Nance, in a voice that was authoritarian and pleading at the same time, shouted, “Young lady, you must obey me. Stop!” His heavy shoes banged on the floor as he began to run.
For a moment everyone looked his way. When they looked back to the elevator, Evangeline and her maid had disappeared.
Edwin Lowery Nance, who managed to appear to hurry while not really moving quickly, came down the hall. He ran through the open doorway and his shout turned into a scream. His voice faded as he fell nine stories into the cellar.
Jackson and her equally big cohort, dressed in 1890’s street clothes, were suddenly there blocking the audience members’ view. She and her partner looked into the pit. The partner screamed. “Someone get a doctor! Call the police!” Ms. Jackson shook her head sadly and pulled the elevator door closed.
“I saw him, his body was all bloody and smashed,” a theatergoer cried.
Keri—standing inside the door that led to the servants’ stairs—listened, amused by this. Someone was always getting caught up in the drama. She imagined Cass/Nance lying on the padding, looking up at the faded fleur-de-lis design on the elevator car’s roof and, like her, taking the cry as a kind of applause. When reviews called the show “Just a Halloween entertainment,” Cass told her, “That gets us through the next month. After that we’ll find something else.” She hoped he was right.
Her costume made stairs difficult and the maid reached out to help her. Sonya spoke, voice low and intense: “Just after Nance fell they thought it was a tragic accident. Then rumors started that I was seen near the elevator machinery in the cellar. I disappeared before I could be questioned about the events and was never seen again.”
At moments when Sonya identified with the part of Evangeline’s maid like this Keri wondered why Rosalin, who took care of so many things, had arranged for this person to be alone with her in two performances a night, six nights a week. She hoped Sonya was aware how vital to the production her Evangeline was. Surveillance cams were everywhere but she wondered if they didn’t just offer a greater chance for immortality.
So she gazed at Sonya with admiration and delight (and none could look with as much admiration and delight as she). “I’m amazed at the amount of research you’ve done. You have the makings of an actor,” she said.
Then, as Evangeline, she motioned Sonya to go first, and said in a breathless child voice, “After Nance’s death rumors got in the papers. One of my dolls was supposedly found in the elevator with his corpse. It’s when the term ‘Angouleme Murder’ began being used. Servants testified that Nance had always taken an unnatural interest in his daughter.” Here Evangeline covered her eyes for a moment. But Keri managed to catch Sonya’s expression of both horror and sympathy.
Their destination was the sixth floor. On the landing, they paused, heard a 1920s Gershwin tune played by a jazz pianist. Privately, Keri was certain Evangeline had killed her old man, who in every way deserved it. Life with him and after him had made her a manipulative crazy person. It was what Keri loved about the part.
But she looked at Sonya and said with great sincerity, “I try to remember what that poor child-woman went through and put that into my performance.”
Sonya held a light and a mirror like this was a sacred ritual. Evangeline’s haunted face—just a trifle worn—appeared. Keri Mayne did a couple of makeup adjustments, held the doll to her chest, and braced herself.
Sonya opened the door and followed as Evangeline half floated into a hallway with distant, slightly flickering lights. Keri paused, listened for a moment, then wafted toward the music.
Playgoers, drinks in hand, stared out a window into a hologram of a lamp lit street scene. A big square-built convertible rolled by with its top down and men and women in fur coats waving glasses over their heads, while a cop made a point of not looking. Flappers in cloche hats and tight skirts scurried to avoid getting run down. They gained the sidewalk and disappeared into the Angouleme’s main door downstairs.
On the sixth floor it was 1929.
It took a few moments for the well-upholstered crowd to notice the sleep walker and the woman in a maid’s uniform who guided her.
Keri heard their whispered conversations:
“…maybe down here trying to avoid her father?”
“…a little older, this is long afterwards, when he’s dead and she’s still living here.”
“We missed his big moment.”
“…looks like she’s been on opium for years.”
“Morphine, actually.”
“Creepy, just like the Angouleme!”
“But delicious!”
“…like a ghost in her own hotel for decades after the murder.”
The illicit, low-level whispering was the audience telling each other the story they’d seen and heard online. Cass had wanted that. “Makes it like opera or Shakespeare, where the audience knows the plot but not how it’ll be twisted this time.”
On the sixth floor Keri was Evangeline in the long years after her father’s death and before she died in 1932 addicted, isolated. Even before the First World War the Angouleme was called “louche” when that was the word used by people too nice to mention any specific decadence.
“She looks like she’s hurt!” murmured a playgoer in a lavish, shimmering suit as he moved toward Evangeline. Keri lurched the other way, Sonya got between them.
Always in these audiences were ones like this who wanted to be part of the drama. If there was a long run, their faces would appear again and again. Certain people would start going out in public dressed like characters in the play. Great publicity, but a warning that no one should get too immersed in a part.
“Oh, who are all these ghosts, Marie?” Evangeline asked her maid in a whispery child voice and looked around at the faces staring at her. “People like these weren’t allowed in the Angouleme when Father was here.” She held up the doll. “Mirabella was his last gift to me.”
She could hear the crowd murmur at this, felt them closing in. And in that moment, the character Jacoby Cass’s script simply called “The Killer” came down the hall. This young man wore a leather jacket and a red silk kerchief tied around his neck. The butt of a revolver was visible in a pocket. The actor looked at Evangeline and the rest of the crowd with a cold, dead-eyed stare.
“How did he get in here?” a man whispered. “Where’s security?”
This amused his partner. “More than likely he’s a fugitive from the Jacky Mac Studio downstairs,” she said. “We must pay a visit.”
For a moment all attention focused on The Killer. Evangeline wobbling slightly, continued to the jazz piano.
By the 1920s, a louche, scandalous hotel had become attractive to certain people. Artists stayed at the Angouleme and entertained there: French Surrealists and their mistresses, wealthy bohemians poets from Greenwich Village, Broadway composers looking for someplace out of the way but not too far.
Something between a party and a cabaret went on in the living room of Gershwin’s suite. Around the door, slender, elegant flappers leaned towards smiling men in evening clothes. The lights were soft; it usually took a couple of glances before someone would recognize them as manikins. But then the silvery figure, you were sure was a statue, would turn slightly and a pair of dark eyes would hold yours for a moment.
Inside the room a musician who looked not unlike Gershwin sat at a baby grand and played the sketches that would become An American in Paris.
The suite was set up as a speakeasy where audience members bought drinks, leaned on furniture, listened but also watched. Evangeline shimmered before them, exchanged a long kiss with the silver flapper. All eyes were on the two and Gershwin played a slow fox-trot. As they danced he turned from the piano, looked to the audience as though asking if they saw what he did.