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The Vampire Chronicles Collection - Anne Rice [548]

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about himself thoughtfully, savoring the moment somewhat as he savored everything. The hall itself was nothing, a shell of a place to hold light and sound—utterly modern and unredeemably ugly.

But the mortals, how pretty they were, glistering with health, their pockets full of gold, sound bodies everywhere, in which no organ had been eaten by the worms of disease, no bone ever broken.

In fact the sanitized well-being of this entire city rather amazed Khayman. True, he’d seen wealth in Europe such as he could never have imagined, but nothing equaled the flawless surface of this small and over-populated place, even to the San Francisco peasantry, whose tiny stucco cottages were choked with luxuries of every description. Driveways here were jammed with handsome automobiles. Paupers drew their money from bank machines with magic plastic cards. No slums anywhere. Great towers the city had, and fabulous hostelries; mansions in profusion; yet girded as it was by sea and mountains and the glittering waters of the Bay, it seemed not so much a capital as a resort, an escape from the world’s greater pain and ugliness.

No wonder Lestat had chosen this place to throw down the gauntlet. In the main, these pampered children were good. Deprivation had never wounded or weakened them. They might prove perfect combatants for real evil. That is, when they came to realize that the symbol and the thing were one and the same. Wake up and smell the blood, young ones.

But would there be time for that now?

Lestat’s great scheme, whatever it truly was, might be stillborn; for surely the Queen had a scheme of her own, and Lestat knew nothing of it.

Khayman made his way now to the top of the hall. To the very last row of wooden seats where he had been earlier. He settled comfortably in the same spot, pushing aside the two “vampire books,” which still lay on the floor, unnoticed.

Earlier, he had devoured the texts—Louis’s testament: “Behold, the void.” And Lestat’s history: “And this and this and this, and it means nothing.” They had clarified for him many things. And what Khayman had divined of Lestat’s intentions had been confirmed completely. But of the mystery of the twins, of course, the book told nothing.

And as for the Queen’s true intent, that continued to baffle him.

She had slain hundreds of blood drinkers the world over, yet left others unharmed.

Even now, Marius lived. In destroying her shrine, she had punished him but not killed him, which would have been simple. He called to the older ones from his prison of ice, warning, begging for assistance. And effortlessly, Khayman sensed two immortals moving to answer Marius’s call, though one, Marius’s own child, could not even hear it. Pandora was that one’s name; she was a lone one, a strong one. The other, called Santino, did not have her power, but he could hear Marius’s voice, as he struggled to keep pace with her.

Without doubt the Queen could have struck them down had she chosen to do it. Yet on and on they moved, clearly visible, clearly audible, yet unmolested.

How did the Queen make such choices? Surely there were those in this very hall whom she had spared for some purpose.…

Daniel

HEY had reached the doors, and now had to push the last few feet down a narrow ramp into the giant open oval of the main floor.

The crowd loosened, like marbles rolling in all directions. Daniel moved towards the center, his fingers hooked around Armand’s belt so as not to lose him, his eyes roaming over the horseshoe-shaped theater, the high banks of seats rising to the ceiling. Mortals everywhere swarmed the cement stairs, or hung over iron railings, or flowed into the milling crowd around him.

A blur it was suddenly, the noise of it like the low grind of a giant machine. But then in the moment of deliberately distorted vision, he saw the others. He saw the simple, inescapable difference between the living and the dead. Beings like himself in every direction, concealed in the mortal forest, yet shining like the eyes of an owl in the light of the moon. No paint or dark glasses or shapeless

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