Читать книгу Dracula: The Un-Dead - Ian Holt, Dacre Stoker - Страница 10

After the plane came to a rolling stop in a horse farm’s grazing pasture, Seward untied himself, tumbled onto the ground, and kissed it.

“I am never going to fly again as long as I live,” he said shakily as the engine cut silent. He glanced up to see Henri Salmet dancing on the fuselage like a child on Christmas morn.

“From our last fuel stop, I have estimated we have flown two hundred and fifty miles,” he cried. “We did it!” Henri began to calculate aloud. “Now, how far would two hundred and fifty miles be from Paris?”

“I believe London,” Seward said somberly, thinking of his home as he retrieved his medical bag.

“Now that I know for certain she can reach the distance, I will fly to London and have the press meet me there to document that I will be the first man to cross the English Channel and fly from London to Paris. It will make me très fameux! I must hurry into the city and purchase much petrol. How the devil am I going to get it out here?”

“Thank you for everything, Henri,” Seward said, forcing a smile.

“Bon chance, mon ami.”

Henri kissed Seward on both cheeks and pumped his hand.

Seward watched as Henri ran off toward the road. He knew this could well be the last time he’d set eyes upon his friend’s cheery face. He could think of no words more meaningful, so he kept his farewell simple and called out as he waved, “Good-bye, old friend!”

Seward turned in the opposite direction and checked his pocket watch. There was barely enough time to return to his room, gather his arsenal, and double back southward to the theatre. He would meet Bathory and her harpies fully armed. As the sun continued to set, he stopped to stare at the magnificent color in the heavenly sky. For too long, he had taken such grandeur in the natural world for granted, living alone in darkness. Tonight, he was glad, one way or the other, that he would at last bask beside God in His light.

Quincey arrived early at l’Odéon to purchase his ticket and took his time walking through the foyer of the old theatre. Each wall was adorned with busts, medallions, and portraits of actors. He drank them all in, recognizing a large portrait of Sarah Bernhardt mounted in a gold-leafed frame. Beneath the photo were her name and the title: La reine de l’Odéon. Quincey stopped at the photograph of Sir Henry Irving from his touring production of Hamlet. Irving was considered by most to be the greatest actor ever to voice Shakespeare’s prose. Most actors used their talent to affect the emotions of their audience through the strength of their own emotions. They watched for opportunities to tear the heartstrings of their listeners. In contrast, Irving approached a character from an intellectual perspective, taking into account the author’s intention and the character’s personal history. Though greatly ridiculed by other actors, Irving’s new approach captivated audiences. Much of the press said the same of Basarab; one reviewer had even raved that Basarab had inherited the mantle of “World’s Greatest Actor” from Sir Henry Irving.

Quincey became aware that he was still holding the envelope that he had carefully put together. He had purchased fine writing paper and paid a few francs for a local street artist to decorate the envelope with theatre masks in blood red. With fine calligraphy, an art he’d learned from his mother, Quincey addressed the envelope: To Basarab—from Quincey Harker, Esq. After seeing the pandemonium of adoring fans the night before, Quincey needed to make his envelope stand out from the countless other letters of admiration Basarab was sure to receive. He hoped that it would look important, and prayed it was not too much.

Quincey saw a short, elderly, uniformed man with a large set of keys in one hand and an electric torchlight in the other. Quincey knew this must be the head usher.

“Excuse me,” he said, extending the envelope toward him. “Could I ask you to deliver this backstage for me?”

The head usher read the name on the envelope, shook his head, and answered simply, “Non.”

Quincey’s mind raced. “Very well, I must speak to Monsieur Antoine at once.”

“André Antoine? He cannot be disturbed.”

“I think the theatre manager would like to know why Basarab won’t be performing tonight.”

The head usher studied Quincey. “What are you talking about?”

“Monsieur Basarab is expecting this letter. He is so anxious, I fear that he may be too distraught to perform if he doesn’t receive…”

“Very well,” the head usher interrupted, stretching out his hand. “I will take it to him.”

“Merci.” As Quincey gave him the envelope, the head usher’s hand remained outstretched until Quincey gave him some money. Then the man retreated. The lie had come so easily to Quincey.

Quincey turned to see that the wealthy and cultured, dressed in their best evening attire, had begun to pour into the opulent theatre. He knew that most of them were here to be seen rather than to see the play. Many of them shared his father’s view that actors were vagabonds and heathens. Hypocrites. His father was the worst of them; he seemed to have forgotten he was the son of a cobbler, a mere clerk at law fortunate enough to inherit the firm upon the death of its owner, Mr. Hawkins. The senior partner, Mr. Renfield, who had been destined to inherit the firm, had committed suicide in an insane asylum. Quincey suddenly felt a cold sensation as if the temperature in the room had dropped significantly. He glanced about, wondering where such a blast of cold could have come from, when a striking vision caught his eye. A woman had entered the foyer, towering over all others. The nearby crowd hurled disapproving glares. She was dressed like a man, in an extremely well-fitted dinner jacket.

Elizabeth Bathory could hardly believe this was le Théâtre de l’Odéon. She rested her hand on the gilded column as she looked about the theatre. The last time she had been here was March 18, 1799. The night of the great fire. The theatre rebuilt seemed smaller now. She glanced upward at the glass painting on the ceiling, which was illuminated by new electrical lights. In Michelangelo-style artistry, the painting depicted dancing women who seemed to be floating in the air. Some of the women were cloaked in virginal white flowing robes, chaste and angelic, but most were in various forms of undress, and yet appeared more like little girls than women capable of desire. Of course, the artist did not understand that women were sexual beings, with needs like men. Only a God-fearing man would depict a woman with such contempt.

Bathory’s eyes were fixed on the image of a raven-haired young maiden running with her white robe carelessly trailing behind her as if she had not a worry in the world. Bathory knew well enough from her own dark past that such a creature did not exist.

A fifteen-year-old Elizabeth Bathory had gasped in horror as her bejeweled wedding gown had been ripped violently from her body. Her terrified eyes had looked up at her assailant as he groped her breasts—her new husband, Count Ferenc Nádasdy, a fat, drunken slob of a man more than twenty years her senior.

“You are my wife…As such you have an obligation to God to consummate this marriage…Bathory!” slurred Nádasdy, and his wine-drenched breath was rancid. The way he emphasized her surname confirmed he was still outraged that she was allowed to retain her maiden name since her family was more powerful than his. When she didn’t move quickly enough, he struck her backhanded across her face, the full weight of his girth behind the blow. The signet ring on his hand had cut her lip. She tried to scream, but the bastard covered her mouth. She could still smell the manure since he had not cared to wash his hands after coming in from the fields. That had been the very first time she tasted blood and it had been her own.

In her youth, she had read countless books and poems written in Hungarian, Latin, and German. The stories always portrayed “romance” as a magical fairy tale sealed with a kiss. At fifteen she knew nothing of sexual intercourse or the pain of losing one’s virginity. Such things were meant to be handled gently and with care. Every young girl dreamed of their wedding day. But for Bathory the dream had become a living nightmare from which she could not wake up.

Hers was an arranged marriage, to secure military alliances and lands; romance had no part in it. For Count Nádasdy, she was nothing more than a bucking mare to be broken. Every orifice in her body became his plaything. Her flesh meant no more to him than paper to rend and tear.

After the fat oaf had fallen at last into intoxicated slumber, Bathory had stolen away from her wedding chambers and tried to flee into the night. The Castle Csejthe, which was his wedding gift to her, was situated deep in the Carpathian Mountains. Unlike the lively, edifying estate where she had grown up in Nyírbátor, Hungary, this picturesque setting offered a bucolic tapestry of small fields and meandering stone walls. The castle itself was set high among the jagged outcrops of the frozen mountains. It was May, but at this altitude, it was as cold as winter. Bathory had stood naked, exposed, the freezing air soothing her wounds, her blood frosting on her skin. To freeze to death would surely be better than life with the grotesque monster to whom she had been given. But even in this, God had shown her no mercy. The servants ran from the castle and covered her with blankets. When she fought them, they subdued her and forced her back to her master. There was no escape. Bathory was a prisoner in her own life.

“What is it, mistress?” the pale-haired Woman in White asked, concerned. Her touch startled Bathory back to the present.

She said nothing, but as her rage boiled, she was haunted by the lie of the blissfully ignorant, raven-haired girl running in the painting above. They say blood will have blood, but everything in its time. My vengeance has just begun.

Could it really have been nearly two days since Seward had last taken his “medicine”? His hands shook violently. Time was running out. He needed his fix soon, or he would be too ill and weak to mount an effective assault on Bathory.

He was grateful to find that the Benefactor had left a complimentary ticket for him—a seat in the orchestra section, under his name at the box office. The Benefactor must have received the telegram and anticipated his needs. In his deteriorating condition, sneaking into the theatre would have been impossible. Alas, in spite of the excellent seat, he would not have the luxury of enjoying the play as a spectator. He was sweating profusely and felt nauseated as he stumbled up to the door beneath a sign: “Personelles du Théâtre seulement.” It was locked. He was about to search for another door leading backstage when he spotted Bathory and the two Women in White at the back of the theatre.

He was not ready! He peered from behind a Romanesque column, his clammy hands clutching it for support. He saw Bathory staring at the ceiling and he followed her gaze to a magnificent Renaissance-style painting. One pale, painted figure caught his attention. She was taller than the other women in the scene, with piercing blue eyes contrasting with her flowing black mane. A dark-haired Aphrodite, the perfect stand-in for Bathory. It seemed that Fate had decreed this theatre to be the ideal setting for the immortal to meet her end.

The sound of rattling keys startled him. He turned to see a short man approaching, carrying an envelope adorned with red illustrations. The man looked nervous as he unlocked the door and went inside. Seward slipped his toe in the door before it closed again. Making sure no one was watching, he strolled through as casually as if he belonged there.

Half-dressed performers dashed about. Men carried papier-mâché boulders to the stage. A seamstress sewed a costume onto an actor as he did vocal exercises. Seward had to find a safe place before he was discovered and thrown out.

“What are you doing back here?” a Russian-accented voice called. Seward spun so quickly that his eyesight momentarily blurred. Had he been caught?

His teary, bloodshot eyes focused on the Russian, who stared down at the small man with the keys—obviously the head usher. Seward was safe…for now. Not wanting to press his luck, he ducked into the shadows behind a high-backed prop throne.

The head usher looked up at the large Russian and said, “I have a delivery for Monsieur Basarab. He is supposedly expecting it.”

“I will take it to him.” The Russian snatched the decorated envelope. He stalked toward a door marked with a star and the name Basarab carved in it as the head usher scurried back the way he had come. The Russian knocked and slid the envelope under the door. Seward, near the point of passing out from the need for drugs, remained hidden by the throne. His strength quickly ebbing, he looked up into the rafters, which were filled with ropes, pulleys, and sandbags. He would await Fate’s fortune above, but first he needed a fix.

He thought of a fitting quotation from the play that was about to begin as he quietly drew his medical bag from under his overcoat. “Let not our babbling dreams affright our souls; Conscience is but a word that cowards use.” Safely obscured on the floor behind the throne, he withdrew a leather belt and tightly cinched it around his sagging bicep. He filled a glass syringe with morphine. Only half a dose this time. Merely enough to quell the nausea. Seward knew that doping up was a gamble, but he could no longer function without the morphine. He felt the drug surge through his veins. It took only a few minutes for him to regain control of his body, and once he felt his legs were steady enough, he began his climb into the rafters.

While the War of the Roses played itself out on the stage below with wooden swords and fake sugared blood, Seward would set the stage for the truly bloody battle. He drew his weapons from a hidden compartment in his coat. The pieces were set, and now the game was in motion.