The Night Circus (6 page)

When he asks if she is hungry she gives a polite non-answer that betrays that she is famished. He catches the attention of the woman behind the bar again, who returns a few minutes later with a platter of cheese and fruit and slices of baguette.

“However did you find a place like this?” Isobel asks.

“Trial and error,” he says. “And a great many glasses of horrible wine.”

Isobel laughs.

“I’m sorry,” she says. “Though at least it worked out well in the end. This place is lovely. It’s like an oasis.”

“An oasis with very good wine,” Marco agrees, tipping his glass toward her.

“It reminds me of France,” Isobel says.

“Are you from France?” he asks.

“No,” Isobel says. “But I lived there for a while.”

“As did I,” Marco says. “Though that was some time ago. And you are correct, this place is very French, I think that’s part of the charm. So many places here don’t bother to be charming.”

“You’re charming,” Isobel says, and immediately blushes, looking like she would pull the words back into her mouth if she could.

“Thank you,” Marco replies, unsure what else to say.

“I’m sorry,” Isobel says, clearly flustered. “I didn’t mean to  … ” She begins to trail off, but perhaps emboldened by a glass and a half of wine, she continues. “There are charms in your book,” she says. She looks to him for a reaction but he says nothing and she looks away. “Charms,” she continues to fill the silence. “Talismans, symbols  …  I don’t know what all of them mean but they are charms, are they not?”

She takes a nervous sip of her wine before daring to look back at him.

Marco chooses his words carefully, wary about the direction the conversation is taking.

“And what does a young lady who once lived in France know of charms and talismans?” he asks.

“Only things I’ve read in books,” she says. “I don’t remember what all of them mean. I only know the astrological symbols and some of the alchemical ones, and I don’t know them particularly well, either.” She pauses, as though she cannot decide whether or not she wants to elaborate, but then she adds, “
La Roue de Fortune
, the Wheel of Fortune. The card in your book. I know that card. I have a deck, myself.”

While earlier Marco had determined her to be little more than mildly intriguing and fairly pretty, this revelation is something more. He leans into the table, regarding her with considerably increased interest than he had moments before.

“Do you mean you read the tarot, Miss Martin?” he asks.

Isobel nods.

“I do, at least, I try,” she says. “Only for myself, though, which I suppose is not really reading. It’s  …  it’s just something I picked up a few years ago.”

“Do you have your deck with you?” Marco asks. Isobel nods again. “I would very much like to see it, if you don’t mind,” he adds, when she makes no move to take it from her bag. Isobel glances around the café at the other patrons. Marco gives a dismissive wave. “Don’t worry yourself about them,” he says, “it takes a great deal more than a deck of cards to frighten this lot. But if you would rather not, I understand.”

“No, no, I don’t mind,” Isobel says, picking up her bag and carefully pulling out a deck of cards wrapped in a scrap of black silk. She removes the cards from their covering and places them atop the table.

“May I?” Marco asks as he moves to pick them up.

“By all means,” Isobel answers, surprised.

“Some readers do not like other people touching their cards,” Marco explains, recalling details from his divination lessons as he gently lifts the deck. “And I would not want to be presumptuous.” He turns over the top card,
Le Bateleur
. The Magician. Marco cannot help but smile at the card before replacing it in the pile.

“Do you read?” Isobel asks him.

“Oh no,” he says. “I am familiar with the cards, but they do not speak to me, not in ways enough to properly read.” He looks up from the cards at Isobel, still not certain what to make of her. “They speak to you, though, do they not?”

“I have never thought of it that way, but I suppose they do,” she says. She sits quietly, watching him flip through the deck. He treats it with the same care she showed with his journal, holding the cards delicately by their edges. When he has looked through the entire deck, he places them back on the table.

“They are very old,” he says. “Much older than you, I would venture to guess. Might I inquire as to how they came into your possession?”

“I found them in a jewelry box in an antiques shop in Paris, years ago,” Isobel says. “The woman there wouldn’t even sell them to me, she just told me to take them away, get them out of her shop. Devil cards, she called them.
Cartes du Diable
.”

“People are naïve about such things,” Marco says, a phrase oft repeated by his instructor as both admonishment and warning. “And they would rather write them off as evil than attempt to understand them. An unfortunate truth, but a truth nonetheless.”

“What is your notebook for?” Isobel asks. “I don’t mean to pry, I just found it interesting. I hope you will forgive me for looking through it.”

“Well, we are even on that matter, now that you have allowed me to look through your cards,” he says. “But I am afraid it is rather complex, and not the easiest of matters to explain, or believe.”

“I can believe quite a lot of things,” Isobel says. Marco says nothing, but watches her as intently as he had regarded her cards. Isobel holds his gaze and does not look away.

It is too tempting. To have found someone who might even begin to understand the world he has lived in almost his entire life. He knows he should let it go, but he cannot.

“I could show you, if you wish,” he says after a moment.

“I would like that,” Isobel says.

They finish their wine and Marco settles their bill with the woman behind the bar. He places his bowler hat on his head and takes Isobel’s arm as they leave the warmth of the café, stepping out once again into the rain.

Marco stops abruptly in the middle of the next block, just outside a large gated courtyard. It is set back from the street, a cobblestone alcove formed by grey stone walls.

“This will do,” he says. He leads Isobel off of the pavement and into the space between the wall and the gate, positioning her so her back is against the cold wet stone, and stands directly in front of her, so close that she can see each drop of rain on the brim of his bowler hat.

“Do for what?” she asks, apprehension creeping into her voice. The rain is still falling around them and there is nowhere to go. Marco simply raises a gloved hand to quiet her, concentrating on the rain and the wall behind her head.

He has never had someone to try this particular feat on before, and he is uncertain he will even be able to manage it.

“Do you trust me, Miss Martin?” he asks, watching her with the same intense stare from the café, only this time his eyes are barely inches from her own.

“Yes,” she says, without hesitation.

“Good,” Marco says, and with a swift movement he lifts his hand and places it firmly over Isobel’s eyes.

*

STARTLED, ISOBEL FREEZES
. Her vision is obscured completely, she can see nothing and feels only the damp leather against her skin. She shivers, and is not entirely sure it is due to the cold or the rain. A voice close to her ear whispers words she has to strain to hear and that she does not understand. And then she can no longer hear the rain, and the stone wall behind her feels rough when moments before it had been smooth. The darkness is somehow brighter, and then Marco lowers his hand.

Blinking as her eyes adjust to the light, Isobel first sees Marco in front of her, but something is different. There are no drops of rain on the brim of his hat. There are no drops of rain at all; instead, there is sunlight casting a soft glow around him. But that is not what makes Isobel gasp.

What elicits the gasp is the fact that they are standing in a forest, her back pressed up against a huge, ancient tree trunk. The trees are bare and black, their branches stretching into the bright blue expanse of sky above them. The ground is covered in a light dusting of snow that sparkles and shines in the sunlight. It is a perfect winter day and there is not a building in sight for miles, only an expanse of snow and wood. A bird calls in a nearby tree, and one in the distance answers it.

Isobel is baffled. It is real. She can feel the sun against her skin and the bark of the tree beneath her fingers. The cold of the snow is palpable, though she realizes her dress is no longer wet from the rain. Even the air she is breathing into her lungs is unmistakably crisp country air, with not a hint of London smog. It cannot be, but it is real.

“This is impossible,” she says, turning back to Marco. He smiles, his bright green eyes dazzling in the winter sun.

“Nothing is impossible,” he says. Isobel laughs, the high-pitched delighted laugh of a child.

A million questions rush through her head and she cannot properly articulate any of them. And then a clear image of a card springs suddenly into her mind,
Le Bateleur
. “You’re a magician,” she says.

“I don’t think anyone has actually called me that before,” Marco responds. Isobel laughs again, and she is still laughing when he leans closer and kisses her.

The pair of birds circle overhead as a light wind blows through the branches of the trees around them.

To passersby on the darkened London street, they look like nothing out of the ordinary, only young lovers kissing in the rain.

False Pretenses
JULY–NOVEMBER 1884

P
rospero the Enchanter gives no formal reason for his retirement from the stage. His tours have been so sporadic in recent years that the lack of performances passes mostly without notice.

But Hector Bowen still tours, in a manner of speaking, even if Prospero the Enchanter does not.

He travels from city to city, hiring out his sixteen-year-old daughter as a spiritual medium.

“I hate this, Papa,” Celia protests frequently.

“If you can think of a better way to bide your time before your challenge begins—and don’t you dare say reading—then you are welcome to it, provided it makes as much money as this does. Besides, it is good practice for you to perform in front of an audience.”

“These people are insufferable,” Celia says, though it is not exactly what she means. They make her uncomfortable. The way they look at her, the pleading glances and tear-streaked stares. They see her as a thing, a bridge to their lost loved ones that they so desperately cling to.

They talk about her as though she is not even in the room, as if she is as insubstantial as their beloved spirits. She must force herself not to cringe when they inevitably embrace her, thanking her through their sobs.

“These people mean nothing,” her father says. “They cannot even begin to grasp what it is they think they see and hear, and it is easier for them to believe they are receiving miraculous transmissions from the afterlife. Why not take advantage of that, especially when they are so willing to part with their money for something so simple?”

Celia maintains that no amount of money is worth such an excruciating experience, but Hector is insistent, and so they continue to travel, levitating tables and producing phantom knocking on all manner of well-papered walls.

She remains baffled by the way their clients crave the communication, the reassurance. Not once has she ever wished to contact her departed mother, and she doubts her mother would want to speak with her if she could, especially through such complicated methods.

This is all a lie
, she wants to say to them.
The dead are not hovering nearby to knock politely at teacups and tabletops and whisper through billowing curtains
.

She occasionally breaks their valuables, placing the blame on restless spirits.

Her father picks different names for her as they change locales, but he uses Miranda often, presumably because he knows how much it annoys her.

After months of it she is exhausted from the travel and the strain and the fact that her father barely lets her eat, as he claims looking like a waif makes her seem more convincing, closer to the other side.

Only after she genuinely faints during a session, rather than perfectly executing the choreographed dramatic swoon, does he relent to a respite at their home in New York.

At tea one afternoon, in between glares at the amount of jam and clotted cream she is slathering on her scones, he mentions that he has contracted her services for the weekend to a weeping widow across town, who has agreed to pay twice her normal rate.

“I said you could have a rest,” her father says when Celia refuses, not even looking up from the pile of papers he has spread across the dining table. “You’ve had three days, that should suffice. You look fine. You’re going to be even prettier than your mother someday.”

“I’m surprised you remember what my mother looked like,” Celia says.

“Do
you
?” her father asks, glancing up at her and continuing when she only frowns in response. “I may only have spent a matter of weeks in her company, but I remember her with more clarity than you do, and you had her for five years. Time is a peculiar thing. You’ll learn that eventually.”

He returns his attention to his papers.

“What about this challenge you’re supposedly training me for?” Celia asks. “Or is that just another way for you to make money?”

“Celia, dearest,” Hector says. “You have great things ahead of you, but we have relinquished control of when they will begin. Our side does not have the first move. We will simply be notified when it is time to put you on the board, as it were.”

“Then why does it matter what I do in the meantime?”

“You need the practice.”

Celia tilts her head, staring at him as she puts her hands on the table. All of the papers fold themselves into elaborate shapes: pyramids and helixes and paper birds with rustling wings.