Miz Ghita inhales a breath, mouth open slightly; she clasps her hands on her backside and goes back to staring at anything without eyes.
Izabel is sitting upright now; I can feel her body tense next to mine—she knows as much as anyone that something fucked up is about to happen.
Nora is…still the emotionless, unmoving, most unaffected-by-anything person I’ve ever seen. I think maybe she’s better at my job than I am.
“Come here, Ela,” Francesca says, curling her finger toward her.
The girl doesn’t hesitate, but she walks with rapid breath and tight shoulders, and she ascends the marble steps on legs so shaky I’m surprised she can walk on them at all.
Izabel’s leg presses against mine, but I don’t think she notices. No Izzy…don’t break character. Please don’t fucking break character.
The girl named Ela; soft, innocent, scared, gets on her knees in front of Francesca’s throne and bows her head low, all the way to the floor where she presses her forehead, her arms stretched out above her head, palms flat against the marble. My stomach flip-flops when the girl standing beside the makeup tray places a small pair of garden shears into Francesca’s hand. No Niklas…don’t fucking break character.
Emilio watches from below the dais, his hands also folded on his backside; his shoulders are tight, drawn up slightly; I see his jaw flexing as if he’s nervously grinding his teeth. Every other servant girl in the room stands perfectly still; no one is breathing, no one is blinking, but everyone including me wishes we were somewhere else.
“Sit up and give me your hand, Ela.” Francesca reaches out for it, and she waits.
Ela raises herself up and moves closer, offers her hand to the fiend on the white throne.
“Since the two of them are so much alike,” Francesca says about Ela and Nora, taking Ela’s hand, “then they will share deformities as well.”
Ela’s bloodcurdling scream sets my teeth on edge and every muscle in my body stiffens when the razor-sharp garden shears slice through flesh and tendon and bone. I can hear the metal on bone in my head, crunching, grating, cutting through to my subconscious where Augustin is trying his damndest to tame Fleischer, keep him under control in this pivotal moment. Dark red liquid sprays Francesca’s elegant white robe, pours from the detaching finger as she works the shears in her hand, cutting and cutting until the pinky finger is completely detached. Izabel’s fingers are digging into my thigh, and if it weren’t for my pants, her fingernails would be in my skin. She looks only at the floor. How did my hand get on her waist? I squeeze her gently, hoping to soothe her, and though I know it won’t, I do it anyway.
Nora, you’re one soulless bitch.
Izabel
Flashes of Mexico blind me; all the blood…all the blood, all those girls, drowning in it; Lydia bleeding on the desert floor. Izel and the scissors. Izel and the knives and the guns and the chain she used to beat a girl to death in front of my eyes. That’s what this woman is—Izel four-point-oh. I want to kill her. She doesn’t deserve to live and I want her to die. If the client doesn’t kill this maniacal bitch, I’m coming back for her myself. And the rest of her family too, whether or not they’re just like her. They allow it; they stand by and let it happen and that makes them just as guilty.
But…then all of us are guilty, every single person in this room, including us—goddammit! Why can’t we do something?
I close my eyes and try to calm my breathing, to slow my racing heart one beat at a time, like everyone else seems to be doing.
Except for Nora.
How can she stand it? How can she sit there on the floor without so much as a tensed muscle, or a clenched jaw, or a vein twitching in her neck, or a few white knuckles? The girl’s finger is being cut off—just like yours was, Nora; the girl is being tortured because of something you did! But she feels nothing.
I look down—I don’t think I ever looked back up—and see Niklas’s long fingers clutching my waist; at least he feels something. But he’s still guilty. We’re all guilty. Fear (and some kind of sick, sadistic love) of this woman is what keeps most of them quiet. But not for us; not for me or Niklas or Nora. The sake of a job and of another girl’s