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 Lefèvre 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 Times. It is a positive review; some might call it glowing. Nevertheless, it has been put in this position of execution, and the silver-handled knife is being thrown at it. The knife slices through the paper and sinks into the cork of the dartboard. It is retrieved and removed only to have the process repeated again.
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 Lefèvre, 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. Lefèvre to the point of knife throwing. A single sentence, that reads thusly: “M. Chandresh Christophe Lefèvre 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 Lefèvre instead focuses on that penultimate word. Almost. Almost.