The Vanished Man

You could feel it in your chest.
    Thud . . . thud . . .
    A brilliant spotlight shot into the center of the ring, illuminating the actor playing Arlecchino, dressed in his black-and-white-checkered bodysuit, wearing his matching half mask. Holding a long scepter high in the air, he looked around mischievously.
    Thud.
    He stepped forward and began to march around the ring as a procession of performers appeared behind him: other commedia dell’arte characters, as well as spirits, fairies, princesses and princes, wizards. Some walking, some dancing, some cartwheeling slowly as if under water, some on high stilts stepping more gracefully than most people stroll down the sidewalk, some riding in chariots or carts decorated with tulle and feathers and lace and tiny glowing lights.
    Everyone moving in perfect time to the drum.
    Thud . . . thud . . .
    Faces masked, faces painted white or black or silver or gold, faces dotted with glitter. Hands juggling glowing balls, hands carrying orbs or flares or candles or lanterns, hands scattering confetti like glittering snow.
    Solemn, regal, playful, grotesque.
    Thud . . .
    Both medieval and futuristic, the parade was hypnotic. And its message was unmistakable: whatever existed outside the tent was invalid here. You couldforget everything you’d learned about life, about human nature, about the laws of physics themselves. Your heart was now beating not to its own rhythm but in time to the crisp drum, and your soul was no longer yours; it had been captured by this unearthly parade making its deliberate way into the world of illusion.

Chapter Forty-five
    We come now to the finale of our show, Revered Audience.
    It’s time to present our most celebrated—and controversial—illusion. A variation on the infamous Burning Mirror.
    During our show this weekend you’ve seen the performances of illusions created by such masters as Harry Houdini and P. T. Selbit and Howard Thurston. But not even they would attempt an act like the Burning Mirror.
    Our performer, trapped in a likeness of hell, surrounded by flames that close in inexorably—and the only route for escape, a tiny doorway protected by a wall of fire.
    Though, of course, the door might not be an escape route at all.
    Maybe it’s just an illusion.
    I have to warn you, Revered Audience, that the most recent attempt to perform this trick resulted in tragedy.
    I know, because I was there.
    So, please, for your own sake, spend a moment looking around the tent and consider what you will do should disaster strike. . . .
    But on reflection, no, it’s too late for that. Perhaps the best you can hope for now is simply to pray.
    •   •   •
    Malerick had returned to Central Park and was standing under a tree about fifty yards from the glowing white tent of the Cirque Fantastique.
    Bearded once more, he was dressed in a jogging suit and a high-necked knit shirt. Tufts of sweaty blond hair poked from underneath a Chase Manhattan 10K Run for the Cure cap. Faux sweat stains—out of a bottle—attested to his present persona: a minor financial executive at a major bank out for his Sunday-night run. He’d stopped for a breather and was absently looking at the circus tent.
    Perfectly natural.
    He found himself oddly calm. This serenity reminded him of that moment just after the Hasbro circus fire in Ohio, before the full implications of the disaster had become clear. While by rights he should have been screaming, he in fact found himself numb. In an emotional coma. He felt the same at this moment, listening to the music, the bass notes amplified, it seemed, by the taut canvas of the tent itself. The diffuse applause, laughter, gasps of astonishment.
    In his years of performing he’d rarely gotten stage fright. When you knew your act cold, when you’d rehearsed sufficiently, what was there to be nervous about? This is what he now experienced. Everything had been so carefully planned that he knew his show would unfold as intended.
    Scanning the tent in its last few minutes on earth, he saw two figures just outside the large service doorwaythrough which he’d driven the ambulance not long before. A man and a young woman. Speaking to each other, ear close to mouth so they could converse over the sound of the music.
    Yes! One of them was Kadesky. He’d been worried that the producer might not be present at the time of the explosion. The other was Kara.
    Kadesky pointed inside and together they walked in the