The Three Eyes. Leblanc Maurice
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rhythm of her breathing. I tried gently to take her hands. But she released them at once and said:
"Let me be. I shall never forgive you, never."
"Come, Bérangère, you will forget that."
"Leave me alone. I want to go indoors."
"But you can't, Bérangère."
"Here's god-father. He'll take me back."
My reasons for relating this incident will appear in the sequel. For the moment, notwithstanding the profound commotion produced by the kiss which I had stolen from Bérangère, my thoughts were so to speak absorbed by the mysterious drama in which I was about to play a part with my uncle Dorgeroux. I heard my uncle asking Bérangère if she was not hurt. I saw her leaning on his arm and, with him, making for the door of the garden. But, while I remained bewildered, trembling, dazed by the adorable image of the girl whom I loved, it was my uncle whom I awaited and whom I was impatient to see returning. The great riddle already held me captive.
"Let's make haste," cried Noël Dorgeroux, when he came back. "Else it will be too late and we shall have to wait until to-morrow."
He led the way to the high wall where he had caught Bérangère in the act of yielding to her curiosity. This wall, which divided the Yard from the garden and which I had not remarked particularly on my rare visits to the Yard, was now daubed with a motley mixture of colours, like a painter's palette. Red ochre, indigo, purple and saffron were spread over it in thick and uneven layers, which whirled around a more thickly-coated centre. But, at the far end, a wide curtain of black serge, like a photographer's cloth, running on an iron rod supported by brackets, hid a rectangular space some three or four yards in width.
"What's that?" I asked my uncle. "Is this the place?"
"Yes," he answered, in a husky voice, "it's behind there."
"There's still time to change your mind," I suggested.
"What makes you say that?"
"I feel that you are afraid of letting me know. You are so upset."
"I am upset for a very different reason."
"Why?"
"Because I too am going to see."
"But you have done so already."
"One always sees new things, Victorien; that's the terrifying part of it."
I took hold of the curtain.
"Don't touch it, don't touch it!" he cried. "No one has the right, except myself. Who knows what would happen if any one except me were to open the closed door! Stand back, Victorien. Take up your position at two paces from the wall, a little to one side… And now look!"
His voice was vibrant with energy and implacable determination. His expression was that of a man facing death; and, suddenly, with a single movement, he drew the black-serge curtain.
My emotion, I am certain, was just as great as Noël Dorgeroux's and my heart beat no less violently. My curiosity had reached its utmost bounds; moreover, I had a formidable intuition that I was about to enter into a region of mystery of which nothing, not even my uncle's disconcerting words, was able to give me the remotest idea. I was experiencing the contagion of what seemed to me in him to be a diseased condition; and I vainly strove to subject it in myself to the control of my reason. I was taking the impossible and the incredible for granted beforehand.
And yet I saw nothing at first; and there was, in fact, nothing. This part of the wall was bare. The only detail worthy of remark was that it was not vertical and that the whole base of the wall had been thickened so as to form a slightly inclined plane which sloped upwards to a height of nine feet. What was the reason for this work, when the wall did not need strengthening?
A coating of dark grey plaster, about half an inch thick, covered the whole panel. When closely examined, however, it was not painted over, but was rather a layer of some substance uniformly spread and showing no trace of a brush. Certain gleams proved that this layer was quite recent, like a varnish newly applied. I observed nothing else; and Heaven knows that I did my utmost to discover any peculiarity!
"Well, uncle?" I asked.
"Wait," he said, in an agonized voice, "wait!.. The first indication is beginning."
"What indication?"
"In the middle.. like a diffused light. Do you see it?"
"Yes, yes, I think I do."
It was as when a little daylight is striving to mingle with the waning darkness. A lighter disk became marked in the middle of the panel; and this lighter shade spread towards the edges, while remaining more intense at its centre. So far there was no very decided manifestation of anything out of the way; the chemical reaction of a substance lately hidden by the curtain and now exposed to the daylight and the sun was quite enough to explain this sort of inner illumination. Yet something gave one the haunting though perhaps unreasonable impression that an extraordinary phenomenon was about to take place. For that was what I expected, as did my uncle Dorgeroux.
And all at once he, who knew the premonitory symptoms and the course of the phenomenon, started, as though he had received a shock.
At the same moment, the thing happened.
It was sudden, instantaneous. It leapt in a flash from the depths of the wall. Yes, I know, a spectacle cannot flash out of a wall, any more than it can out of a layer of dark-grey substance only half an inch thick. But I am setting down the sensation which I experienced, which is the same that hundreds and hundreds of people experienced afterwards, with a like clearness and a like certainty. It is no use carping at the undeniable fact: the thing shot out of the depths of the ocean of matter and it appeared violently, like the rays of a lighthouse flashing from the very womb of the darkness. After all, when we step towards a mirror, does our image not appear to us from the depth of that horizon suddenly unveiled?
Only, you see, it was not our image, my uncle Dorgeroux's or mine. Nothing was reflected, because there was nothing to reflect and no reflecting screen. What I saw was.
On the panel were "three geometrical figures which might equally well have been badly described circles or triangles composed of curved circles. In the centre of these figures was drawn a regular circle, marked in the middle with a blacker point, as the iris is marked by the pupil."
I am deliberately using the terminology which I employed to describe the images which my uncle had drawn in red chalk on the plaster of my room, for I had no doubt that he was then trying to reproduce those same figures, the appearance of which had already upset him.
"That's what you saw, isn't it, uncle?" I asked.
"Oh," he replied, in a low voice, "I saw much more than that, very much more!.. Wait and look right into them."
I stared wildly at the three "triangular circles," as I have called them. One of them was set above the two others; and these two, which were smaller and less regular but exactly alike, seemed, instead of looking straight before them, to turn a little to the right and to the left. Where did they come from? And what did they mean?
"Look," repeated my uncle. "Do you see?"
"Yes, yes," I replied, with a shudder. "The thing's moving."
It was in fact moving. Or rather, no, it was not: the outlines of the geometrical figures remained stationary; and not a line shifted its place within. And yet from all this immobility something emerged which was nothing else than motion.
I now remembered my uncle's words:
"They're alive, aren't they? You can see them opening and showing alarm! They're alive!"
They were alive! The three triangles were alive! And, as soon as I experienced this precise and undeniable feeling that they were alive, I ceased to regard them as an assemblage of lifeless lines and began to see in them things which were like a sort of eyes, misshapen eyes, eyes different from ours, but eyes furnished with irises and pupils and throbbing in an abysmal darkness.
"They are looking at us!" I cried, quite beside myself and as feverish and unnerved as my uncle.
He nodded his head and