The Night Circus (25 page)

“Good afternoon,” she echoes.

“Were you looking for me?” he asks.

“I was, in fact,” Tara says. She starts to explain that Mr. Barris sent her. She reaches into her pocket, but there is no card within it and she stops, confused.

“Is something wrong?” the man in the grey suit asks.

“No,” Tara says, now unsure if she remembered to bring the card, or if it is still sitting on a table in her parlor. “I wanted to speak with you about the circus.”

“Very well,” he says. He waits for her to begin, his expression bearing something that could be construed as very mild interest.

She does her best to explain her concern. That there is more going on with the circus than most people are privy to. That there are elements she can find no reasonable explanations for. She repeats some of the things she mentioned to Mr. Barris. The concern of not being able to be certain if anything is real. How disconcerting it is to look in a mirror and see the same face, unchanged for years.

She falters frequently, finding it difficult to articulate precisely what she means.

The expression of very mild interest does not change.

“What is it you would like from me, Miss Burgess?” he asks when she has finished.

“I would like an explanation,” she says.

He regards her with the same unchanged expression for some time.

“The circus is simply a circus,” he says. “An impressive exhibition, but no more than that. Don’t you agree?”

Tara nods before she can properly process the response.

“Do you have a train to catch, Miss Burgess?” he asks.

“Yes,” Tara says. She had forgotten about her train. She wonders what time it is, but she cannot find a clock to check.

“I am headed toward the station myself, if you do not mind an escort.”

They walk the short distance from the hotel to the train platforms together. He holds doors open for her. He makes empty remarks about the weather.

“I think it may be in your best interest to find something else to occupy your time,” he says when they reach the trains. “Something to take your mind off the circus. Don’t you agree?”

Tara nods again.

“Good day, Miss Burgess,” he says with a tip of his hat.

“Good day,” she echoes.

He leaves her on the platform, and when she turns after him to see which way he went, the grey suit is nowhere to be found amongst the crowd.

Tara stands near the edge of the platform, waiting for her train. She cannot recall telling Mr. A. H— which train it was she would be taking, but he has deposited her on the proper platform nonetheless.

She feels as though there was something else she meant to ask, but now she cannot recall what it was. She cannot recall much of anything about the conversation, save for the impression that there is something else she should be spending her time on, somewhere else to be, some other matter that is more deserving of her attention.

She is wondering what that might be when a flash of grey on the opposite platform catches her eye.

Mr. A. H— stands in a shadowy corner, and even with the distance and the shadows Tara can tell that he is arguing with someone she cannot see.

Other people pass by without even glancing in their direction.

When the light from the arching overhead windows shifts, Tara can see who Mr. A. H— is arguing with.

The man is not quite as tall, the top of his hat sits leveled like a step down from the grey one, so much so that at first Tara thinks the man is only a reflection and finds it odd that Mr. A. H— would be arguing with his own reflection in the middle of a train station.

But the other suit is distinctly darker. The reflection’s hair is longer, though it is a similar shade of grey.

Through the steam and the crowd, Tara can make out the bright spots of lace at the cuffs of the shirt, the dark eyes that catch the light more than the rest of the man’s face. Aspects settle temporarily and then vanish into distorted shadows once more, never remaining steady for more than a moment.

The light filtering in from above shifts again, and the figure quavers as though she were watching through a heat haze, though Mr. A. H— remains comparatively crisp and clear.

Tara takes a step forward, her gaze fixated on the apparition on the opposite platform.

She does not see the train.

Movement
MUNICH, APRIL 1895

H
err Thiessen is always pleased when the circus arrives in his native Germany, but this time he is particularly delighted that it has arrived quite near Munich, so there is no need for him to secure rooms in another city.

Also, he has been promised a visit from Miss Celia Bowen. He has never met her, though they have been exchanging letters for years, and she expressed an interest in seeing his workshop, if he would not mind.

Friedrick replied that of course he did not mind in the least, and she would be welcome at any time.

Despite so many letters, each carefully filed in his office, he is uncertain what to expect when she arrives.

He is astonished to find the woman he knows as the illusionist standing in his doorway.

She is unmistakable, though she wears a gown of dusty rose rather than the black-and-white creations he is accustomed to seeing her in. Her skin appears warmer, her hair softly curled, and her hat bears no resemblance to the distinctive silk top hat, but he would know her face anywhere.

“This is an honor,” he says by way of greeting.

“Most people don’t recognize me outside of the circus,” Celia says as he takes her hand.

“Then most people are fools,” he says, lifting her hand to his lips and lightly kissing the back of her glove. “Though I feel a fool myself for not knowing who you were all this time.”

“I should have told you,” Celia says. “I do apologize.”

“No apology is necessary. I should have guessed you were not merely a
rêveur
from the way you wrote about the circus. You know every corner, better than most.”

“I am familiar with a great deal of the corners. Not all of them.”

“There remain mysteries in the circus even for its own illusionist? That is impressive.”

Celia laughs, and Friedrick takes her on a tour of his workshop.

The workshop is organized so that the front is occupied mostly by blueprints and sketches, moving on to long tables covered in various parts and a great deal of sawdust, drawers full of gears and tools. Celia listens with rapt attention as he describes the entire process, asking questions about the technical aspects as well as the creative ones.

He is surprised to learn that she speaks fluent German, though they have only written each other in English.

“I speak languages with more ease than I read or write them,” she explains. “It is something in the feel of the sounds. I could attempt to put them on paper but I am sure the result would be appalling.”

Despite his greying hair, Friedrick looks younger when he smiles. Celia cannot keep her eyes from his hands as he shows her the delicate clockwork mechanisms. She pictures the same fingers inscribing each letter she has received and read so many times that she has committed them to memory, finding it strange that she feels shy with someone she knows so well.

He watches her with equal attentiveness as they traverse the shelves of timepieces in varying stages of construction.

“May I ask you something?” he says as she looks at a collection of detailed figurines waiting patiently amongst curls of wood to be housed in their proper clocks.

“Of course,” Celia says, though she fears he will ask her how she does her magic, and she dreads having to lie to him.

“You have been in the same city as I on so many occasions, and yet this is the first time you have asked to meet. Why is that?”

Celia looks back at the figurines on the table before she responds. Friedrick reaches out and rights a tiny ballerina that has fallen sideways, returning her to balance on her ribboned slippers.

“Before, I did not want you to know who I was,” Celia says. “I thought you might think of me differently if you did. But after so long I felt I was being dishonest. I had wanted to tell you the truth for some time, and I could not resist the chance to see your workshop. I hope you can forgive me.”

“You have nothing to be forgiven for,” Friedrick says. “A woman I should like to think I know rather well and a woman I had always considered a mystery are, in fact, the same person. It is surprising, but I do not mind a good surprise. Though I am curious as to why you wrote me that first letter.”

“I enjoyed your writings about the circus,” Celia says. “It is a perspective that I am not able to view it from properly, because I  …  understand it in a different way. I like being able to see it through your eyes.” When she looks up at him, his soft blue eyes are bright in the afternoon sunlight that shines through the windows, illuminating the speckles of sawdust in the air.

“Thank you, Miss Bowen,” Friedrick says.

“Celia,” she corrects.

He gives her a thoughtful nod before continuing the tour.

The back walls are covered with finished or nearly finished timepieces. Clocks waiting only for final coats of varnish or other minor details. The clocks closest to the windows are already in motion. Each moving in its unique way, but keeping the same harmonious rhythm, a symphony of carefully ordered ticking.

The one that attracts Celia’s attention rests on a table rather than hanging on the wall or sitting on a shelf.

It is a beautiful piece, more sculpture than clock. While many of the clocks are wood, this one is predominantly dark, oxidized metal. A large, round cage set on a wooden base that has been carved into swirling white flames. Within, there are overlapping metal hoops marked with numbers and symbols suspended from the top, hanging amongst the visible gears and a series of stars falling from the filigree cap at the top.

But the clock sits quiet, unmoving.

“This one reminds me of the bonfire,” Celia says. “Is it not finished?”

“No, it is complete, but broken,” Friedrick replies. “It was an experiment, and the components are difficult to balance properly.” He turns it so she can see the way the workings extend through the entirety of the cage, stretching in all directions. “The mechanics are complex, as it tracks astronomical movement as well. I shall have to remove the base and dismantle it entirely to get it running again. I have not yet had the time it will require.”

“May I?” Celia asks, reaching out to touch it. When he nods, she removes one of her gloves and rests her hand on the metal bars of the cage.

She only watches it thoughtfully, she makes no attempt to move it. To Friedrick, it appears she is gazing through the clock rather than simply looking at it.

Inside, the mechanism begins to turn, the cogs and gears waltzing together as the number-marked hoops spin into place. The hands glide to indicate the proper time, the planetary alignments set themselves in order.

Everything within the cage rotates slowly, the silver stars sparkling as they catch the light.

Once the slow, steady tick begins, Celia removes her hand.

Friedrick does not inquire as to how she managed it.

Instead, he takes her to dinner. They do speak of the circus, but spend most of the meal discussing books and art, wine and favorite cities. The pauses in the conversation are not awkward, though they struggle to find the same rhythm in speaking that was already present in their written exchanges, often switching from one language to another.

“Why haven’t you asked me how I do my tricks?” Celia asks, once they have reached the point where she is certain he is not simply being polite about the matter.

Friedrick considers the question thoroughly before he responds.

“Because I do not wish to know,” he says. “I prefer to remain unenlightened, to better appreciate the dark.”

The sentiment delights Celia so that she cannot properly respond in any of their common languages, and only smiles at him over her wine.

“Besides,” Friedrick continues, “you must be asked such things constantly. I find I am more interested in learning about the woman than the magician. I hope that is acceptable.”

“It’s perfect,” Celia says.

They walk together to the circus afterward, past red-roofed buildings glowing in the dying light, going their separate ways only once they reach the courtyard.

Friedrick remains mystified as to why no one seems to recognize her as she walks anonymously amongst the crowd.

When he watches her performance she only catches his eye once with a subtle smile, giving no other hint of recognition.

Later, long after midnight, she appears by his side as he walks, wearing a cream-colored coat and a deep green scarf.

“Your scarf should be red,” Friedrick remarks.

“I am not a proper
rêveur
,” Celia says. “It would not feel right.” But as she speaks, her scarf shifts in hue to a rich, wine-like burgundy. “Is that better?”

“It is perfect,” Friedrick says, though his gaze remains fixed on her eyes.

She takes his offered arm and they walk together along the twisting pathways, through the dwindling crowd of patrons.

They repeat this routine in the following evenings, though the circus does not remain in Munich long, once the news arrives from London.

In Loving Memory of Tara Burgess
GLASGOW, APRIL 1895

T
he funeral is a quiet one, despite the number of mourners present. There are no sobs or flailing handkerchiefs. There is a smattering of color amongst the sea of traditional black. Even the light rain cannot push it down into the realms of despair. It rests instead in a space of thoughtful melancholy.

Perhaps it is because it does not feel as though Tara Burgess is entirely gone, when her sister sits alive and well. One half of the pair still breathing and vibrant.