like ourselves. The Master scattered them in all directions as he raced up the stairway, bones cracking as they struck the ceiling and the walls.
"Blasphemer, heretic!" the alien voices roared. The arms caught Armand and held him, and above at the very top of the stairway the Master turned back for him:
"Armand! Trust your strength. Come!"
But they were swarming behind the Master. They were surrounding him. For each one hurled into the plaster, three more appeared, until fifty torches were plunged into the Master's velvet garments, his long red sleeves, his white hair. The fire roared up to the ceiling as it consumed him, making of him a living torch, even as with flaming arms he defended himself, igniting his attackers as they threw the blazing torches like firewood at his feet.
But Armand was being borne down and away, out of the burning house, with the screaming mortal apprentices. And over the water and away from Venice, amid cries and wailing, in the belly of a vessel as terrifying as the slave ship, to an open clearing under the night sky.
"Blasphemer, blasphemer!" The bonfire growing, and the chain of hooded figures around it, and the chant rising and rising, "Into the fire."
"No, don't do it to me, no!"
And as he watched, petrified, he saw brought towards the pyre the mortal apprentices, his brothers, his only brothers, roaring in panic as they were hurled upwards and over into the flames.
"No ... stop this, they're innocent! For the love of God, stop, innocent!..." He was screaming, but now his time had come. They were lifting him as he struggled, and he was flung up and up to fall down into the blast.
"Master, help me!" Then all words giving way to one wailing cry.
Thrashing, screaming, mad.
But he had been taken out of it. Snatched back into life. And he lay on the ground looking at the sky. The flames licked the stars, it seemed, but he was far away from them, and couldn't even feel the heat anymore. He could smell his burnt clothing and his burnt hair. The pain in his face and hands was the worst and the blood was leaking out of him and he could scarcely move his lips . . .
". . . All thy Master's vain works destroyed, all the vain creations which he made among mortals with his Dark Powers, images of angels and saints and living mortals! Wilt thou, too, be destroyed? Or serve Satan? Make thy choice. Thou hast tasted the fire, and the fire waits for thee, hungry for thee. Hell waits for thee. Wilt thou make thy choice?"
"...yes..."
". . . to serve Satan as he is meant to be served."
"Yes... "
". . . That all things of the world are vanity, and thou shalt never use thy Dark Powers for any mortal vanity, not to paint, not to create music, not to dance, nor to recite for the amusement of mortals but only and forever in the service of Satan, thy Dark Powers to seduce and to terrify and to destroy, only to destroy. . ."
"Yes... "
". . . consecrated to thy one and only master, Satan, Satan forever, always and forever. . . to serve thy true master in darkness and pain and in suffering, to surrender thy mind and thy heart. . ."
"Yes."
"And to keep from thy brethren in Satan no secret, to yield all knowledge of the blasphemer and his burden..."
Silence.
"To yield all knowledge of the burden, child! Come now, the flames wait."
"I do not understand you..."
"Those Who Must Be Kept. Tell."
"Tell what? I do not know anything, except that I do not wish to suffer. I am so afraid."
"The truth, Child of Darkness. Where are they? Where are Those Who Must Be Kept?"
"I do not know. Look into my mind if you have that same power. There is nothing I can tell."
"But what, child, what are they? Did he never tell you? What are Those Who Must Be Kept?"
And so they did not understand it either. It was no more than a phrase to them as it was to him. When you are powerful enough that no one can ever take the knowledge from you against your will. The Master had been wise.
"What is its meaning! Where are they? We must have the answer."
"I swear to you, I do not have it. I swear on my fear which is all I possess now, I do not know!"
White faces appearing above him, one at a time. The tasteless lips giving hard, sweet kisses, hands stroking him, and from their wrists the glittering droplets of blood. They wanted the truth to come out in the blood. But what did it matter? The blood was the blood.
"Thou art the devil's child now."
"Yes."
"Don't weep for thy master, Marius. Marius is in hell where he belongs. Now drink the healing blood and rise and dance with thine own kind for the glory of Satan! And immortality will be truly thine!"
"Yes" -- the blood burning his tongue as he lifted his head, the blood filling him with torturous slowness. "Oh, please."
All around him Latin phrases, and the low beat of drums. They were satisfied. They knew he had spoken the truth. They would not kill him and the ecstasy dimmed all considerations. The pain in his hands and his face had melted into this ecstasy "Rise, young one, and join the Children of Darkness."
"Yes, I do." White hands reaching for his hands. Horns and lutes shrilling over the thud of the drums, the harps plucked into an hypnotic strumming as the circle commenced to move. Hooded figures in mendicant black, robes flowing as they lifted their knees high and bent their backs.
And breaking hands, they whirled, leapt, and came down again, spinning round and round, and a humming song rose louder and louder from their closed lips.
The circle swept on faster. The humming was a great melancholy vibration without shape or continuity and yet it seemed to be a form of speaking, to be the very echo of thought. Louder and louder it came like a moan that could not break into a cry.
He was making the same sound with it, and then turning, and dizzy with turning, he leapt high into the air. Hands caught him, lips kissed him, he was whirling about and pulled along by the others, someone crying out in Latin, another answering, another crying louder, and another answer coming again.
He was flying, no longer bound to the earth and the awful pain of his Master's death, and the death of the paintings, and death of the mortals he loved. The wind sailed past him, and the heat blasted his face and eyes. But the singing was so beautiful that it didn't matter that he didn't know the words, or that he couldn't pray to Satan, didn't know how to believe or make such a prayer. No one knew that he didn't know and they were all in a chorus together and they cried and lamented and tamed and leapt again and then, swaying back and forth, threw their heads back as the fire blinded them and licked them and someone shouted "Yes, YES!"
And the music surged. A barbarous rhythm broke loose all around him from drums and tambourines, voices in lurid rushing melody at last. The vampires threw up their arms, howled, figures flickering past him in riotous contortions, backs arched, heels stomping. The jubilation of imps in hell. It horrified him and it called to him, and when the hands clutched at him and swung him around, he stomped and twisted and danced like the others, letting the pain course through him, bending his limbs and giving the alarm to his cries.
And before dawn, he was delirious, and he had a dozen brothers around him, caressing him and soothing him, and leading him down a staircase that had opened in the bowels of the earth.
It seemed that some time in the months that followed Armand dreamed his Master had not been burnt to death.
He dreamed his Master had fallen from the roof, a blazing comet, into the saving waters of the canal below. And deep in the mountains of northern Italy, his Master survived. His Master called to him to come. His Master was in the sanctuary of Those Who Must Be Kept.
Sometimes in the dream his Master was as powerful and radiant as he had ever been; beauty seemed his raiment. And at others he was burnt black and shriveled, a breathing cinder, his eyes huge and yellow, and only his white hair as lustrous and full as it had been. He crept along the ground in his weakness, pleading for Armand to help him. And behind him, warm light spilled from the sanctuary of Those Who Must Be Kept; there came the smell of incense, and there seemed some promise of ancient magic there, some promise of cold and exotic beauty beyond all evil and all good.
But these were vain imaginings. His Master had told him that fire and the light of the sun could destroy them, and he himself had seen his Master in flames. It was like wishing for his mortal life to come again to have these dreams.
And when his eyes were open on the moon and the stars, and the still mirror of the sea before him, he knew no hope, and no grief, and no joy. All those things had come from the Master, and the Master was no more.
"I am the devil's child." That was poetry. All will was extinguished in him, and there was nothing but the dark confraternity, and the kill was now of the innocent as well as the guilty. The kill was above all cruel.
In Rome in the great coven in the catacombs, he bowed before Santino, the leader, who came down the stone steps to receive him with outstretched arms. This great one had been Born to Darkness in the time of the Black Death, and he told Armand of the vision that had come to him in the year 1349 when the plague raged, that we were to be as the Black Death itself, a vexation without explanation, to cause man to doubt the mercy and intervention of God.
Into the sanctum lined with human skulls Santino took Armand, telling him of the history of the vampires.
From all times we have existed, as wolves have, a source of mortals. And in the coven of Rome, dark shadow of the Roman Church, lay our final perfection.
Armand already knew the rituals and common prohibitions; now he must learn the great laws:
One -- that each coven must have its leader and only he might order the working of the Dark Trick upon a mortal, seeing that the methods and the rituals were properly observed.
Two -- that the Dark Gifts must never be given to the crippled, the maimed, or to children, or to those who cannot, even with the Dark Powers, survive on their own. Be it further understood that all mortals who would receive the Dark Gifts should be beautiful in person so that the insult to God might be greater when the Dark Trick is done.
Three -- that never should an old vampire work this magic lest the blood of the fledgling be too strong. For all our gifts increase naturally with age, and the old ones have too much strength to pass on. Injury, burning -- these catastrophes, if they do not destroy the Child of Satan, will only increase his powers when he is healed. Yet Satan guards the flock from the power of old ones, for almost all, without exception, go mad.
In this particular, let Armand observe that there was no vampire then living who was more than three hundred years old. No one alive then could remember the first Roman coven. The devil frequently calls his vampires home.
But let Armand understand here also that the effect of the Dark Trick is unpredictable, even when passed on by the very young vampire and with all due care. For reasons no one knows, some mortals when Born to Darkness become as powerful as Titans, others may be no more than corpses that move. That is why mortals must be chosen with skill. Those with great passion and indomitable will should be avoided as well as those who have none.
Four -- that no vampire may ever destroy another vampire, except that the coven master has the power of life and death over all of his flock. And it is, further, his obligation to lead the old ones and the mad ones into the fire when they can no longer serve Satan as they should. It is his obligation to destroy all vampires who are not properly made. It is his obligation to destroy those who are so badly wounded that they cannot survive on their own. And it is his obligation finally to seek the destruction of all outcasts and all who have broken the laws.
Five -- that no vampire shall ever reveal his true nature to a mortal and allow that mortal to live. No vampire must ever reveal the history of the vampires to a mortal and let the mortal live. No vampire must commit to writing the history of the vampires or any true knowledge of vampires lest such a history be found by mortals and believed. And a vampire's name must never be known to mortals, save from his tombstone, and never must any vampire reveal to mortals the location of his or any other vampire's lair.
These then were the great commandments, which all vampires must obey. And this was the condition of existence among all the Undead.
Yet Armand should know that there had always been stories of ancient ones, heretic vampires of frightening power who submitted to no authority, not even that of the devil-vampires who had survived for thousands of years. Children of the Millennia, they were sometimes called. In the north of Europe there were tales of Mael, who dwelt in the forests of England and Scotland; and in Asia Minor the legend of Pandora. And in Egypt, the ancient tale of the vampire Ramses, seen again in this very time.
In all parts of the world one found such tales. And one could easily dismiss them as fanciful save for one thing. The ancient heretic Marius had been found in Venice, and there punished by the Children of Darkness. The legend of Marius had been true. But Marius was no more.
Armand said nothing to this last judgment. He did not tell Santino of the dreams he had had. In truth the dreams had dimmed inside Armand as had the colors of Marius's paintings. They were no longer held in Armand's mind or heart to be discovered by others who might try to see.
When Santino spoke of Those Who Must Be Kept, Armand again confessed that he did not know the meaning of it. Neither did Santino, nor any vampire that Santino had ever known.
Dead was the secret. Dead was Marius. And so consign to silence the old and useless mystery. Satan is our Lord and Master. In Satan, all is understood and all is known.
Armand pleased Santino. He memorized the laws, perfected his performance of the ceremonial incantations, the rituals, and the prayers. He saw the greatest Sabbats he was ever to witness. And he learned from the most powerful and skillful and beautiful vampires he was ever to know. He learned so well that he became a missionary sent out to gather the vagrant Children of Darkness into covens, and guide others in the performance of the Sabbat, and the working of the Dark Trick when the world and the flesh and the devil called for it to be done.
In Spain and in Germany and in France, he had taught the Dark Blessings and Dark Rituals, and he had known savage and tenacious Children of Darkness, and dim flames had flared in him in their company and in those moments when the coven surrounded him, comforted by him, deriving its unity from his strength.
He had perfected the act of killing beyond the abilities of all the Children of Darkness that he knew. He had learned to summon those who truly wished to die. He had but to stand near the dwellings of mortals and call silently to see his victim appear.
Old, young, wretched, diseased, the ugly or the beautiful, it did not matter because he did not choose. Dazzling visions he gave, if they should want to receive, but he did not move towards them nor even close his arms around them. Drawn inexorably towards him, it was they who embraced him. And when their warm living flesh touched him, when he opened his lips and felt the blood spill, he knew the only surcease from misery that he could know.
It seemed to him in the best of these moments that his way was profoundly spiritual, uncontaminated by the appetites and confusions that made up the world, despite the carnal rapture of the kill.
In that act the spiritual and the carnal came together, and it was the spiritual, he was convinced, that survived. Holy Communion it seemed to him, the Blood of the Children of Christ serving only to bring the essence of life itself into his understanding for the split second in which death occurred. Only the great saints of God were his equals in this spirituality, this confrontation with mystery, this existence of meditation and denial.
Yet he had seen the greatest of his companions vanish, bring destruction upon themselves, go mad. He had witnessed the inevitable dissolution of covens, seen immortality defeat the most perfectly made Children of Darkness, and it seemed at times some awesome punishment that it never defeated him.
Was he destined to be one of the ancient ones? The Children of the Millennia? Could one believe those stories which persisted still?
Now and then a roaming vampire would speak of the fabled Pandora glimpsed in the far-off Russian city of Moscow, or of Mael living on the bleak English coast. The wanderers told even of Marius -- that he had been seen again in Egypt, or in Greece. But these storytellers had not themselves laid eyes upon the legendary ones. They knew nothing really. These were often-repeated tales.
They did not distract or amuse the obedient servant of Satan. In quiet allegiance to the Dark Ways, Armand continued to serve.
Yet in the centuries of his long obedience, Armand kept two secrets to himself. These were his property, these secrets, more purely his than the coffin in which he locked himself by day, or the few amulets he wore.
The first was that no matter how great his loneliness, or how long the search for brothers and sisters in whom he might find some comfort, he never worked the Dark Trick himself. He wouldn't give that to Satan, no Child of Darkness made by him.
And the other secret, which he kept from his followers for their sake, was simply the extent of his ever deepening despair.
That he craved nothing, cherished nothing, believed nothing finally, and took not one particle of pleasure in his ever increasing and awesome powers, and existed from moment to moment in a void broken once every night of his eternal life by the kill -- that secret he had kept from them as long as they had needed him and it had been possible to lead them because his fear would have made them afraid.
But it was finished.
A great cycle had ended, and even years ago he had felt it closing without understanding it was a cycle at all.
From Rome there came the garbled travelers' accounts, old when they were told to him, that the leader, Santino, had abandoned his flock. Some said he had gone mad into the countryside, others that he had leapt into the fire, others that "the world" had swallowed him, that he had been borne off in a black coach with mortals never to be seen again.
"We go into the fire or we go into legend," said a teller of the tale.
Then came accounts of chaos in Rome, of dozens of leaders who put on the black hood and the black robes to preside over the coven. And then it seemed there were none.
Since the year 1700 there had been no word anymore from Italy. For half a century Armand had not been able to trust to his passion or that of the others around him to create the frenzy of the true Sabbat. And he had dreamed of his old Master, Marius, in those rich robes of red velvet, and seen the palazzo full of vibrant paintings, and he had been afraid.
Then another had come.
His children rushed down into the cellars beneath les Innocents to describe to him this new vampire, who wore a furlined cloak of red velvet and could profane the churches and strike down those who wore crosses and walk in the places of light. Red velvet. It was mere coincidence, and yet it maddened him and seemed an insult to him, a gratuitous pain that his soul couldn't bear.
And then the woman had been made, the woman with the hair of a lion and the name of an angel, beautiful and powerful as her son.
And he had come up the stairway out of the catacomb, leading the band against us, as the hooded ones had come to destroy him and his Master in Venice centuries before.
And it had failed.
He stood dressed in these strange lace and brocade garments. He carried coins in his pockets. His mind swam with images from the thousands of books he had read. And he felt himself pierced with all he had witnessed in the places of light in the great city called Paris, and it was as if he could hear his old Master whispering in his ear:
But a millennium of nights will be yours to see light as no mortal has ever seen it, to snatch from the distant stars as if you were Prometheus an endless illumination in which to understand all things.
"All things have eluded my understanding," he said. "I am as one whom the earth has given back, and you, Lestat and Gabrielle, are like the images painted by my old Master in cerulean and carmine and gold."
He stood still in the doorway, his hands on the backs of his arms, and he was looking at us, asking silently:
What is there to know? What is there to give? We are the abandoned of God. And there is no Devil's Road spinning out before me and there are no bells of hell ringing in my ears.