The Night Circus
Page 14
The winding path speckled with stars seems endless as he feels his way through the dark turns, anxiously anticipating the brightness at the end.
The first thing he thinks when he reaches the illuminated courtyard is that it smells the same, of smoke and caramel and something else that he cannot place.
He is not sure where to start. There are so many tents, so many choices. He thinks perhaps he should walk around a bit first, before deciding which tents to enter.
He thinks, also, that by simply wandering the circus he might improve his chances of happening upon the red-haired girl. Though he refuses to admit to himself that he is looking for her. Silly to look for a girl he only met once under extremely strange circumstances several years ago. There’s no reason to believe that she’d even remember him, or recognize him, and he is not entirely sure he would recognize her, either, for that matter.
He decides to walk into the circus, through the courtyard with the bonfire and out the other side, and then attempt to work his way back. It is as good a plan as any, and the crowd might not be as thick on the far side.
But first, he thinks, he should get a mulled cider. It does not take him long to find the proper vendor in the courtyard. He pays for his cup, the steaming concoction contained in black-and-white marbled swirls, and wonders for a moment before his first sip if it won’t taste as good as he remembers. He has recalled that taste countless times in his head, and despite the wealth of apples in the area, no cider with or without spices has ever tasted as good. He hesitates before taking the tiniest of sips. It tastes even better than he remembers.
He picks a path to take and along it, between the entrances to the surrounding tents, there is a small group gathered around a raised platform. A woman stands on the platform in a very fitted costume covered in black-and-silver swirls. She is twisting and bending in such a way that it seems both horrible and elegant. Bailey stops to join the spectators, even though it is almost painful to watch.
The contortionist lifts a small silver metal hoop from the ground, brandishing it with a few simple but impressive movements. She passes it to a man in the front of the crowd, in order to establish that it is solid. When he hands it back to her, she passes her entire body through it, extending her limbs in fluid, dance-like motions.
After discarding the hoop, she places a small box in the center of the platform.
The box looks no more than a foot wide or high, though in reality it is slightly larger than that. While the act of a fully grown (if below-average-size) woman condensing herself into such a confined space would be impressive regardless of the details of the box, it is made even more impressive in this case by the fact that this box is made of glass, completely transparent.
The edges are metal, oxidized to a blackish tinge, but the side panels and the lid are clear glass, so she is visible the entire time as she bends and twists and folds herself into the tiny space. She does it slowly, making each minute movement part of the show, until her body and head are completely within the box and only her hand remains without, sticking out the top. The view from Bailey’s perspective looks impossible, a bit of leg here, the curve of a shoulder there, part of her other arm underneath a foot.
Only one hand remains, it waves cheerfully before pulling the lid closed. It latches automatically, and the box is undeniably closed, with the contortionist clearly visible inside.
And then the glass box with the woman trapped inside slowly fills with white smoke. It curls through the tiny cracks and spaces not occupied by limbs or torso, and seeps between her fingers as they press against the glass.
The smoke thickens, obscuring the contortionist completely. There is only white smoke visible inside the box, and it continues to ripple and undulate against the glass.
Suddenly, with a popping noise, the box breaks. The glass panels fall to the sides and the lid collapses downward. Curls of smoke rise into the night air. The box, or, rather, the small pile of glass upon the platform that had once been a box, is empty. The contortionist is gone.
The crowd waits for several moments, but nothing happens. The last wisps of smoke dissipate, the crowd begins to disperse.
Bailey takes a closer look as he walks by, wondering if the contortionist is somehow concealed in the platform, but it is solid wood and open underneath. She has vanished completely despite the plain evidence that there was nowhere for her to go.
Bailey continues down the winding path. He finishes his cider and finds a bin to discard his cup, though as soon as he places it within the shadowed container it seems to vanish.
He walks on, reading signs, trying to decide which tent to enter. Some are large and decorated with flourishes and long descriptions of their contents.
But the one that catches his eye is smaller, as is the tent on which it hangs. Looping white letters on a black background.
Feats of Illustrious Illusion
The entrance is open, and a line of patrons files into the illusionist’s tent. Bailey joins them.
Inside it is lit by a line of black iron sconces along the rounded wall and contains nothing but a ring of plain wooden chairs. There are only about twenty of them, in two staggered rows so that the view from each seat is comparable. Bailey chooses a seat in the inside row, across from the entrance.
The rest of the seats fill quickly, save for two: the one to his immediate left and another across the circle.
Bailey notices two things at once.
First, that he can no longer see where the entrance had been. The space where the audience had entered now appears to be solid wall, seamlessly blending with the rest of the tent.
Second, there is now a dark-haired woman in a black coat sitting to his left. He is certain that she was not there before the door disappeared.
Then his attention is removed from both these events as the empty chair across the circle bursts into flame.
The panic is instant. Those occupying the chairs closest to the flaming chair abandon their seats and rush for the door, only to find that there is no longer a door to be found, only a solid wall.
The flames grow steadily higher, staying close to the chair, licking around the wood, though it does not appear to be burning.
Bailey looks again at the woman to his left, and she winks at him before standing and walking to the center of the circle. Amidst the panic, she calmly unbuttons her coat and removes it, tossing it with a delicate gesture toward the burning chair.
What had been a heavy wool coat becomes a long piece of black silk that ripples like water over the chair. The flames vanish. Only a few lingering wisps of smoke remain, along with the sharp smell of charred wood that is slowly changing to the comforting scent of a fireplace, tinged with something like cinnamon or clove.
The woman, standing in the center of the circle of chairs, pulls back the black silk with a flourish, revealing a still-intact chair on which now perch several snow-white doves.
Another flourish, and the black silk folds and curves in on itself, becoming a black top hat. The woman places it on her head, topping off an ensemble that looks like a ball gown fashioned out of the night sky: black silk dotted with sparkling white crystals. She acknowledges her audience with a subtle bow.
The illusionist has made her entrance.
A few people, including Bailey, manage to applaud, while those who had abandoned their seats return to them, looking both disturbed and curious.
The performance is continuous. The displays Bailey has difficulty thinking of as tricks meld one into the other. The doves vanish frequently, only to reappear on hats or under chairs. There is also a black raven, far too large to have been cleverly concealed. It is only after the performance has gone on for some time that Bailey slowly realizes that because of the circle of chairs, the shape and closeness of the space, there is no room for mirrors or tricks of the light. Everything is immediate and palpable. She even transforms one audience member’s pocket watch from metal to sand and back again. At one point all the chairs float some distance off the ground, and while the movement is steady and secure, Bailey’s toes barely graze the floor and he clutches the sides of his chair nervously.
At the end of the act, the illusionist takes a bow with a pivoting turn, acknowledging the entire circle as the audience applauds. As she completes the rotation, she is no longer there. Only a few sparkling shimmers remain, echoes of the crystals in her gown.
The door reappears in the side of the tent and the small audience makes their way out. Bailey lags behind, glancing back as he leaves at the spot where the illusionist had been.
Outside, though it was not there before, is another raised platform, much like the one the contortionist stood on. But the figure on this platform does not move. Bailey almost thinks it is a statue, dressed in a white gown edged in matching fur that cascades beyond the platform to the ground. Her hair and skin, even her eyelashes, are an icy white.
But she moves. Very, very slowly. So slowly that Bailey cannot pinpoint exact motions, only slight changes. Soft flakes of iridescent snow float to the ground, falling from her like leaves from a tree.
Bailey walks around, looking at her from every angle. Her eyes follow him, though the snow-flecked lashes do not blink.
There is a small silver plaque on the platform, partially obscured by the cascading gown.
It reads in memoriam, but it does not specify who it is for.
Rules of the Game
1887–1889
There are fewer Circus Dinners now that the circus itself is up and running properly, gaining its self-sufficiency, as Chandresh phrased it at one dinner not long after opening night. The original conspirators still gather for dinner occasionally, particularly when the circus is performing nearby, but this has become more and more infrequent.
Mr. A. H— does not appear, despite his standing invitation.
And as these meetings were the only opportunity Marco was given to see his instructor, the continued absence frustrates him.
After a year without a sign, without any word or a single glimpse of the grey top hat, Marco decides to call on him.
He does not know his instructor’s current residence. He assumes, rightly, that it is likely a temporary place and by the time he tracked down the proper location his instructor would have moved to a new, equally temporary residence.
Instead, Marco carves a series of symbols into the frost on the window of his flat that faces out to the street, using the columns of the museum beyond as a guide. Most of the symbols are indistinguishable unless the light hits them at precise angles, but they are collectively set into the shape of a large A.
The next day there is a knock at the door.
As always, the man in the grey suit refuses to enter the flat. He only stands in the hall and fixes Marco with a cool grey stare.
“What is it that you want?” he asks.
“I would like to know if I am doing well,” Marco says.
His instructor looks at him for a moment, his expression as inscrutable as ever.
“Your work has been sufficient,” he says.
“Is this how the challenge is going to proceed?” Marco asks. “Each of us manipulating the circus? How long will it go on?”
“You have been given a venue to work within,” his instructor says. “You present your skills to the best of your ability and your opponent does the same. You do not interfere with each other’s work. It shall continue in this manner until there is a victor. It is not that complex.”
“I’m not certain I understand the rules,” Marco says.
“You don’t need to understand the rules. You need to follow them. As I said, your work has been sufficient.”
He starts to leave, but then hesitates.
“Do not do that again,” he says, pointing over Marco’s shoulder at the frost-covered window.
Then he turns and walks away.
The symbols on the window melt into meaningless streaks.
*
IT IS THE MIDDLE OF THE DAY and the circus sleeps quietly, but Celia Bowen stands in front of the Carousel, watching as black and white and silver creatures file past, suspended on coordinating ribbons, riderless.
“I don’t like this thing,” a voice behind her says.
Hector Bowen is no more than an apparition in the dimly lit tent. His dark suit vanishes into the shadows. The shifting light catches and releases the brightness of his shirt, the grey of his hair, illuminating the disapproving glare on his face as he watches the Carousel over his daughter’s shoulder.
“Whyever not?” Celia responds without turning. “It’s extremely popular. And it was a great deal of work; that should count for something, Papa.”
His derisive scoff is only an echo of what it once was, and Celia is relieved that he cannot see her smile at the softness of the sound.
“You would not be so reckless were I not … ” His voice trails off with a wave of a transparent hand next to her arm.
“Don’t be cross with me about that,” Celia says. “You did it to yourself, it’s not my fault you cannot undo it. And I am hardly being reckless.”
“How much did you tell this architect of yours?” her father asks.
“I told him as much as I thought he needed to know,” Celia says as he drifts past her, moving to inspect the Carousel. “He’s fond of pushing boundaries, and I offered to help him push them further. Is Mr. Barris my opponent? That would be quite devious of him, building me a carousel to avoid suspicion.”
“He is not your opponent,” Hector says with a dismissive gesture, the lace cuff of his shirt fluttering like a moth. “Though such a thing could very well be considered cheating.”
“How is utilizing an engineer to execute an idea not working within the venue, Papa? I discussed it with him, he handled the design and construction, and I … embellished it. Would you like to ride it? It goes quite a bit farther than around and around.”
“Obviously,” Hector says, looking down at the darkened tunnel that the line of creatures disappears into. “I still don’t like it.”
The first thing he thinks when he reaches the illuminated courtyard is that it smells the same, of smoke and caramel and something else that he cannot place.
He is not sure where to start. There are so many tents, so many choices. He thinks perhaps he should walk around a bit first, before deciding which tents to enter.
He thinks, also, that by simply wandering the circus he might improve his chances of happening upon the red-haired girl. Though he refuses to admit to himself that he is looking for her. Silly to look for a girl he only met once under extremely strange circumstances several years ago. There’s no reason to believe that she’d even remember him, or recognize him, and he is not entirely sure he would recognize her, either, for that matter.
He decides to walk into the circus, through the courtyard with the bonfire and out the other side, and then attempt to work his way back. It is as good a plan as any, and the crowd might not be as thick on the far side.
But first, he thinks, he should get a mulled cider. It does not take him long to find the proper vendor in the courtyard. He pays for his cup, the steaming concoction contained in black-and-white marbled swirls, and wonders for a moment before his first sip if it won’t taste as good as he remembers. He has recalled that taste countless times in his head, and despite the wealth of apples in the area, no cider with or without spices has ever tasted as good. He hesitates before taking the tiniest of sips. It tastes even better than he remembers.
He picks a path to take and along it, between the entrances to the surrounding tents, there is a small group gathered around a raised platform. A woman stands on the platform in a very fitted costume covered in black-and-silver swirls. She is twisting and bending in such a way that it seems both horrible and elegant. Bailey stops to join the spectators, even though it is almost painful to watch.
The contortionist lifts a small silver metal hoop from the ground, brandishing it with a few simple but impressive movements. She passes it to a man in the front of the crowd, in order to establish that it is solid. When he hands it back to her, she passes her entire body through it, extending her limbs in fluid, dance-like motions.
After discarding the hoop, she places a small box in the center of the platform.
The box looks no more than a foot wide or high, though in reality it is slightly larger than that. While the act of a fully grown (if below-average-size) woman condensing herself into such a confined space would be impressive regardless of the details of the box, it is made even more impressive in this case by the fact that this box is made of glass, completely transparent.
The edges are metal, oxidized to a blackish tinge, but the side panels and the lid are clear glass, so she is visible the entire time as she bends and twists and folds herself into the tiny space. She does it slowly, making each minute movement part of the show, until her body and head are completely within the box and only her hand remains without, sticking out the top. The view from Bailey’s perspective looks impossible, a bit of leg here, the curve of a shoulder there, part of her other arm underneath a foot.
Only one hand remains, it waves cheerfully before pulling the lid closed. It latches automatically, and the box is undeniably closed, with the contortionist clearly visible inside.
And then the glass box with the woman trapped inside slowly fills with white smoke. It curls through the tiny cracks and spaces not occupied by limbs or torso, and seeps between her fingers as they press against the glass.
The smoke thickens, obscuring the contortionist completely. There is only white smoke visible inside the box, and it continues to ripple and undulate against the glass.
Suddenly, with a popping noise, the box breaks. The glass panels fall to the sides and the lid collapses downward. Curls of smoke rise into the night air. The box, or, rather, the small pile of glass upon the platform that had once been a box, is empty. The contortionist is gone.
The crowd waits for several moments, but nothing happens. The last wisps of smoke dissipate, the crowd begins to disperse.
Bailey takes a closer look as he walks by, wondering if the contortionist is somehow concealed in the platform, but it is solid wood and open underneath. She has vanished completely despite the plain evidence that there was nowhere for her to go.
Bailey continues down the winding path. He finishes his cider and finds a bin to discard his cup, though as soon as he places it within the shadowed container it seems to vanish.
He walks on, reading signs, trying to decide which tent to enter. Some are large and decorated with flourishes and long descriptions of their contents.
But the one that catches his eye is smaller, as is the tent on which it hangs. Looping white letters on a black background.
Feats of Illustrious Illusion
The entrance is open, and a line of patrons files into the illusionist’s tent. Bailey joins them.
Inside it is lit by a line of black iron sconces along the rounded wall and contains nothing but a ring of plain wooden chairs. There are only about twenty of them, in two staggered rows so that the view from each seat is comparable. Bailey chooses a seat in the inside row, across from the entrance.
The rest of the seats fill quickly, save for two: the one to his immediate left and another across the circle.
Bailey notices two things at once.
First, that he can no longer see where the entrance had been. The space where the audience had entered now appears to be solid wall, seamlessly blending with the rest of the tent.
Second, there is now a dark-haired woman in a black coat sitting to his left. He is certain that she was not there before the door disappeared.
Then his attention is removed from both these events as the empty chair across the circle bursts into flame.
The panic is instant. Those occupying the chairs closest to the flaming chair abandon their seats and rush for the door, only to find that there is no longer a door to be found, only a solid wall.
The flames grow steadily higher, staying close to the chair, licking around the wood, though it does not appear to be burning.
Bailey looks again at the woman to his left, and she winks at him before standing and walking to the center of the circle. Amidst the panic, she calmly unbuttons her coat and removes it, tossing it with a delicate gesture toward the burning chair.
What had been a heavy wool coat becomes a long piece of black silk that ripples like water over the chair. The flames vanish. Only a few lingering wisps of smoke remain, along with the sharp smell of charred wood that is slowly changing to the comforting scent of a fireplace, tinged with something like cinnamon or clove.
The woman, standing in the center of the circle of chairs, pulls back the black silk with a flourish, revealing a still-intact chair on which now perch several snow-white doves.
Another flourish, and the black silk folds and curves in on itself, becoming a black top hat. The woman places it on her head, topping off an ensemble that looks like a ball gown fashioned out of the night sky: black silk dotted with sparkling white crystals. She acknowledges her audience with a subtle bow.
The illusionist has made her entrance.
A few people, including Bailey, manage to applaud, while those who had abandoned their seats return to them, looking both disturbed and curious.
The performance is continuous. The displays Bailey has difficulty thinking of as tricks meld one into the other. The doves vanish frequently, only to reappear on hats or under chairs. There is also a black raven, far too large to have been cleverly concealed. It is only after the performance has gone on for some time that Bailey slowly realizes that because of the circle of chairs, the shape and closeness of the space, there is no room for mirrors or tricks of the light. Everything is immediate and palpable. She even transforms one audience member’s pocket watch from metal to sand and back again. At one point all the chairs float some distance off the ground, and while the movement is steady and secure, Bailey’s toes barely graze the floor and he clutches the sides of his chair nervously.
At the end of the act, the illusionist takes a bow with a pivoting turn, acknowledging the entire circle as the audience applauds. As she completes the rotation, she is no longer there. Only a few sparkling shimmers remain, echoes of the crystals in her gown.
The door reappears in the side of the tent and the small audience makes their way out. Bailey lags behind, glancing back as he leaves at the spot where the illusionist had been.
Outside, though it was not there before, is another raised platform, much like the one the contortionist stood on. But the figure on this platform does not move. Bailey almost thinks it is a statue, dressed in a white gown edged in matching fur that cascades beyond the platform to the ground. Her hair and skin, even her eyelashes, are an icy white.
But she moves. Very, very slowly. So slowly that Bailey cannot pinpoint exact motions, only slight changes. Soft flakes of iridescent snow float to the ground, falling from her like leaves from a tree.
Bailey walks around, looking at her from every angle. Her eyes follow him, though the snow-flecked lashes do not blink.
There is a small silver plaque on the platform, partially obscured by the cascading gown.
It reads in memoriam, but it does not specify who it is for.
Rules of the Game
1887–1889
There are fewer Circus Dinners now that the circus itself is up and running properly, gaining its self-sufficiency, as Chandresh phrased it at one dinner not long after opening night. The original conspirators still gather for dinner occasionally, particularly when the circus is performing nearby, but this has become more and more infrequent.
Mr. A. H— does not appear, despite his standing invitation.
And as these meetings were the only opportunity Marco was given to see his instructor, the continued absence frustrates him.
After a year without a sign, without any word or a single glimpse of the grey top hat, Marco decides to call on him.
He does not know his instructor’s current residence. He assumes, rightly, that it is likely a temporary place and by the time he tracked down the proper location his instructor would have moved to a new, equally temporary residence.
Instead, Marco carves a series of symbols into the frost on the window of his flat that faces out to the street, using the columns of the museum beyond as a guide. Most of the symbols are indistinguishable unless the light hits them at precise angles, but they are collectively set into the shape of a large A.
The next day there is a knock at the door.
As always, the man in the grey suit refuses to enter the flat. He only stands in the hall and fixes Marco with a cool grey stare.
“What is it that you want?” he asks.
“I would like to know if I am doing well,” Marco says.
His instructor looks at him for a moment, his expression as inscrutable as ever.
“Your work has been sufficient,” he says.
“Is this how the challenge is going to proceed?” Marco asks. “Each of us manipulating the circus? How long will it go on?”
“You have been given a venue to work within,” his instructor says. “You present your skills to the best of your ability and your opponent does the same. You do not interfere with each other’s work. It shall continue in this manner until there is a victor. It is not that complex.”
“I’m not certain I understand the rules,” Marco says.
“You don’t need to understand the rules. You need to follow them. As I said, your work has been sufficient.”
He starts to leave, but then hesitates.
“Do not do that again,” he says, pointing over Marco’s shoulder at the frost-covered window.
Then he turns and walks away.
The symbols on the window melt into meaningless streaks.
*
IT IS THE MIDDLE OF THE DAY and the circus sleeps quietly, but Celia Bowen stands in front of the Carousel, watching as black and white and silver creatures file past, suspended on coordinating ribbons, riderless.
“I don’t like this thing,” a voice behind her says.
Hector Bowen is no more than an apparition in the dimly lit tent. His dark suit vanishes into the shadows. The shifting light catches and releases the brightness of his shirt, the grey of his hair, illuminating the disapproving glare on his face as he watches the Carousel over his daughter’s shoulder.
“Whyever not?” Celia responds without turning. “It’s extremely popular. And it was a great deal of work; that should count for something, Papa.”
His derisive scoff is only an echo of what it once was, and Celia is relieved that he cannot see her smile at the softness of the sound.
“You would not be so reckless were I not … ” His voice trails off with a wave of a transparent hand next to her arm.
“Don’t be cross with me about that,” Celia says. “You did it to yourself, it’s not my fault you cannot undo it. And I am hardly being reckless.”
“How much did you tell this architect of yours?” her father asks.
“I told him as much as I thought he needed to know,” Celia says as he drifts past her, moving to inspect the Carousel. “He’s fond of pushing boundaries, and I offered to help him push them further. Is Mr. Barris my opponent? That would be quite devious of him, building me a carousel to avoid suspicion.”
“He is not your opponent,” Hector says with a dismissive gesture, the lace cuff of his shirt fluttering like a moth. “Though such a thing could very well be considered cheating.”
“How is utilizing an engineer to execute an idea not working within the venue, Papa? I discussed it with him, he handled the design and construction, and I … embellished it. Would you like to ride it? It goes quite a bit farther than around and around.”
“Obviously,” Hector says, looking down at the darkened tunnel that the line of creatures disappears into. “I still don’t like it.”
