Night of Cake & Puppets

4 Drastic

It’s Act II. I can hear Mephistopheles singing. I text Karou: Kindly confirm: If someone’s evil, then killing them isn’t murder. It’s SLAYING, and not only legal but encouraged. Correct?

No reply.

After a minute, I text again: Taking your silence as a YES. Sharpening knife. Text now to stop me. 3–2–1…Okay then. Here I go.

Still no reply.

One last text: It’s done. Am currently dragging an opera singer to the taxidermist by her hair. Plan to have her stuffed and mounted above Aunt Nedda’s TV.

For a moment, my frustration over the soprano is undercut by anxiety as I ponder what Karou might be doing in South Africa that she can’t answer her phone. Poacher, or witch doctor? I have no success imagining either, and resume frustration.

ARGH! Prochazka kept me scurrying during Act I, then there were sets to change, and just when I was going to slip away, Hugo had to pee and handed off Siebel to me, even though I am not cleared to operate a marionette in a show! I didn’t have to do anything but make it stand around, at least, and when Hugo came back, I made my escape – back to the puppeteers’ lounge to grab my drawing, and then…just as I was about to creep into the musicians’ lounge…

‘Excuse me. Girl!’

Cinzia Polombo appeared in the doorway. Girl? She actually snapped her fingers to get my attention. Oh yes. But it gets better. She handed me her empty coffee cup and, because she doesn’t speak Czech, said in English, with a luxuriant and imperious R roll, ‘Hurrry.’

Oh. I hurried.

If anyone has ever filled a coffee cup with cigarette butts faster than I did tonight, I would be very much surprised.

‘Is that not what you wanted?’ I asked her in purest innocence when she gasped and looked aghast.

‘Coffee! I want coffee!’

‘Ohhh. Of course,’ I said. ‘That makes so much more sense. I’ll be right back.’ And I was right back. I handed her the cup, now full of cigarette butts and coffee, and kept walking.

‘Disgraziata!’ she shrieked at me, dashing the contents to the floor, but I just kept going, back into the puppeteers’ lounge, where I sit now on the sadder of two sad sofas, thwarted. Cinzia is still in the musicians’ lounge, where she should not be. Her cue is any minute. What’s she doing in there, aside from cursing in Italian? I’m going to lose my chance!

My phone vibrates. It’s Karou. Finally. She texts: Go to the taxidermist on Ječná. They’re the best with humans.

—Perfect. Thanks for the tip. Find that poacher?

—Much to his dismay.

—Wishes?

—A slot-machine jackpot of shings. Nothing stronger, though.

That sucks. She’s looking for more powerful wishes, and shings, I know, are only a little better than scuppies. I text: Well, better than nothing?

—Yeah. So tired. Going to sleep now. GO FORTH AND CONQUER!

Again, whatever went down in South Africa, I can’t begin to imagine it. As for the taxidermist, for a second I consider checking to see if there really is one on Ječná, but I dismiss the thought. If Karou was in the habit of having humans stuffed, that jackass Kaz would not still be walking around.

At the thought of Kaz, and to the continued sound track of a high-strung soprano cursing in Italian, I can’t help but imagine what I might do in this moment with a limitless supply of scuppies. Really, Karou was incredibly restrained. I could not be trusted. I would be afflicting people with itches every second, at the slightest provocation. Think about it. With the power of itch – even better, the power of cranny itch – you’d be master of any situation.

Maybe not any situation. It wouldn’t really help me with Mik.

Anyway. I’m not going to waste a single scuppy on Cinzia Polombo. I will preserve them for Mik-enchantment.

IF I EVER GET MY CHANCE TO INVADE HIS VIOLIN CASE, DAMN IT.

Finally: a door slam, and stomping, and Cinzia is out of the way. I take my drawing – it’s rolled up like a scroll, edges burned, and tied with a black satin ribbon – and creep to the door of the musicians’ lounge. It’s ajar, and I can see that there’s no one inside. No sense waiting. A flash and I am in, opening locker doors, mindful that if anyone were to walk in, I would absolutely look like a thief. I don’t know which locker is Mik’s, and it’s impossible to open and close metal doors quietly, and some of them have locks on them, so I can only hope for the best.…

And then I find it. Everything is a miracle. It is a miracle that one does not melt in one’s bath.

Everything is a miracle, is it? Ask me again at the end of the night.

I open the violin case and put the scroll inside. I close it, shut the locker, and back away. Time to escape. I flash back out the door, skirt Cinzia’s coffee-and-cigarette splash, and slide back into the puppeteers’ lounge, where I take a deep breath. Another. Another. Then I put on my coat, gather my things.

This is the moment when I walk away from the Marionette Theater, possibly forever. I feel like a brave Resistance worker who has just planted a bomb, and will now walk away, cinematically, without a backward glance. Because here’s what I’ve decided: If things do not go well tonight, I am never coming back here. It’s the only way I can do this, by removing the inevitability of embarrassment. I never have to see Mik again. There will be no awkwardness, no blushing.

No blushing.

I’m struck suddenly by the very real possibility of never seeing Mik blush again, and…my heart hurts. My heart has never hurt before. It’s real pain, like a bad bruise, and catches me off guard. I always thought people were making that up. It makes me wonder about kissing and fireworks and all the other stuff I always assumed was made up. And the pain comes again, because this is it, things are set in motion, and soon I’ll know, one way or the other. He’ll come or he won’t.

What if he doesn’t come?

Oh god. Is this too drastic? Maybe I should have just had faith in the normal way: ferocious blushing, time passing, hoping and pining, always alert for some sign of interest until an exchange of small talk can occur. (‘Have you tried this treatment for female baldness? I hear it’s life-changing.’) And maybe over more time small talk turns into shuffling toward shared coffee…or maybe the blushing just goes on and on and nothing ever happens, drastic or otherwise, and then it’s like in a TV show when they string the sexual tension between two characters out for too long and you stop caring and it all just turns to dust?

No. I can’t take dust, or small talk, or shuffling. It’s got to be drastic. One way or another, tonight I’ll know.

I want to go backstage and peer into the orchestra pit one last time, but if I do, one of the puppeteers is sure to snag me for some job, and I won’t be able to escape. Still, I pause at the stage door and listen. I hear Cinzia singing Marguerite, this tragic character debauched in a devil’s bargain. She seems to have mastered her diva rage and actually sounds pretty good…for a third-rate soprano singing in a marionette theater, anyway…but that’s not what I want to hear. I listen for the violin.

There it is, this sound that rises out of the music like a beam of light cutting through darkness. It’s as sweet as love, so goddamn beautiful I could cry, and it’s like my whole being forms the word please.

I don’t believe in prayer, but I do believe in magic, and I want to believe in miracles.

Please come, I think through the wall, sending the words toward the sweet, pure sound, and the sweet, pure boy who’s making it.

And then I leave.

It’s snowing. I wrap my scarf around my face and feel a kind of peace. I’ve played my gambit.

It’s up to him now.