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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 bow 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 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 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