Kitty and the Dead Man's Hand
Page 21

“Yes. I know who you are.” He glanced at me sideways with icy blue eyes.
“The woman up front told me you were practicing. You do this every night, I’d have thought that would be enough practice.”
“No. You never stop practicing. You always have to find new tricks, stay at the top of your game. Otherwise you become obsolete.” He set the cards down, then twisted his hand to produce a coin. Then another, and another. “I’m afraid I only have a few moments. What would you like to talk about?”
“Rumor has it your magic is real.”
He kept going through tricks, plucking coins and scarves out of the air, shoving them all into the hat, pulling out a second glass of water.
“You don’t mince words, do you? Straight to the point.”
“That’s me,” I said.
“It’s a useful rumor. Especially recently. I suppose I have you to thank for that. People are willing to believe lots of things these days.”
“Is it? Real, I mean.”
He gave a smile that made his craggy face light up with mischief. “You’ve been watching me for five minutes now. What do you think?”
Hey, I was supposed to be the one asking questions. I moved on. “You might have heard I’m doing a televised version of my show tonight. Stage, audience, everything. I wondered if you’d like to come on, do a few tricks for the audience, talk about your act. It would be great publicity for you. I have a pretty big audience who would love to see what you can do.”
He was already shaking his head. “I don’t need publicity. This may come as a shock, but I don’t aspire to great fame and success. I have my little show, my little talents. It’s all I need.” He turned a formerly empty hand to show four silver dollars stuck between the fingers.
“Then maybe you’ll do it because I asked nicely? Please?” I could wear down almost everyone eventually.
“I’m willing to talk to you for a few minutes, not appear on your show. Those few minutes are almost up.”
Okay, fine. File this one under future projects.
I smiled, conceding the point. “Right. Your show’s pretty retro. The tux, the rabbit in the hat, the old-school tricks. Some of your equipment even looks antique.” I nodded to the box of disappearing, with its art-deco stylings.
“A lot of it is antique,” Grant said, still guarded. Mysterious—was it part of the act, or just him? “I inherited it from an old vaudeville magician. He lived in the neighborhood where I grew up in Rhode Island. He used to tell all sorts of stories to the kids. But I listened the best, so he taught his tricks to me. When he passed away, he was ancient, over a hundred, I think. I was eighteen, and he left me the keys to a storage unit. It held all his equipment and props, his books, notes, everything. I suppose I felt I’d been left his legacy, as well. If I was going to do tricks on the stage, I wanted to do it in a way he’d approve of.”
I wandered around, growing brave when he didn’t stop me. There was the box where he sawed his own leg off, then put it back on. The levitating chair—I looked for wires and didn’t see any.
“How do you keep people from writing you off as a nostalgia act?”
“That’s just it. Many so-called magicians these days use so many special effects, pyrotechnics, and stagecraft, or they appear more on television than not. The audience is so dazzled and distracted, they start to think of it all as special effects. Many of the people who come to see my show have never seen the classic tricks in person. Those are the people who wonder how I do it, without all the stunning effects.”
“Sleight of hand, sleight of mind?”
“Something like that. So much of this is in the mind. Optical illusion and tricks of perception.”
“Then leaving aside the question of whether or not you work real magic in your show—do you believe in real magic?”
He folded his pack of cards in a silk handkerchief and tucked the bundle in the pocket of his trousers. “What kind?”
“What kinds are there?”
“A couple. There’s wild magic, anything you might observe that seems to break the laws of physics. Things disappearing and reappearing. Sawing something in half and restoring it. Then there’s magic that requires ritual: ceremony, spells, the right tools, the right chants. For example, let’s say Jesus Christ turning water into wine is wild magic, and the Catholic miracle of transubstantiation—turning bread and wine into the body and blood of Christ—is ritual magic because it requires the Mass. Assuming you believe in that sort of thing.”
“Do you?”
“Do I believe there are things in the world that can’t be explained? Yes. My examples were perhaps a bit... simplistic. Don’t touch that—”
My wandering had brought me to the upright box, into which he’d made the nice woman disappear last night. I’d been about to touch it, to run my finger along the edge, just to feel the age of it, lured the way any old and beautiful object draws attention.
Grant’s cool poise never slipped, but he did take a step toward me. If I didn’t back off, he’d no doubt make me. “Please, that box is over a hundred years old. It’s quite fragile.”
“But you let perfect strangers climb inside every day?”
“Under controlled conditions.”
I stepped away and tucked my hands behind my back to avoid temptation. “Sorry.”
“You talk about all this on your show, don’t you?” he said and went back to rearranging the props on his table. “Magic. Whether it exists.”
“Oh, I talk about all kinds of things. Magic, weirdness, the supernatural. Stuff that’s easy to dismiss, until you end up in the middle of it. Then it helps to learn as much as you can. That’s why I do my show.”
“You believe, then?”
“Oh, yeah. I sort of have to, given what I am.”
“That’s right. The lycanthropy.”
I said, “That doesn’t mean there aren’t fakes in the world. That’s why I try to ask a lot of questions.”
“That’s usually wise.”
“Why no assistants?” I said. “If you wanted to be really classic you’d saw a woman in half, wouldn’t you?”
“That’s always struck me as being a bit Freudian.”
“You don’t like pretty girls dressed up in spangles?”