Sleep Walking Now and Then (2 page)

Cass felt he was looking for a main chance again, just as he had forty years and many roles before. He told himself that Edwin Lowery Nance, an entrepreneur in his fifties afloat with his daughter in the tumultuous late 19th century, must have had moments like this.

Like an echo of the thought, a child's voice said, “Daddy! Thank you! I shall call her Mirabella!”

Startled, Cass/Nance looked up and found Evangeline Nance, with her long golden-honey hair and the 19th century Paris fashion doll she had named Mirabella tucked under her arm. Her eyes were shut and she didn't appear to sleep walk so much as to float toward the door amid the smoke-blue silks of a flowing dress and sea of petticoats. Her satin slippers hardly seemed to touch the floor.

In character, Jacoby Cass picked up a pair of gold-rimmed pince-nez from the desk, put them on his nose and peered silently at his daughter

At the door Evangeline stopped, turned and nodded, satisfied she had his full attention. “We're scheduled to do a run-through of the elevator chase. Remember, Mr. Nance?” she asked in a voice that was all New York actress. And suddenly Evangeline was Keri Mayne, a woman in her endlessly extended late thirties.

Keri had a history with Jacoby Cass—Ophelia to his Hamlet, a refuge fifteen years before when his third marriage broke down. The two had discussed Evangeline Nance. Her mother died when she was six. Over the twenty years before Evangeline became an orphan she remained a child and a sleep walker.

Kerri Mayne's Evangeline threw open the door to the outer hallway and Jacoby Cass arose ready to be Edwin Lowery Nance. Researching his play Cass found no one solid account of the night of April 12, 1895. It seemed very likely that Evangeline sleep

walked her way out of the apartment and the father followed. Servants had seen this happen before. No witnesses were available to testify about the April night.

In Cass's script and performance, Nance rushed out of his office after her, calling, “Evangeline!” in a voice he felt would sound like cigar smoke and Scotch. “My child, where do you think you're going?” he cried as Keri/Evangeline sailed down the hall. Cass wore more of Nance's wardrobe: a vest, shoes that hurt his feet but somehow enhanced his performance.

Whispered rumor held that Evangeline had fled her bedroom with him in pursuit. And there was servants' testimony that this had happened before.

Almost all tellings agreed that Nance, in the dim light thought Evangeline had gone to the elevator and stepped through the open door. He followed and found not Evangeline but a nine-story drop. How the elevator car happened not to be there was a matter of mystery and dispute.

With all that in mind, after an hour and a half of rehearsals, Cass/Nance called out “Evangeline!” for the tenth time. All this took place with late September light streaming through the windows. But Cass channeling Nance began to see it happening by moonlight and primitive bulbs. He had to dodge assistants and understudies who had been instructed to stand in his way, walk across his path just as the theatergoers would.

He actually lost sight of Keri/Evangeline before he reached the elevator. The faded gold door was wide open and she had to be inside the car. Nance hurried forward, stepped inside, and fell nine stories into the cellar. It was only three feet and the padding was well placed. But he screamed “EVANGELINE” and made it seem to fade as if coming out of Nance as he hurtled nine stories down.

Jackson and a burly assistant moved forward and would have blocked the line of sight had there been any audience.

Lying face down on the padding, Cass's palm tingled and he read a message from Rosalin telling him that at 6:00 p.m. the Angouleme Hotel's lobby would be ready and awaiting his approval. Rolling over, he looked up at Keri and Jackson staring down and made arrangements for a run-through of the lobby scene at 6:30.

Taking a director/playwright's privilege, he wrote Evangeline into the scene. When the elevator door opened at 6:30 the lobby was all in shadows, low wattage light caught remnants of gold filigree on the walls. The three-story-high ceiling loomed above them with its mural of the European discovery of Manhattan still showing traces of grandeur.

*   *   *

The lobby was a collage of a hundred and seventy years of history. Singly and in groups, manikins lingered in corners and stairs. A sexual spectrum, enigmatic and sinister, they were dressed in 1970s miniskirts, flared pants, and psychedelic T-shirts, in 1890s bustles and floor-length gowns, in World War I doughboy uniforms. Some of their eyes seemed to reflect the light. One with dark hair, a red silk kerchief around his neck, and a leather jacket appeared to move slightly.

With his lovely daughter on his arm and the pair of wealthy customers alongside him, Cass/Nance surveyed them as if he saw the cream of New York society. When he said, “My good sir and lovely madam” and the rest of his opening lines, Cass had fully mastered his Nance voice, throaty and a bit choked with good living.

The actors playing the couple had their lines down. “But,” said the man, “what of the location here, almost on the docks and in a neighborhood of factories?”

“The anteroom of the Mighty Atlantic, sir! We shall steal the Hudson River's thunder. This is meant to be a palace for my lovely princess, my daughter.” His daughter looked up at him, adoring but somehow lost.

The man frowned but the woman smiled and said, “How enchanting!”

“Come and partake of the Angouleme's humble fare,” said Cass/Nance, and the quartet moved toward what had once been a famous hotel dining room and soon would be the
Sleep Walking
snack bar.

As they moved, Cass glanced at the front doors and saw them fly open right on cue. A long-haired figure in gold-rimmed dark glasses, an impeccably fitted velvet jacket and slacks strode across the empty lobby.

The young actor, Jeremy Knight, a rising star in the Big Arena, was Jacky Mac, dubbed the Kit Marlowe of late 1960s New York, whose murder was the Angouleme's second famous death.

Before Jeremy Knight got any further, Cass stepped out of character and into the center of the space. He addressed the company, human and manikin alike: “Our city loves scandals. When current misconduct is too drab the city seeks out its past, desires old relics. This lobby reflects that perfectly.” Catching sight of her in the shadows, he bowed. “Thank you, Rosalin! But let's remember that it's only two weeks to opening night and there's so much to be done.”

Everyone, cast and crew, applauded. He noticed that Keri Mayne, the charmer, and Jeremy Knight, the young lion, were talking together.

Rosalin led forward the production assistant who'd brought his coffee. “Sonya went out of her way to be helpful when I was acquiring props, saved us a lot of money. She has theatrical experience. There's the silent part of the maid for which we were going to use one of Jackson's people . She can do that and I could use her assistance.”

Cass looked at this tense young woman from deep in the artist underclass and wondered about Rosalin's motives. But he was sure of her loyalty to this production into which she'd put so much invaluable work, if not to him. Sonya would come cheap and might be of use. So he nodded, smiled, and agreed with what was proposed.

When she and Sonya were alone Rosalin said, “I came to this city when it was first being called the Big Arena. Thirty years ago I was where you are now.” Rosalin had learned that Sonya had no family she could go to, no close friends outside the city. “I had nobody in this world and nothing but my work.”

 

TWO

Thursday night, at the 8pm show two weeks into the run, Keri Mayne leaned against the wall of Evangeline's bedroom. In full costume, the flowing skirts made sitting both difficult and unwise.

She listened to Cass/Nance outside, saw his image on her palm—cameras were everywhere—heard him say, “Of course, J. P.,” into the wall telephone. Nance spoke loudly because he didn't trust the instrument and because an audience needed to hear.

In the play it was well after midnight in the midst of the financial crisis of 1895 and J. P. Morgan had just called. “Of course I will stand with you, Mr. Morgan. Tomorrow at ten? I will be there, sir.”

Keri/Evangeline watched Sonya, in a European maid's uniform, standing at the bedroom door and listening. In the intricately jealous context of a theater company Keri mistrusted and feared her.

Outside Nance said, “Of course, sir, I too know the loneliness of losing a wife.” His voice became muffled as he turned away. But those in the room could hear the great financier describe a need a discreet hotel keeper might satisfy. Nance had left behind him some nasty rumors and Cass had used all of them.

Keri/Evangeline heard the others in the room move closer to Nance, trying to catch the conversation. This was the moment. She nodded; Sonya threw open the door and Evangeline floated out of her room and into her father's den.

Evangeline light as a package of feathers, was wrapped in silk. Shimmering hair flowed down to Evangeline's waist,. Her eyes were half open, as if she was in a trance. She had Mirabella in her left arm. The gold slippers glided across the floor.

Half a dozen audience members were in the room. Women wore short skirts; men's legs were concealed in trousers. These were the rich and
Sleep Walking
was a game as much as a play. Devices that enabled communication, blocked insects and rain, illuminated, cooled, or heated the area around one as the moment dictated were turned off. Mostly.

By clustering around Nance in the corner, the playgoers opened the way to the outer hall door which Sonya opened, revealing a crowd of eavesdroppers. She plowed through them. Seemingly unaware of all this Keri/Evangeline floated over the threshold. and maid and mistress passed down a dim lit hall.

Most of the windowpanes were blackened and heavily curtained. But an occasional one seemed to look onto the outside world. Playgoers on this floor could gaze out upon a 19th century night. Hologram pedestrians and horse-dawn vehicles traveled on the avenue, lanterns on ships bobbed on East River piers. Some figures in lighted windows across the way spoke intently at each other by lamplight while others seemed to grope naked in the dark.

“Evangeline!” she heard Nance cry as he came out the office door. Playgoers followed him. Figures in 19th century clothes discreetly got in their way. Audience members accidently blocked him. “My child, where are you going?” Nance cried to his daughter, who gave no sign she was aware of him.

Playgoers were supposed to be absolutely silent. But a man whispered, “She's a bit taller than I would have thought.” And a woman responded, “Looks like a child and at the same time older.” Sonya kept them away.

Though their conversation irritated Keri, she did prize her ability to alternate between radiant child and disturbed adult. All was shadows and misdirection at the end of the hall. Evangeline floated toward the open elevator door.

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.