The Last Vampire

Seymour takes me to my car and tries to follow me back to Mayfair. But I speed away at a hundred miles an hour. He is not insulted, I'm sure. I warned him I'm in a hurry.



I go to my mansion by the sea. I have not described it before because to me a house is a house. I do not fall in love with them as do some mortals. The house is on twenty acres of property, at the top of a wooded yard that reaches from my front porch all the way down to the rocky shore. The driveway is narrow and winding, mostly hidden. The house itself is mainly brick, Tudor style, unusual for this part of the country. There are three stories; the top one has a wide view of the sea and coast. There are many rooms, fireplaces and such, but I do most of my living in the living room, even though it has wide skylights that I have yet to board up. I do not need a lot of space to be happy, although I have lived in mansions or castles since the Middle Ages. I could be quite happy living in a box. I say that as a joke.



My tastes in furniture are varied. At present I surround myself with lots of wood: the chairs, the tables, the cabinets. I sleep on a bed, not in a coffin, a grand mahogany affair with a black lace canopy. I have gathered art over the centuries and have a vast and expensive collection of paintings and sculptures in Europe, but none of it in America. I have gone through phases where art is important to me, but I am not in one now. Still, I have a piano wherever I go. I play almost every day, and with my speed and agility, I am the most accomplished pianist in the world. But I seldom write music, not because I am not creative, but because my melodies and songs are invariably sad. I do not know why--I do not think of myself as a sad vampire.



Tonight, though, I am an anxious vampire, and it has been centuries since I felt the emotion. I do not like it. I hurry into my home and change and then rush back out to my car. My concern is for Ray. If it is Yaksha after me, and I have little doubt now, then he may try to get to me through Ray. It seems a logical course to me based on the fact that Yaksha probably first became aware of me through Ray's father. I now suspect Yaksha has been observing me since I first



visited Mr. Riley's office. But why he didn't attack immediately, I don't know. Maybe he wanted to study the enemy he hadn't seen for so long, to probe for weaknesses. Yet Yaksha, more than any living or nonliving being, already knows where I am vulnerable.



I am still in shock that he is alive.



I drive to Ray's house and leap to the front door. I half expect to find him gone, abducted. For a moment I consider not ringing the doorbell, but to just barge in. I have to remind myself that Ray is not Seymour, capable of accepting anything that comes along. I knock on the door.



Pat surprises me when she answers.



The girlfriend is not happy to see me.



"What are you doing here?" Pat demands.



"I have come to see Ray." Pat must have called Ray's house while he was at my place, probably several times. She must have called not long after he came home. He probably invited her over to pacify her concerns. But she does not look that pacified.



"He's asleep," Pat says. She starts to slam the door in my face. I stick out my arm. She tries to force it shut. Naturally, she is not successful. "Get out of here. Can't you tell when you're not wanted?"



"Pat," I say patiently. "Things are not as they appear. They are much more complicated. I need to see Ray because I believe he is in danger."



"What are you talking about?"



"I cannot tell you, not easily. I have to talk to Ray and I have to talk to him now." I put my eye on her. "Please do not try to stop me. It would not be a good idea."



She cowers under my stare. I move to press her farther, but it becomes unnecessary. Upstairs, I hear Ray climb out of bed. I wait a few seconds, then call out his name.



"Ray!" I say. I hear his steps quicken. We both do.



"He's mine," Pat mutters as we wait for Ray to arrive. She is sad, seemingly defeated already. Instinctively she knows I have a power she does not, beyond my beauty. Her love for him is genuine, I can see that, a rare thing in a girl her age.



"Have hope," I say sincerely.



Ray appears. He has on sweat pants, no top. "What's going on?" he asks.



"Lots of things. I need to talk to you, alone." I glance at Pat. "If that would be all right?"



Her eyes are damp. She lowers her head. "I can just go," she mumbled.



Ray puts a hand on her shoulder. "No." He gives me a sharp glance. I have to be careful. "Tell me what it is?"



"It has to do with your father," I say.



He is concerned. "What is it?"



I am stubborn. "I must tell you alone." I add, "I'm sorry, Pat."



Ray rubs her back. "Go upstairs to bed. I'll be up in a few minutes."



Pat shakes her head, giving me a look as she leaves. "I don't think so."



When we are alone, Ray wants me to explain myself. "You told me you wouldn't hurt Pat," he says.



"My coming here could not be helped. I have not been entirely honest with you, Ray. I think you suspect that."



"Yes. You tampered with the file on my father's computer."



"How did you know?"



"When I turned on the computer, I noted the size of the file. It was large. When I returned, most of it had been deleted."



I nod. "That file was about me. Your father was investigating me. He was hired by some people to do so, one man in particular. This man is dangerous. Tonight he sent some people to abduct me. I managed to get away. I believe he may come after you next."



"Why me?"



"Because he knows you are my friend. I believe he has been watching me today and tonight. Also, even though this man hired your father, your father did not part company with him on the best of terms."



"How do you know that?"



"The people who came for me tonight told me."



"What do you mean, they came for you? Were they armed?"



"Yes."



"Then how did you get away from them?"



"They made a mistake, and I am resourceful. I do not want to get into all of that now. What is important is that you come with me now."



"I'm not going anywhere until you tell me where my father is."



"I can't."



"You don't know?"



I hesitate. It is not easy for me to lie to those I love. "No."



Ray is suspicious. His sense of the truth, and therefore of lies, is remarkable. "Do you think my father is in danger?" he asks.



"Yes."



He hears the truth in that word. "We should call the police."



"No!" I grab his arm. "The police cannot help us. You have to come with me. Trust me, Ray. I can tell you more once we are at my house."



"What will we do at your house that we can't do here?"



"You will see," I say.



Ray consents to accompany me. He goes upstairs to say goodbye to Pat. I hear her crying, and wonder if she will not shed a stream of tears in the days to come. I could be wrong. I could be bringing Ray into danger, not away from it. I scan up and down the street but see nothing. Yet I feel eyes on me, powerful eyes such as my own. I wonder if I am not reaching for Ray because I am afraid.



Maybe afraid to die alone.



Ray reappears in a few minutes, dressed. We go to my car. He has not seen it before and marvels that I have a Ferrari. We drive toward my mansion and he wonders why we are not going the same way as before. I tell him I have two houses.



"I am very rich," I say.



"Is that one of the reasons my father was investigating you?" he asks.



"Yes. Indirectly."



"Have you spoken to my father?"



"Yes."



"When?"



"Two and a half days ago."



"Where?"



"At his office."



Ray is annoyed. "You didn't tell me. Why did you speak to him?"



"He called me into his office."



"Why?"



I have to be more careful than ever. "He wanted to tell me that I was being investigated."



"He wanted to warn you?"



"I believe so. But--"



"What?"



"He didn't fully understand who had hired him, the nature of the man."



"But you know this man?"



"Yes. From a long time ago."



"What's his name?"



"He changes his name often."



"Like you?" Ray asks.



The boy is full of surprises. I reach over and touch his leg. "You are worried about your father. I understand. Please try not to judge me too harshly."



"You are not being completely honest with me."



"I'm telling you what I can."



"When you say my father is in danger, what exactly do you mean? Would this man kill my father?"



"He has killed in the past."



The space inside the car is suddenly cramped. Ray hears beyond my words. "Is my father dead already?" he asks quietly.



I have to lie, I have no choice. "I don't know."



We arrive at my house. No one has come while I was away, I can tell. I activate the security system. It is the most elaborate available on the market. Every wire of every section of fence around my house is now heavily electrified. There are motion sensors and laser beams and radar tracking the perimeter. I know it will not stop Yaksha for a second if he wishes to come for me. At a minimum he has twice my strength and speed. In reality I think he is much more powerful than that.



Ray wanders around my house, taking in the sights. He pauses and looks out over the ocean. A waning moon, half full, hangs over the dark shadow of the water. We face west, but behind us, in the east, I detect a hint of dawn.



"What next?" he asks.



"What do you want to do next?"



He faces me. "You are waiting for this man to come here."



"Perhaps. He could come."



"You said something about arming yourself. Do you have guns here?"



"Yes. But I'm not going to give you one. It would not help."



"Are you some kind of expert with guns?"



"Yes."



He is exasperated. "Who the hell are you, Sita? If that is even your real name."



"It is my real name. Few people know it. It is the name my father gave me. The man I am talking about--he is the one who murdered my father."



"Why don't we call the police?"



"This man is very powerful. He has almost unlimited resources. The police would not be able to stop him if he wants to hurt us."



"Then how are you going to stop him?"



"I don't know if I can."



"Then why are we here? Why don't we just get in the car and drive away?"



His question is an interesting one; it has a certain logic to it. I have considered the option since disposing of Slim. Yet I do not believe that I can run successfully from Yaksha, not once he has got me in his sights, which he obviously does. I do not like to postpone the inevitable.



"You can drive away if you want," I say. "You can take my car and go home. Or you can take my car and drive to Los Angeles. That might be the best thing for you to do. I can tell you for a fact that while you are here you are in extreme danger."



"Then why did you bring me here?"



I turn away. "I do not know why. But I think--I don't know."



"What?"



"This man--his real name is Yaksha--he knows you are my friend. You are part of the equation that deals with me--in his mind."



"What do you mean?"



I turn back to Ray. "He has been watching me since I saw your father, I'm sure of it. But he has not come for me personally. Oh, he sent his people after me, but that is not the same thing, not to him and not to me."



"You think that I afford you some protection?"



"Not exactly. More, I think he is curious about my relationship with you."



"Why?"



"I do not make friends easily. He knows that much."



Ray sighs. "I don't even know if I am your friend."



His words sting, more than the bullet I was hit with earlier in the night. I reach out and touch his face. Such a beautiful face, so like Rama's, even though they do not look that much alike. Their essence is similar. Maybe Krishna was right. Maybe their souls are the same, if there are such things. I doubt I have one.



"I care more for you than I have cared for anyone in a long time," I say. "I am much older than I look. I have been more lonely than I have been willing to admit to myself. But when I met you, that loneliness eased. I am your friend, Ray, even if you do not want to be mine."



He stares at me, as if he, too, knows me, then lowers his lips to kiss my hand that touches him. His next words come to me as if from far away.



"Sometimes I look at you and you do not look human."



"Yes."



"You're like something carved from glass."



"Yes."



"Old but always new."



"Yes."



"You said you are a vampire."



"Yes."



But he does not ask me if I am a vampire. He knows better. He knows I will tell him the truth, and he does not want to hear it. He kisses my hand again, and I lean forward to kiss his lips. Long and deep--he does not smother this time and I am glad. He wants to make love, I can tell, and I am very glad.



I start a roaring blaze in the living room fireplace, many logs piled high. There is a rug from ancient Persia on top of the wall-to-wall carpeting in front of the fire; it is where I sometimes sleep, when the sun is high. I bring in blankets and pillows. We undress slowly; I let Ray take off my clothes. He touches my body, and I kiss his from head to foot. Then we lie



down together and the sex is a wonder to him, as well as to me. I am careful not to hurt him.



Later, when he is asleep, I go for an automatic weapon in the attic. I load the clip carefully, making sure all the parts are well oiled, ready for use. Then I return to Ray's side and put the weapon under my pillow. Ray is exhausted; I stroke his head and whisper words that will cause him to sleep away the entire day. I suspect Yaksha will not come until the following night--a fresh night for a fresh slaughter. It would be his way. I know my gun will not stop him. I have only Krishna's promise to protect me. But what is the promise of a God I don't even know if I believe in?



Yet one thing is certain. If Krishna was not God, he was the most extraordinary human who ever lived. Even more powerful than all the vampires combined. I think of him as I lie beside Ray, and I wonder about my feelings of love for the boy. If they are just my longing for the face of Krishna hidden inside him. I do remember Krishna's face well. It was a face that would be impossible to forget even after five thousand years.