The Night Circus
Page 37
“Should we kidnap him?”
“Really, Widge.”
“No, really. We could do it. We can sneak into his house and hit him with something heavy and drag him back here as inconspicuously as possible. We can prop him up and people will think he’s a town drunk. He’ll be on the train before he’s conscious, and then he really won’t have a choice. Quick and painless. Well, painless for us. Save for the heavy lifting, that is.”
“I don’t think that’s really the best idea, Widge,” Poppet says.
“Oh, c’mon, it’ll be fun,” Widget says.
“I don’t think so. I think we already did whatever it was we were supposed to do, and now we have to wait.”
“Are you sure about that?” Widget asks.
“No,” Poppet says quietly.
After a while Widget goes off in search of something else to eat and Poppet waits by the gates alone, occasionally glancing over her shoulder to check the time on the clock behind her.
Intersections II: Scarlet Furies and Red Destinies
LONDON, OCTOBER 31–NOVEMBER 1, 1901
Though any night at the circus can rightfully be called magical,” Herr Friedrick Thiessen once wrote, “All Hallows’ Eve is something special. The air itself crackles with mystery.”
This particular Hallowe’en night is cold and crisp. The boisterous crowd is clothed in heavy coats and scarves. Many of them wear masks, faces lost in swatches of black and silver and white.
The light in the circus is dimmer than usual. The shadows seem to creep from every corner.
Chandresh Christophe Lefèvre enters the circus without notice. He picks up a silver mask from a basket by the gates and slips it over his face. The woman in the ticket booth does not recognize him when he pays his admission in full.
He wanders through the circus like a man in a dream.
The man in the grey suit does not wear a mask. He walks leisurely, with a calm, almost lazy gait. He has no particular destination in mind, wandering from tent to tent. Some he enters, others he passes by. He purchases a cup of tea and stays in the courtyard, watching the bonfire for a while before wandering back into the paths amongst the tents.
He has never attended the circus before, and he appears to be enjoying himself.
Chandresh follows him, every move, every stop. Pursues him through tents and watches him pay for his tea in the courtyard. He stares at the ground near the man in the grey suit’s feet, looking for his shadow, though he is thwarted by the ever-shifting light.
Other than Chandresh, no one pays him any notice. Passersby do not look at him, not even a glance is spared despite his height and his pristine grey suit and top hat. Even the girl who sells him tea barely registers him, turning quickly to her next customer. He slides through the circus like a shadow. He carries a silver-tipped cane that he does not use.
Chandresh loses him in the crowd more than once, the grey falling into a blur of black and white dotted with color from the patrons. It never takes him long to spot the grey top hat again, but in the intervals between he becomes nervous to the point of shaking, fidgeting with his coat and the contents of his pockets.
Chandresh mutters to himself. Those that pass by him close enough to hear look at him strangely and make an effort to avoid him.
Following Chandresh is a young man he would not recognize even if he were to look him in the eye, but still the man keeps his distance. Chandresh’s attention remains only on the man in the grey suit, and it does not once wander to this other man who bears a passing resemblance to his assistant.
Marco keeps a steady grey-green eye on Chandresh, wearing no mask on a face only Celia would recognize, and the illusionist is otherwise occupied.
This goes on for quite some time. Mr. A. H— tours the circus leisurely. He visits the fortune-teller, who does not recognize him but lays his future out in polite rows of cards, though she admits that bits of it are overlapping and confusing. He watches the illusionist perform. She acknowledges his presence with a single, subtle nod. He tours the Hall of Mirrors, countless figures in matching grey suits and top hats accompanying him. He rides the Carousel. He appears particularly fond of the Ice Garden.
Chandresh follows him from tent to tent, waiting outside the ones he does not enter, drenched in ever-increasing anxiety.
Marco loses track of both of them only briefly, when he takes a few moments to attend to another matter.
The clock by the gates ticks off the minutes later and later, the ornaments upon it twirling and shifting.
October slips into November, a change that goes largely unnoticed other than by those standing closest to the clock.
The crowd grows thinner. Masks are returned to the baskets in the courtyard and by the gates, jumbled piles of empty eyes and ribbons. Children are dragged away with promises that they may return the next evening, though the circus will not be there the next evening and later those children will feel slighted and betrayed.
In a passage near the back of the circus, which is somewhat wide and filled with only a handful of patrons, Mr. A. H— stops. Chandresh watches him from a short distance away, unable to see clearly why he has halted, though he might be conversing with someone. Through his mask, Chandresh sees only the still grey suit, the hovering top hat. He sees an open target with nothing standing in between.
He hears the echo of a voice assuring him that the man is not real. A figment of his imagination. Nothing but a dream.
Then there is a pause. For just a moment, time slows like something falling while fighting with gravity. The chill breeze that has circled through the open paths of the circus stops. In that moment nothing flutters, not the fabric of the tents or the ribbon ties of dozens of masks.
In the tallest tent, one of the acrobats loses her perfect balance, falling some distance before one of her fellow performers catches her, only narrowly avoiding crashing to the ground.
In the courtyard, the bonfire sputters and sparks in a sudden cloud of black smoke, causing those patrons closest to it to jump back, coughing.
The kitten that leaps through the air from Poppet’s hands to her brother’s suddenly twists in the air, landing on its back rather than its feet and rolling toward Widget with an indignant howl.
The illusionist pauses, her seamless performance halted as she stands frozen, her face suddenly deathly pale. She sways as though she might faint, and several attentive audience members move to assist her but she does not fall.
Marco crumples as though punched in the stomach by an invisible assailant. A passing patron catches his arm to steady him.
And Chandresh Christophe Lefèvre pulls the heavy silver knife from his coat pocket and throws it without hesitation.
The knife flies from Chandresh’s hand, blade over handle, spinning in perfect revolutions through the air.
Its aim is precise and steady. As true as such things can be.
Then its target moves.
The tailored grey wool that makes up the back of Mr. A. H—’s suit shifts. He moves ever so slightly to the side. It is a graceful step. An unconscious gesture. A movement of weight in space.
And so the knife brushes by his sleeve, and comes to rest instead in the chest of the man he is speaking with. The blade sliding through his unbuttoned black coat easily, hitting his heart as though it had always been its intended target, the silver handle jutting out just beneath his crimson scarf.
Mr. A. H— catches Herr Friedrick Thiessen as he slumps forward.
Chandresh stares at his empty hand as though he cannot recall what he was holding moments before. He staggers off, wandering back in the direction of the bonfire courtyard. He forgets to remove his mask when he leaves, and when he finds it discarded in his town house the next day, he cannot remember where it came from.
Mr. A. H— lowers Herr Thiessen to the ground, speaking a constant string of words over him in tones too low for anyone to overhear. The scattered patrons around them notice nothing at first, though some are distracted by the fact that the two young performers a few feet away have suddenly ceased their show, the boy in the black suit gathering up the visibly agitated kittens.
After a long moment, Mr. A. H— stops speaking and passes a grey-gloved hand over Herr Friedrick Thiessen’s face, gently closing his surprised eyes.
The silence that follows is shattered by Poppet Murray’s screaming as the pool of blood on the ground spreads beneath her white boots.
Before the shock turns into chaos, Mr. A. H— gently removes the silver-handled knife from Herr Thiessen’s chest and then he stands and walks away.
As he passes by a baffled, still-unsteady Marco, he hands him the blood-covered knife without so much as a word or a glance before disappearing into the crowd.
The handful of patrons who witness the event are ushered quickly away. Later they assume it was a clever stunt. A touch of theatricality for the already festive evening.
The sign outside this tent is accompanied by a small box full of smooth black stones. The text instructs you to take one with you as you enter.
Inside, the tent is dark, the ceiling covered with open black umbrellas, the curving handles hanging down like icicles.
In the center of the room there is a pool. A pond enclosed within a black stone wall that is surrounded by white gravel.
The air carries the salty tinge of the ocean.
You walk over to the edge to look inside. The gravel crunches beneath your feet.
It is shallow, but it is glowing. A shimmering, shifting light cascades up through the surface of the water. A soft radiance, enough to illuminate the pool and the stones that sit at the bottom. Hundreds of stones, each identical to the one you hold in your hand. The light beneath filters through the spaces between the stones.
Reflections ripple around the room, making it appear as though the entire tent is underwater.
You sit on the wall, turning your black stone over and over in your fingers.
The stillness of the tent becomes a quiet melancholy.
Memories begin to creep forward from hidden corners of your mind. Passing disappointments. Lost chances and lost causes. Heartbreaks and pain and desolate, horrible loneliness.
Sorrows you thought long forgotten mingle with still-fresh wounds.
The stone feels heavier in your hand.
When you drop it in the pool to join the rest of the stones, you feel lighter. As though you have released something more than a smooth polished piece of rock.
Farewell
CONCORD, MASSACHUSETTS, OCTOBER 30 AND 31, 1902
Bailey climbs the oak tree to retrieve his hidden box before sunset, gazing down at the circus that sits bathed in deep orange light, casting long pointed shadows across the field. But when he opens it, he does not find anything he truly wishes to take with him.
He removes only Poppet’s white glove, placing it in his coat pocket, and returns the box to the tree.
At home, he counts out his life savings, which is a higher amount than he had expected, and packs a change of clothes and an extra sweater. He considers packing a spare pair of shoes but decides he can likely borrow some from Widget if need be. He shoves everything into a worn leather satchel and waits for his parents and Caroline to go to bed.
While he waits, he unpacks his bag and then packs it again, second-guessing his choices of what to bring and what to leave behind.
He waits an hour after he is certain everyone is asleep, and then another hour for good measure. Though he has become rather proficient at slipping in at abnormal hours, sneaking out is a different matter.
When he finally creeps down the hallway, he is surprised how late it is. His hand is on the door, ready to leave, when he turns around, putting his bag down and quietly searching for a piece of paper.
Once he locates one, he sits down at the table in the kitchen to write a note to his parents. He explains as best he can his reasons for going and hopes they will understand. He does not mention Harvard or anything about the future of the farm.
He remembers when he was very small his mother once said she wished happiness and adventure for him. If this does not count as adventure, he is not sure what does.
“What are you doing?” a voice behind him asks.
Bailey turns to find Caroline standing in the doorway in her nightgown, her hair piled on her head in a spiky mess of pin curls and a knitted blanket pulled around her shoulders.
“Nothing you need to concern yourself with,” he says, turning back to his writing. He signs the letter and folds it, leaving it propped upright in the center of the table, next to a wooden bowl full of apples. “Make sure they read that.”
“Are you running away?” Caroline asks, glancing at his bag.
“Something like that.”
“You can’t possibly be serious,” she says with a yawn.
“I’m not sure when I’ll be back. I’ll write when I can. Tell them not to worry about me.”
“Bailey, go back to bed.”
“Why don’t you go back to bed, Caroline? You look like you could use some more beauty rest.”
In response, Caroline only twists her face up in a sneer.
“Besides,” Bailey continues, “when have you ever cared what I do?”
“You have been acting like a baby all week,” Caroline says, raising her voice but keeping it a hissing whisper. “Playing at that stupid circus, staying out all night. Grow up, Bailey.”
“That is precisely what I’m doing,” Bailey says. “I don’t care if you don’t understand that. Staying here won’t make me happy. It will make you happy because you are insipid and boring, and an insipid, boring life is enough for you. It’s not enough for me. It will never be enough for me. So I’m leaving. Do me a favor and marry someone who will take decent care of the sheep.”
He takes an apple from the bowl and tosses it in the air, catching it and tucking it in his bag before he bids Caroline goodbye with a cheerful wave and nothing more.
He leaves her standing by the table with her mouth opening and closing in silent rage as he closes the door quietly behind him.
“Really, Widge.”
“No, really. We could do it. We can sneak into his house and hit him with something heavy and drag him back here as inconspicuously as possible. We can prop him up and people will think he’s a town drunk. He’ll be on the train before he’s conscious, and then he really won’t have a choice. Quick and painless. Well, painless for us. Save for the heavy lifting, that is.”
“I don’t think that’s really the best idea, Widge,” Poppet says.
“Oh, c’mon, it’ll be fun,” Widget says.
“I don’t think so. I think we already did whatever it was we were supposed to do, and now we have to wait.”
“Are you sure about that?” Widget asks.
“No,” Poppet says quietly.
After a while Widget goes off in search of something else to eat and Poppet waits by the gates alone, occasionally glancing over her shoulder to check the time on the clock behind her.
Intersections II: Scarlet Furies and Red Destinies
LONDON, OCTOBER 31–NOVEMBER 1, 1901
Though any night at the circus can rightfully be called magical,” Herr Friedrick Thiessen once wrote, “All Hallows’ Eve is something special. The air itself crackles with mystery.”
This particular Hallowe’en night is cold and crisp. The boisterous crowd is clothed in heavy coats and scarves. Many of them wear masks, faces lost in swatches of black and silver and white.
The light in the circus is dimmer than usual. The shadows seem to creep from every corner.
Chandresh Christophe Lefèvre enters the circus without notice. He picks up a silver mask from a basket by the gates and slips it over his face. The woman in the ticket booth does not recognize him when he pays his admission in full.
He wanders through the circus like a man in a dream.
The man in the grey suit does not wear a mask. He walks leisurely, with a calm, almost lazy gait. He has no particular destination in mind, wandering from tent to tent. Some he enters, others he passes by. He purchases a cup of tea and stays in the courtyard, watching the bonfire for a while before wandering back into the paths amongst the tents.
He has never attended the circus before, and he appears to be enjoying himself.
Chandresh follows him, every move, every stop. Pursues him through tents and watches him pay for his tea in the courtyard. He stares at the ground near the man in the grey suit’s feet, looking for his shadow, though he is thwarted by the ever-shifting light.
Other than Chandresh, no one pays him any notice. Passersby do not look at him, not even a glance is spared despite his height and his pristine grey suit and top hat. Even the girl who sells him tea barely registers him, turning quickly to her next customer. He slides through the circus like a shadow. He carries a silver-tipped cane that he does not use.
Chandresh loses him in the crowd more than once, the grey falling into a blur of black and white dotted with color from the patrons. It never takes him long to spot the grey top hat again, but in the intervals between he becomes nervous to the point of shaking, fidgeting with his coat and the contents of his pockets.
Chandresh mutters to himself. Those that pass by him close enough to hear look at him strangely and make an effort to avoid him.
Following Chandresh is a young man he would not recognize even if he were to look him in the eye, but still the man keeps his distance. Chandresh’s attention remains only on the man in the grey suit, and it does not once wander to this other man who bears a passing resemblance to his assistant.
Marco keeps a steady grey-green eye on Chandresh, wearing no mask on a face only Celia would recognize, and the illusionist is otherwise occupied.
This goes on for quite some time. Mr. A. H— tours the circus leisurely. He visits the fortune-teller, who does not recognize him but lays his future out in polite rows of cards, though she admits that bits of it are overlapping and confusing. He watches the illusionist perform. She acknowledges his presence with a single, subtle nod. He tours the Hall of Mirrors, countless figures in matching grey suits and top hats accompanying him. He rides the Carousel. He appears particularly fond of the Ice Garden.
Chandresh follows him from tent to tent, waiting outside the ones he does not enter, drenched in ever-increasing anxiety.
Marco loses track of both of them only briefly, when he takes a few moments to attend to another matter.
The clock by the gates ticks off the minutes later and later, the ornaments upon it twirling and shifting.
October slips into November, a change that goes largely unnoticed other than by those standing closest to the clock.
The crowd grows thinner. Masks are returned to the baskets in the courtyard and by the gates, jumbled piles of empty eyes and ribbons. Children are dragged away with promises that they may return the next evening, though the circus will not be there the next evening and later those children will feel slighted and betrayed.
In a passage near the back of the circus, which is somewhat wide and filled with only a handful of patrons, Mr. A. H— stops. Chandresh watches him from a short distance away, unable to see clearly why he has halted, though he might be conversing with someone. Through his mask, Chandresh sees only the still grey suit, the hovering top hat. He sees an open target with nothing standing in between.
He hears the echo of a voice assuring him that the man is not real. A figment of his imagination. Nothing but a dream.
Then there is a pause. For just a moment, time slows like something falling while fighting with gravity. The chill breeze that has circled through the open paths of the circus stops. In that moment nothing flutters, not the fabric of the tents or the ribbon ties of dozens of masks.
In the tallest tent, one of the acrobats loses her perfect balance, falling some distance before one of her fellow performers catches her, only narrowly avoiding crashing to the ground.
In the courtyard, the bonfire sputters and sparks in a sudden cloud of black smoke, causing those patrons closest to it to jump back, coughing.
The kitten that leaps through the air from Poppet’s hands to her brother’s suddenly twists in the air, landing on its back rather than its feet and rolling toward Widget with an indignant howl.
The illusionist pauses, her seamless performance halted as she stands frozen, her face suddenly deathly pale. She sways as though she might faint, and several attentive audience members move to assist her but she does not fall.
Marco crumples as though punched in the stomach by an invisible assailant. A passing patron catches his arm to steady him.
And Chandresh Christophe Lefèvre pulls the heavy silver knife from his coat pocket and throws it without hesitation.
The knife flies from Chandresh’s hand, blade over handle, spinning in perfect revolutions through the air.
Its aim is precise and steady. As true as such things can be.
Then its target moves.
The tailored grey wool that makes up the back of Mr. A. H—’s suit shifts. He moves ever so slightly to the side. It is a graceful step. An unconscious gesture. A movement of weight in space.
And so the knife brushes by his sleeve, and comes to rest instead in the chest of the man he is speaking with. The blade sliding through his unbuttoned black coat easily, hitting his heart as though it had always been its intended target, the silver handle jutting out just beneath his crimson scarf.
Mr. A. H— catches Herr Friedrick Thiessen as he slumps forward.
Chandresh stares at his empty hand as though he cannot recall what he was holding moments before. He staggers off, wandering back in the direction of the bonfire courtyard. He forgets to remove his mask when he leaves, and when he finds it discarded in his town house the next day, he cannot remember where it came from.
Mr. A. H— lowers Herr Thiessen to the ground, speaking a constant string of words over him in tones too low for anyone to overhear. The scattered patrons around them notice nothing at first, though some are distracted by the fact that the two young performers a few feet away have suddenly ceased their show, the boy in the black suit gathering up the visibly agitated kittens.
After a long moment, Mr. A. H— stops speaking and passes a grey-gloved hand over Herr Friedrick Thiessen’s face, gently closing his surprised eyes.
The silence that follows is shattered by Poppet Murray’s screaming as the pool of blood on the ground spreads beneath her white boots.
Before the shock turns into chaos, Mr. A. H— gently removes the silver-handled knife from Herr Thiessen’s chest and then he stands and walks away.
As he passes by a baffled, still-unsteady Marco, he hands him the blood-covered knife without so much as a word or a glance before disappearing into the crowd.
The handful of patrons who witness the event are ushered quickly away. Later they assume it was a clever stunt. A touch of theatricality for the already festive evening.
The sign outside this tent is accompanied by a small box full of smooth black stones. The text instructs you to take one with you as you enter.
Inside, the tent is dark, the ceiling covered with open black umbrellas, the curving handles hanging down like icicles.
In the center of the room there is a pool. A pond enclosed within a black stone wall that is surrounded by white gravel.
The air carries the salty tinge of the ocean.
You walk over to the edge to look inside. The gravel crunches beneath your feet.
It is shallow, but it is glowing. A shimmering, shifting light cascades up through the surface of the water. A soft radiance, enough to illuminate the pool and the stones that sit at the bottom. Hundreds of stones, each identical to the one you hold in your hand. The light beneath filters through the spaces between the stones.
Reflections ripple around the room, making it appear as though the entire tent is underwater.
You sit on the wall, turning your black stone over and over in your fingers.
The stillness of the tent becomes a quiet melancholy.
Memories begin to creep forward from hidden corners of your mind. Passing disappointments. Lost chances and lost causes. Heartbreaks and pain and desolate, horrible loneliness.
Sorrows you thought long forgotten mingle with still-fresh wounds.
The stone feels heavier in your hand.
When you drop it in the pool to join the rest of the stones, you feel lighter. As though you have released something more than a smooth polished piece of rock.
Farewell
CONCORD, MASSACHUSETTS, OCTOBER 30 AND 31, 1902
Bailey climbs the oak tree to retrieve his hidden box before sunset, gazing down at the circus that sits bathed in deep orange light, casting long pointed shadows across the field. But when he opens it, he does not find anything he truly wishes to take with him.
He removes only Poppet’s white glove, placing it in his coat pocket, and returns the box to the tree.
At home, he counts out his life savings, which is a higher amount than he had expected, and packs a change of clothes and an extra sweater. He considers packing a spare pair of shoes but decides he can likely borrow some from Widget if need be. He shoves everything into a worn leather satchel and waits for his parents and Caroline to go to bed.
While he waits, he unpacks his bag and then packs it again, second-guessing his choices of what to bring and what to leave behind.
He waits an hour after he is certain everyone is asleep, and then another hour for good measure. Though he has become rather proficient at slipping in at abnormal hours, sneaking out is a different matter.
When he finally creeps down the hallway, he is surprised how late it is. His hand is on the door, ready to leave, when he turns around, putting his bag down and quietly searching for a piece of paper.
Once he locates one, he sits down at the table in the kitchen to write a note to his parents. He explains as best he can his reasons for going and hopes they will understand. He does not mention Harvard or anything about the future of the farm.
He remembers when he was very small his mother once said she wished happiness and adventure for him. If this does not count as adventure, he is not sure what does.
“What are you doing?” a voice behind him asks.
Bailey turns to find Caroline standing in the doorway in her nightgown, her hair piled on her head in a spiky mess of pin curls and a knitted blanket pulled around her shoulders.
“Nothing you need to concern yourself with,” he says, turning back to his writing. He signs the letter and folds it, leaving it propped upright in the center of the table, next to a wooden bowl full of apples. “Make sure they read that.”
“Are you running away?” Caroline asks, glancing at his bag.
“Something like that.”
“You can’t possibly be serious,” she says with a yawn.
“I’m not sure when I’ll be back. I’ll write when I can. Tell them not to worry about me.”
“Bailey, go back to bed.”
“Why don’t you go back to bed, Caroline? You look like you could use some more beauty rest.”
In response, Caroline only twists her face up in a sneer.
“Besides,” Bailey continues, “when have you ever cared what I do?”
“You have been acting like a baby all week,” Caroline says, raising her voice but keeping it a hissing whisper. “Playing at that stupid circus, staying out all night. Grow up, Bailey.”
“That is precisely what I’m doing,” Bailey says. “I don’t care if you don’t understand that. Staying here won’t make me happy. It will make you happy because you are insipid and boring, and an insipid, boring life is enough for you. It’s not enough for me. It will never be enough for me. So I’m leaving. Do me a favor and marry someone who will take decent care of the sheep.”
He takes an apple from the bowl and tosses it in the air, catching it and tucking it in his bag before he bids Caroline goodbye with a cheerful wave and nothing more.
He leaves her standing by the table with her mouth opening and closing in silent rage as he closes the door quietly behind him.
