LITMIR.BIZ

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      However slow the progress of the lessons with Herr Kornblum had seemed to Josef, it had come ten times slower for Thomas Kavalier. The endless tinkering with locks and knots that Thomas had covertly witnessed, night after night, in the faint lamplight of the bedroom the boys shared, was far less interesting to him than Josef’s interest in coin tricks and card magic had been.

      Thomas Masaryk Kavalier was an animated gnome of a boy with a thick black thatch of hair. When he was a very young boy, the musical chromosome of his mother’s family had made itself plain in him. At three, he regaled dinner guests with long, stormy arias, sung in a complicated gibberish Italian. During a family holiday at Lugano, when he was eight, he was discovered to have picked up enough actual Italian from his perusal of favorite libretti to be able to converse with hotel waiters. Constantly called upon to perform in his brother’s productions, pose for his sketches, and vouch for his lies, he had developed a theatrical flair. In a ruled notebook, he had recently written the first lines of the libretto for an opera, Houdini, set in fabulous Chicago. He was hampered in this project by the fact that he had never seen an escape artist perform. In his imagination, Houdini’s deeds were far grander than anything even the former Mr. Erich Weiss himself could have conceived: leaps in suits of armor from flaming airplanes over Africa, and escapes from hollow balls launched into sharks’ dens by undersea cannons. The sudden entrance of Josef, at breakfast that morning, into territory once actually occupied by the great Houdini, marked a great day in Thomas’s childhood.

      After their parents had left—the mother for her office on Narodny; the father to catch a train for Brno, where he had been called in to consult on the mayor’s giantess daughter—Thomas would not leave Josef alone about Houdini and his cheeks.

      “Could he have fit a two-koruna piece?” he wanted to know. He lay on his bed, on his belly, watching as Josef returned the torque wrench to its special wallet.

      “Yes, but it’s hard to imagine why he might have wanted to.”

      “What about a box of matches?”

      “I suppose so.”

      “How would they have stayed dry?”

      “Perhaps he could have wrapped them in oilcloth.”

      Thomas probed his cheek with the tip of his tongue. He shuddered. “What other things does Herr Kornblum want you to put in there?”

      “I’m learning to be an escape artist, not a valise,” Josef said irritably.

      “Are you going to get to do a real escape now?”

      “I’m closer today than I was yesterday.”

      “And then you’ll be able to join the Hofzinser Club?”

      “We’ll see.”

      “What are the requirements?”

      “You just have to be invited.”

      “Do you have to have cheated death?”

      Josef rolled his eyes, sorry he had ever told Thomas about the Hofzinser. It was a private men’s club, housed in a former inn on one of the Stare Mesto’s most crooked and crepuscular streets, which combined the functions of canteen, benevolent society, craft guild, and rehearsal hall for the performing magicians of Bohemia. Herr Kornblum took his supper there nearly every night. It was apparent to Josef that the club was not only the sole source of companionship and talk for his taciturn teacher but also a veritable Hall of Wonders, a living repository for the accumulated lore of centuries of sleight and illusion in a city that had produced some of history’s greatest charlatans, conjurors, and fakirs. Josef badly wanted to be invited to join. This desire had, in fact, become the secret focus of every spare thought (a role soon afterward to be usurped by the governess, Miss Dorothea Horne). Part of the reason he was so irritated by Thomas’s persistent questioning was that his little brother had guessed at the constant preeminence of the Hofzinser Club in Josef’s thoughts. Thomas’s own mind was filled with Byzantine, houris-and-candied-figs visions of men in cutaway coats and pasha pants walking around inside the beetle-browed, half-timbered hotel on Stupartskà with their upper torsos separated from their lower, summoning leopards and lyrebirds out of the air.

      “I’m sure when the time comes, I will receive my invitation.”

      “When you’re twenty-one?”

      “Perhaps.”

      “But if you did something to show them …”

      This echoed the secret trend of Josef’s own thoughts. He swung himself around on his bed, leaned forward, and looked at Thomas. “Such as?”

      “If you showed them how you can get out of chains, and open locks, and hold your breath, and untie ropes.…”

      “All that’s easy stuff. A fellow can learn such tricks in prison.”

      “Well, if you did something really grand, then … something to amaze them.”

      “An escape.”

      “We could throw you out of an airplane tied to a chair, with the parachute tied to another chair, falling through the air. Like this.” Thomas scrambled up from his bed and went over to his small desk, took out the blue notebook in which he was composing Houdini, and opened it to a back page, where he had sketched the scene. Here was Houdini in a dinner jacket, hurtling from a crooked airplane in company with a parachute, two chairs, a table, and a tea set, all trailing scrawls of velocity. The magician had a smile on his face as he poured tea for the parachute. He seemed to think he had all the time in the world.

      “This is idiotic,” Josef said. “What do I know about parachutes? Who’s going to let me jump out of an airplane?”

      Thomas blushed. “How childish of me,” he said.

      “Never mind,” said Josef. He stood up. “Weren’t you playing with Papa’s old things just now, his medical-school things?”

      “Right here,” Thomas said. He threw himself on the floor and rolled under the bed. A moment later, a small wooden crate emerged, covered in dust-furred spider silk, its lid hinged on crooked loops of wire.

      Josef knelt and lifted the lid, revealing odd bits of apparatus and scientific supplies that had survived their father’s medical education. Adrift in a surf of ancient excelsior were a broken Erlenmeyer flask, a glass pear-shaped tube with a penny-head stopper, a pair of crucible tongs, the leather-clad box that contained the remains of a portable Zeiss microscope (long since rendered inoperable by Josef, who had once attempted to use it to get a better look at Pola Negri’s loins in a blurry bathing photo torn from a newspaper), and a few odd items.

      “Thomas?”

      “It’s nice under here. I’m not a claustrophobe. I could stay under here for weeks.”

      “Wasn’t there …” Josef dug deep into the rustling pile of shavings. “Didn’t we used to have—”

      “What?” Thomas slid out from under the bed.

      Josef held up a long, glinting glass wand and brandished it as Kornblum himself might have done. “A thermometer,” he said.

      “What for? Whose temperature are you going to take?”

      “The river’s,” Josef said.

      At four o’clock on the morning of Friday, September 27, 1935, the temperature of the water of the River Moldau, black as a church bell and ringing against the stone embankment at the north end of Kampa Island, stood at 22.2° on the Celsius scale. The night was moonless, and a fog lay over the river like an arras drawn across by a conjuror’s hand. A sharp wind rattled the seedpods in the bare limbs of the island’s acacias. The Kavalier brothers had come prepared for cold weather. Josef had dressed them in wool from head to toe, with two pairs of socks each. In the pack he wore on his back, he carried a piece of rope, a strand of chain, the thermometer, half a veal sausage, a padlock, and a change of clothes with two extra pairs of socks for himself. He also carried a portable oil brazier, borrowed

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