Marco starts to say he can tell she received quite a good price for the ring, but then there is a knock on the door of the flat.
“Is it the landlord?” Isobel whispers, but Marco puts a finger to his lips and shakes his head.
Only one person ever knocks upon that door unannounced.
Marco waves Isobel into the adjoining study before he answers.
The man in the grey suit does not enter the flat. He has never entered the space since he orchestrated the transition, pushing his student out into the world.
“You will be applying for a position to work for this man,” he says without greeting, taking a faded business card from his pocket. “You will likely need a name.”
“I have a name,” Marco says.
The man in the grey suit does not inquire as to what it might be.
“Your interview is scheduled for tomorrow afternoon,” he says. “I have handled a number of business matters for Monsieur Lefevre of late and I have put in a strong recommendation, but you should do whatever is needed to secure the position.”
“Is this the beginning of the challenge?” Marco asks.
“This is a preliminary maneuver, to place you in an advantageous position.”
“Then when does the challenge start?” Marco asks, though he has asked the question dozens of times before and never received a firm answer.
“That will be clear at the time,” the man in the grey suit says. “When it does begin, it would be wise to focus your attention on the competition itself”—his eyes move pointedly to the closed door to the study—“without any distractions.”
He turns and exits down the hall, leaving Marco standing in the doorway, reading and rereading the name and address on the faded card.
HECTOR BOWEN EVENTUALLY relents to his daughter’s insistence that they remain in New York, but he does so for his own purposes.
While he makes occasional comments that she should be practicing more, for the most part he ignores her, spending his time alone in the upstairs parlor.
Celia is quite pleased with the arrangement, and spends most of her time reading. She sneaks out to bookstores, surprised when her father does not inquire as to where the piles of freshly bound volumes came from.
And she does practice, often, breaking all manner of things around the house in order to put them back together again. Making books fly around her room like birds, calculating how far they can travel before she must adjust her technique.
She becomes quite adept at manipulating fabric, altering her gowns as expertly as a master tailor to accommodate the weight she has regained, her body feeling like her own again.
She has to remind her father to come out of the parlor for meals, though lately he has refused more and more often, barely leaving the room at all.
Today he will not even respond to her insistent knocking. Irritated, and knowing he has charmed the locks so she cannot unlatch them without his own keys, she kicks the door with her boot and to her surprise, it swings open.
Her father stands by a window, intently watching his arm as he holds it out in front of him, the sunlight filtering in through the frosted glass and falling over his sleeve.
His hand fades completely and then returns. He stretches his fingers, frowning at the audible creaking of the joints.
“What are you doing, Papa?” Celia asks, curiosity trumping her annoyance. It is not something she has seen him do before, either onstage or in the privacy of her lessons.
“Nothing to concern yourself with,” her father says, pulling the frilled cuff of his shirt down over his hand.
The door slams shut in her face.
Target Practice
LONDON, DECEMBER 1884
The dartboard hangs precariously on a wall in the study, between tall bookcases and ornately framed oil paintings. It is almost camouflaged in the shadows despite its bold pattern, but the knife reaches its target each and every time it is thrown, very near the bull’s-eye that is obscured by the newspaper clipping pinned to the board.
The clipping is a theatrical review, an article carefully removed from the London
The knife is being thrown gracefully, from the handle so it rotates over and over perfectly until the tip of the blade finds its mark, by Chandresh Christophe Lefevre, whose name is printed in clear typeset letters in the last line of the aforementioned newspaper clipping.
The sentence that holds his name is the particular one that has incensed M. Lefevre to the point of knife throwing. A single sentence, that reads thusly: “M. Chandresh Christophe Lefevre continues to push the boundaries of the modern stage, dazzling his audiences with spectacle that is almost transcendent.”
Most theatrical producers would likely be flattered by such a remark. They would clip the article for a scrapbook of reviews, quote it for references and referrals.
But not this particular theatrical producer. No, M. Chandresh Christophe Lefevre instead focuses on that penultimate word. Almost.
The knife flies again across the room, over furniture of velvet and intricately carved wood, passing perilously close to a crystal decanter of brandy. It somersaults swiftly, handle over blade, and finds itself buried in the dartboard once again. This time it pierces the now nearly shredded paper in between the words “audiences” and “spectacle,” obscuring the “with” completely.
Chandresh follows in the wake of the knife, pulling the blade from the board carefully but with a fair amount of force. He walks back across the room, knife in one hand, a glass of brandy in the other, and turns swiftly on his heel, letting the knife fly once more, aiming for that horrible word. Almost.
Clearly he must be doing something wrong. If his productions are merely almost transcendent, when the possibility of true transcendence exists somewhere nearby, waiting to be attained, then there is something else that must be done.
He has been pondering this ever since the review was placed on his desk, neatly clipped and labeled by his assistant. Additional copies have been filed elsewhere for posterity and safekeeping, as the desk copies often meet such gruesome fates while Chandresh agonizes over every word.
Chandresh relishes reactions. Genuine reactions, not mere polite applause. He often values the reactions over the show itself. A show without an audience is nothing, after all. In the response of the audience, that is where the power of performance lives.
He was raised in the theater, sitting in boxes at the ballet. Being a restless child, he quickly grew bored with the familiarity of the dances and chose instead to watch the audiences. To see when they smiled and gasped, when the women sighed and when the men began to nod off.
So perhaps it is not terribly surprising that now, many years later, he still has more interest in the audience than in the performance itself. Though the performance must be spectacular in order to coerce the best reactions.
And because he is incapable of observing the faces of every audience member at every performance of every show (shows that range from compelling drama to exotic dancing girls and a few that creatively combine the two), he relies on the reviews.
