Kitty and the Dead Man's Hand
Page 12
“Can I at least make dinner reservations?” I said.
“Sure. I’ll see you then.”
My next call was to make those reservations, and the call after that was to the Diablo, to see if this show still had tickets left, and it did. I took a cab over there.
The Diablo’s theme seemed to evoke the seedy underbelly of a Mexican resort town. All polished and made nice for the tourists, of course, so no drug pushers or out-of-control spring breakers. I did spot a few girls going wild. The cocktail waitresses wore leopard-print skirts. The rest of it was almost carnival-like, lots of reds, lots of lights, lots of garish. And like every other casino, too much noise, too many people. I couldn’t even smell anything anymore.
Odysseus Grant didn’t bill himself as a magician who really worked magic. That would have made him sound like every other magician who’d ever pulled a rabbit out of his hat over the last hundred years. All of them were “real,” inviting their audiences to guess how else they could evoke such impossible illusions.
Instead, Grant advertised himself as “classic.” Retro, even. No sequined purple leisure suit for him. No rock soundtrack, no fireworks, no making 747s disappear, no ultra-high-tech stunts. His show’s poster, hanging in the lobby of the Diablo, displayed a photograph of a man in his late thirties, dressed in an elegant tuxedo. He held a deck of cards fanned in his hands. A serious expression creased his face, as if he was saving the world and not performing a card trick. He might as well have stepped out of a vaudeville broadsheet.
I was intrigued. I’d see the show, then try to talk to him after.
Even the theater was retro: red plush seats lined up in rows before a proscenium stage, thick red curtains hanging on either side. Blue-and-gold-painted art deco trim and light fixtures decorated the side walls. The effect was warm and enticing; I felt like I was being drawn into another world and was ready to watch with wide-eyed wonder.
I didn’t think I’d be able to tell if Odysseus Grant’s magic was real or not. I knew vaguely how some of the tricks worked: sleight of hand, mirrors, hidden pockets, fake thumbs. But I didn’t obsess over it. I hadn’t studied it. Usually, I was perfectly willing to suspend my disbelief and let the illusions work on me. This time, I planned to watch Grant, study him, to see if I could tell. Make sure I was looking where he didn’t want me to, to spot the palmed cards. If I couldn’t, though, I was right back where I started: just because it looked like magic didn’t mean it was.
Being a werewolf gave me some advantages: heightened smell, hearing, speed, strength. I could walk into a crowded bar with my eyes closed and tell if a friend of mine was there. But I couldn’t tell real magic from a trick. I wasn’t psychic, telepathic, or clairvoyant. I couldn’t read auras or ley lines. I was just a big scary monster. Well, I was sort of a monster trapped in an average blond female body.
But the thing about Grant’s show: I could tell. As soon as he walked onstage, something happened. A charge lit the air, a crackle of anticipation. It wasn’t just me—a few people around me shifted to the edges of their seats, leaning forward, eyes wide, unwilling to miss a second. The air felt magic. But then, maybe even that was an illusion: create an atmosphere in which your audience felt like they’d been removed from space and time, make them feel like what happened before them was otherworldly, and of course they’d believe it was magic. They’d tell all their friends, and Odysseus Grant would have a full house every show.
Just wearing the perfectly tailored tuxedo and top hat gave Grant an air of authority. He was well dressed, so of course he must be a magician. It was all illusion. I had to keep reminding myself that. He moved to the center of the stage. He didn’t speak but looked out at his audience and asked with a raised eyebrow—you see? Here, nothing up my sleeve, yes? He didn’t have to say anything, because anyone who’d seen a magic show, or even their Uncle Bob at their eighth birthday party, had heard all these questions before. Grant used our prior experience, like he was saying let’s cut through the chatter and get to the illusions.
He held three silver rings, each a foot in diameter. Again, this was a familiar trick. The rings were solid. He banged them together, making them ring, showing us. Then the third time he hit them, bang, they slipped through each other and became intertwined. He spent only a minute showing us this. It was an old trick, and he knew it. Why waste time.
Then he did the impossible. When the rings were separate again, he started one spinning on his hand, like a coin on the surface of a table. Okay, that was cool. Then, somehow, he started a second one spinning on top of the first. I wasn’t even sure what I was seeing at first. I had to squint, studying it. He held his left hand perfectly flat, about waist level, with the ring still spinning—not slowing down, not wobbling at all. A second later another ring was spinning on top of it, at a different speed. The two rings together made a chiming sound, strange and pleasant. Then he set a third one spinning on top of those.
The image, those spinning silver rings balanced perfectly on his hand, was simple but disconcerting. There was probably an easy explanation, even if I couldn’t figure out what it was. But goose bumps covered my arms. I gripped the edges of my seat. I couldn’t even blink. It was like looking through a doorway into another world. I could almost see something inside those spinning rings. He had worlds balanced on his hand. A voice whispered from my hindbrain, This is real. Part of me wanted to run away. Because if this was real, it also meant this was dangerous. Wolf kicked a little, prompted by the instinct to run. I told myself this wasn’t really dangerous. It was stagecraft, that was all.
With a gesture, he presented the image, his singing spheres, to the audience. Everyone cheered because it was marvelous and beautiful. With a quick toss of his hand, the rings jumped into the air, separated, and fell. Effortlessly he grabbed them, juggled them a moment, then bowed.
A dozen other tricks followed, simple, old-fashioned, yet still magical. Scarves pulled from thin air, floating tables, canaries from sleeves, all of them performed with simple panache. He cracked an egg into a pitcher. With a wooden spoon, he gave it a few stirs. After setting the spoon aside, he covered the pitcher with a silk scarf—just for a moment—then drew it aside. Inside the pitcher now was a live, cheeping chick. The audience aahed with appreciation.
Then came the box. The one that beautiful stage assistants disappeared inside with the wave of a magic wand. This one, like the rest of the show, came from another age. I wouldn’t have been surprised to find out the box really was an antique from an old 1920s magic show. Painted matte black, it had Egyptian hieroglyphs scattered among tangles of vines and flowers painted along the edges. It was tall and narrow, just large enough for a person to stand inside. The wheels—I assumed there were wheels—were hidden.
“Sure. I’ll see you then.”
My next call was to make those reservations, and the call after that was to the Diablo, to see if this show still had tickets left, and it did. I took a cab over there.
The Diablo’s theme seemed to evoke the seedy underbelly of a Mexican resort town. All polished and made nice for the tourists, of course, so no drug pushers or out-of-control spring breakers. I did spot a few girls going wild. The cocktail waitresses wore leopard-print skirts. The rest of it was almost carnival-like, lots of reds, lots of lights, lots of garish. And like every other casino, too much noise, too many people. I couldn’t even smell anything anymore.
Odysseus Grant didn’t bill himself as a magician who really worked magic. That would have made him sound like every other magician who’d ever pulled a rabbit out of his hat over the last hundred years. All of them were “real,” inviting their audiences to guess how else they could evoke such impossible illusions.
Instead, Grant advertised himself as “classic.” Retro, even. No sequined purple leisure suit for him. No rock soundtrack, no fireworks, no making 747s disappear, no ultra-high-tech stunts. His show’s poster, hanging in the lobby of the Diablo, displayed a photograph of a man in his late thirties, dressed in an elegant tuxedo. He held a deck of cards fanned in his hands. A serious expression creased his face, as if he was saving the world and not performing a card trick. He might as well have stepped out of a vaudeville broadsheet.
I was intrigued. I’d see the show, then try to talk to him after.
Even the theater was retro: red plush seats lined up in rows before a proscenium stage, thick red curtains hanging on either side. Blue-and-gold-painted art deco trim and light fixtures decorated the side walls. The effect was warm and enticing; I felt like I was being drawn into another world and was ready to watch with wide-eyed wonder.
I didn’t think I’d be able to tell if Odysseus Grant’s magic was real or not. I knew vaguely how some of the tricks worked: sleight of hand, mirrors, hidden pockets, fake thumbs. But I didn’t obsess over it. I hadn’t studied it. Usually, I was perfectly willing to suspend my disbelief and let the illusions work on me. This time, I planned to watch Grant, study him, to see if I could tell. Make sure I was looking where he didn’t want me to, to spot the palmed cards. If I couldn’t, though, I was right back where I started: just because it looked like magic didn’t mean it was.
Being a werewolf gave me some advantages: heightened smell, hearing, speed, strength. I could walk into a crowded bar with my eyes closed and tell if a friend of mine was there. But I couldn’t tell real magic from a trick. I wasn’t psychic, telepathic, or clairvoyant. I couldn’t read auras or ley lines. I was just a big scary monster. Well, I was sort of a monster trapped in an average blond female body.
But the thing about Grant’s show: I could tell. As soon as he walked onstage, something happened. A charge lit the air, a crackle of anticipation. It wasn’t just me—a few people around me shifted to the edges of their seats, leaning forward, eyes wide, unwilling to miss a second. The air felt magic. But then, maybe even that was an illusion: create an atmosphere in which your audience felt like they’d been removed from space and time, make them feel like what happened before them was otherworldly, and of course they’d believe it was magic. They’d tell all their friends, and Odysseus Grant would have a full house every show.
Just wearing the perfectly tailored tuxedo and top hat gave Grant an air of authority. He was well dressed, so of course he must be a magician. It was all illusion. I had to keep reminding myself that. He moved to the center of the stage. He didn’t speak but looked out at his audience and asked with a raised eyebrow—you see? Here, nothing up my sleeve, yes? He didn’t have to say anything, because anyone who’d seen a magic show, or even their Uncle Bob at their eighth birthday party, had heard all these questions before. Grant used our prior experience, like he was saying let’s cut through the chatter and get to the illusions.
He held three silver rings, each a foot in diameter. Again, this was a familiar trick. The rings were solid. He banged them together, making them ring, showing us. Then the third time he hit them, bang, they slipped through each other and became intertwined. He spent only a minute showing us this. It was an old trick, and he knew it. Why waste time.
Then he did the impossible. When the rings were separate again, he started one spinning on his hand, like a coin on the surface of a table. Okay, that was cool. Then, somehow, he started a second one spinning on top of the first. I wasn’t even sure what I was seeing at first. I had to squint, studying it. He held his left hand perfectly flat, about waist level, with the ring still spinning—not slowing down, not wobbling at all. A second later another ring was spinning on top of it, at a different speed. The two rings together made a chiming sound, strange and pleasant. Then he set a third one spinning on top of those.
The image, those spinning silver rings balanced perfectly on his hand, was simple but disconcerting. There was probably an easy explanation, even if I couldn’t figure out what it was. But goose bumps covered my arms. I gripped the edges of my seat. I couldn’t even blink. It was like looking through a doorway into another world. I could almost see something inside those spinning rings. He had worlds balanced on his hand. A voice whispered from my hindbrain, This is real. Part of me wanted to run away. Because if this was real, it also meant this was dangerous. Wolf kicked a little, prompted by the instinct to run. I told myself this wasn’t really dangerous. It was stagecraft, that was all.
With a gesture, he presented the image, his singing spheres, to the audience. Everyone cheered because it was marvelous and beautiful. With a quick toss of his hand, the rings jumped into the air, separated, and fell. Effortlessly he grabbed them, juggled them a moment, then bowed.
A dozen other tricks followed, simple, old-fashioned, yet still magical. Scarves pulled from thin air, floating tables, canaries from sleeves, all of them performed with simple panache. He cracked an egg into a pitcher. With a wooden spoon, he gave it a few stirs. After setting the spoon aside, he covered the pitcher with a silk scarf—just for a moment—then drew it aside. Inside the pitcher now was a live, cheeping chick. The audience aahed with appreciation.
Then came the box. The one that beautiful stage assistants disappeared inside with the wave of a magic wand. This one, like the rest of the show, came from another age. I wouldn’t have been surprised to find out the box really was an antique from an old 1920s magic show. Painted matte black, it had Egyptian hieroglyphs scattered among tangles of vines and flowers painted along the edges. It was tall and narrow, just large enough for a person to stand inside. The wheels—I assumed there were wheels—were hidden.
