The Three Eyes

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 whispered:

"Yes, that's what they're doing."

The three eyes were looking at us. We were conscious of the scrutiny of those three eyes, without lids or lashes, but full of an intense life which was due to the expression that animated them, a changing expression, by turns serious, proud, noble, enthusiastic and, above all, sad, grievously sad.

I feel how improbable these observations must appear. Nevertheless they correspond most strictly with the reality as it was beheld at a later date by the crowds that thronged to Haut-Meudon Lodge. Like my uncle, like myself, those crowds shuddered before three combinations of motionless lines which had the most heart-rending expression, just as at other moments they laughed at the comical or gayer expression which they were compelled to read into those same lines.

And on each occasion the spectacle which I am now describing was repeated in exactly the same order. A brief pause, followed by a series of vibrations. Then, suddenly, three eclipses, after which the combination of three triangles began to turn upon itself, as a whole, slowly at first and then with increasing rapidity, which gradually became transformed into so swift a rotation that one distinguished nothing but a motionless rose-pattern.

After that, nothing. The panel was empty.

CHAPTER III
AN EXECUTION

It must be understood that, notwithstanding the explanations which I must needs offer, the development of all these events took but very little time: exactly eighteen seconds, as I had the opportunity of calculating afterwards. But, during these eighteen seconds – and this again I observed on many an occasion – the spectator received the illusion of watching a complete drama, with its preliminary expositions, its plot and its culmination. And when this obscure, illogical drama was over, you questioned what you had seen, just as you question the nightmare which wakes you from your sleep.

Nevertheless it must be said that none of all this partook in any way of those absurd optical illusions which are so easily contrived or of those arbitrary ideas on which a whole pseudo-scientific novel is sometimes built up. There is no question of a novel, but of a physical phenomenon, an absolutely natural phenomenon, the explanation of which, when it comes to be known, is also absolutely natural.

And I beg those who are not acquainted with this explanation not to try to guess it. Let them not worry themselves with suppositions and interpretations. Let them forget, one by one, the theories over which I myself am lingering: all that has to do with B-rays, materializations, or the effect of solar heat. These are so many roads that lead nowhere. The best plan is to be guided by events, to have faith and to wait.

"It's finished, uncle, isn't it?" I asked.

"It's the beginning," he replied.

"How do you mean? The beginning of what? What's going to happen?"

"I don't know."

I was astounded:

"You don't know? But you knew just now, about this, about those strange eyes!."

"It all starts with that. But other things come afterwards, things which vary and which I know nothing about!"

"But how can that be possible?" I asked. "Do you mean to say that you don't know anything about them, you who prepared everything for them?"

"I prepared them, but I do not control them. As I told you, I have opened a door which leads into the darkness; and from that darkness unforeseen images emerge."

"But is the thing that's coming of the same nature as those eyes?"

"No."

"Then what is it, uncle?"

"The thing that's coming will be a representation of images in conformity with what we are accustomed to see."

"Things which we shall understand, therefore?"

"Yes, we shall understand them; and yet they will be all the more incomprehensible."

I often wondered, during the weeks that followed, if my uncle's words were to be fully relied upon and if he had not uttered them in order to mislead me as to the origin and meaning of his discoveries. How indeed was it possible to think that the key to the riddle remained unknown to him? But at that moment I was wholly under his influence, steeped in the great mystery that surrounded us; and, with a constricted feeling at my heart, with all my overstimulated senses, I thought of nothing but gazing into the miraculous panel.

A movement on my uncle's part warned me. I gave a start. The dawn was rising over the grey surface.

I saw, first of all, a cloudy radiance whirling around a central point, towards which all the luminous spirals rushed and in which they were swallowed up while whirling upon themselves. Next, this point expanded into an ever wider circle, covered with a light, hazy veil which gradually dispersed, revealing a vague, floating image, like the apparitions raised by spiritualists and mediums at their sittings.

Then followed as it were a certain hesitation. The phantom image was striving with the diffuse shadow and seeking to attain life and light. Certain features became more pronounced. Outlines and separate planes took shape; and at last a flood of light issued from the phantom image and turned it into a dazzling picture, which seemed to be bathed in sunlight.

It was a woman's face.

I remember that at that moment my mental confusion was such that I felt like darting forward to feel the marvellous wall and lay my hands upon the living material in which the incredible phenomenon was vibrating. But my uncle dug his fingers into my arm:

"I won't have you move!" he growled. "If you budge an inch, the whole thing will fade away. Look!"

I did not move; indeed, I doubt whether I could have done so. My legs were giving way beneath me. Both of us, my uncle and I, dropped into a sitting posture on the fallen trunk of a tree.

"Look, look!" he commanded.

The woman's face had approached in our direction until it was twice the size of life. The first thing that struck us was the cap, which was that of a nurse, with the head-band tightly drawn over the forehead and the veil around the head. The features, handsome and regular and still young, wore that look of almost divine dignity which the primitive painters used to give to the saints who are suffering or about to suffer martyrdom, a nobility compounded of pain and ecstasy, of resignation and hope, of smiles and tears. Bathed in that light which really seemed to be an inward flame, the woman opened, upon a scene invisible to us, a pair of large dark eyes which, though filled with nameless terror, nevertheless were not afraid. The contrast was remarkable: her resignation was defiant; her fear was full of pride.

"Oh," stammered my uncle, "I seem to observe the same expression as in the Three Eyes which were there just now. Do you see: the same dignity, the same gentleness.. and also the same dread?"

"Yes," I replied, "it's the same expression, the same sequence of expressions."

And, while I spoke and while the woman still remained in the foreground, outside the frame of the picture, I felt certain recollections arise within me, as at the sight of the portrait of a person whose features are not entirely unfamiliar. My uncle received the same impression, for he said:

"I seem to remember."

But at that moment the strange face withdrew to the plane which it occupied at first. The mists that created a halo round it, drifted away. The shoulders came into view, followed by the whole body. We now saw a woman standing, fastened by bonds that gripped her bust and waist to a post the upper end of which rose a trifle above her head.

Then all this, which hitherto had given the impression of fixed outlines, like the outlines of a photograph, for instance, suddenly became alive, like a picture developing into a reality, a statue stepping straight into life. The bust moved. The arms, tied behind, and the imprisoned shoulders were struggling against the cords that were hurting them. The head turned slightly. The lips spoke. It was no longer an image presented for us to gaze at: it was life, moving and living life. It was a scene taking place in space and time. A whole background came into being, filled with people moving to and fro. Other figures were writhing, bound to posts. I counted eight of them. A squad of soldiers marched up, with shouldered rifles. They wore spiked helmets.

My uncle observed:

"Edith Cavell."

"Yes," I said, with a start, "I recognize her: Edith Cavell; the execution of Edith Cavell."

Once more and not for the last time, in setting down such phrases as these, I realize how ridiculous they must sound to any one who does not know to begin with what they signify and what is the exact truth that lies hidden in them. Nevertheless, I declare that this idea of something absurd and impossible did not occur to the mind when it was confronted with the phenomenon. Even when no theory had as yet suggested the smallest element of a logical explanation, people accepted as irrefutable the evidence of their own eyes. All those who saw the thing and whom I questioned gave me the same answer. Afterwards, they would correct themselves and protest. Afterwards, they would plead the excuse of hallucinations or visions received by suggestion. But, at the time, even though their reason was up in arms and though they, so to speak, "kicked" against facts which had no visible cause, they were compelled to bow before them and to follow their development as they would the representation of a succession of real events.

A theatrical representation, if you like, or rather a cinematographic representation, for, on the whole, this was the impression that emerged most clearly from all the impressions received. The moment Miss Cavell's image had assumed the animation of life, I turned round to look for the apparatus, standing in some corner of the Yard, which was projecting that animated picture; and, though I saw nothing, though I at once understood that in any case no projection could be effected in broad daylight and without omitting shafts of light, yet I received and retained that justifiable impression. There was no projector, no, but there was a screen: an astonishing screen which received nothing from without, since nothing was transmitted, but which received everything from within. And that was really the sensation experienced. The images did not come from the outside. They sprang to the surface from within. The horizon opened out on the farther side of a solid material. The darkness gave forth light.

Words, words, I know! Words which I heap upon words before I venture to write those which express what I saw issuing from the abyss in which Miss Cavell was about to undergo the death-penalty. The execution of Miss Cavell! Of course I said to myself, if it was a cinematographic representation, if it was a film – and how could one doubt it? – at any rate it was a film like ever so many others, faked, fictitious, based upon tradition, in a conventional setting, with paid performers and a heroine who had thoroughly studied the part. I knew that. But, all the same, I watched as though I did not know it. The miracle of the spectacle was so great that one was constrained to believe in the whole miracle, that is to say, in the reality of the representation. No fake was here. No make-believe. No part learned by heart. No performers and no setting. It was the actual scene. The actual victims. The horror which thrilled me during those few minutes was that which I should have felt had I beheld the murderous dawn of the 8th of October, 1915, rise across the thrice-accursed drill-ground.

It was soon over. The firing-platoon was drawn up in double file, on the right and a little aslant, so that we saw the men's faces between the rifle-barrels. There were a good many of them: thirty, forty perhaps, forty butchers, booted, belted, helmeted, with their straps under their chins. Above them hung a pale sky, streaked with thin red clouds. Opposite them.. opposite them were the eight doomed victims.

There were six men and two women, all belonging to the people or the lower middle-class. They were now standing erect, throwing forward their chests as they tugged at their bonds.

An officer advanced, followed by four Feldwebel carrying unfurled handkerchiefs. Not any of the people condemned to death consented to have their eyes bandaged. Nevertheless, their faces were wrung with anguish; and all, with an impulse of their whole being, seemed to rush forward to their doom.

The officer raised his sword. The soldiers took aim.

A supreme effort of emotion seemed to add to the stature of the victims: and a cry issued from their lips. Oh, I saw and heard that cry, a fanatical and desperate cry in which the martyrs shouted forth their triumphant faith.

The officer's arm fell smartly. The intervening space appeared to tremble as with the rumbling of thunder. I had not the courage to look; and my eyes fixed themselves on the distracted countenance of Edith Cavell.

She also was not looking. Her eyelids were closed. But how she was listening! How her features contracted under the clash of the atrocious sounds, words of command, detonations, cries of the victims, death-rattles, moans of agony. By what refinement of cruelty had her own end been delayed? Why was she condemned to that double torture of seeing others die before dying herself?

Still, everything must be over yonder. One party of the butchers attended to the corpses, while the others formed into line and, pivoting upon the officer, marched towards Miss Cavell. They thus stepped out of the frame within which we were able to follow their movements; but I was able to perceive, by the gestures of the officer, that they were forming up opposite Nurse Cavell, between her and us.

The officer stepped towards her, accompanied by a military chaplain, who placed a crucifix to her lips. She kissed it fervently and tenderly. The chaplain then gave her his blessing; and she was left alone. A mist once more shrouded the scene, leaving her whole figure full in the light. Her eyelids were still closed, her head erect and her body rigid.

She was at that moment wearing a very sweet and very tranquil expression. Not a trace of fear distorted her noble countenance. She stood awaiting death with saintly serenity.

And this death, as it was revealed to us, was neither very cruel nor very odious. The upper part of the body fell forward. The head drooped a little to one side. But the shame of it lay in what followed. The officer stood close to the victim, revolver in hand. And he was pressing the barrel to his victim's temple, when, suddenly, the mist broke into dense waves and the whole picture disappeared..

CHAPTER IV
NOËL DORGEROUX'S SON

The spectator who has just been watching the most tragic of films finds it easy to escape from the sort of dark prison-house in which he was suffocating and, with the return of the light, recovers his equilibrium and his self-possession. I, on the other hand, remained for a long time numb and speechless, with my eyes riveted to the empty panel, as though I expected something else to emerge from it. Even when it was over, the tragedy terrified me, like a nightmare prolonged after waking, and, even more than the tragedy, the absolutely extraordinary manner in which it had been unfolded before my eyes. I did not understand. My disordered brain vouchsafed me none but the most grotesque and incoherent ideas.

A movement on the part of Noël Dorgeroux drew me from my stupor: he had drawn the curtain across the screen.

At this I vehemently seized my uncle by his two hands and cried:

"What does all this mean? It's maddening! What explanation are you able to give?"

"None," he said, simply.

"But still.. you brought me here."

"Yes, that you might also see and to make sure that my eyes had not deceived me."

"Therefore you have already witnessed other scenes in that same setting?"

"Yes, other sights.. three times before."

"What, uncle? Can you specify them?"

"Certainly: what I saw yesterday, for instance."

"What was that, uncle?"

He pushed me a little and gazed at me, at first without replying. Then, speaking in a very low tone, with deliberate conviction, he said:

"The battle of Trafalgar."

I wondered if he was making fun of me. But Noël Dorgeroux was little addicted to banter at any time; and he would not have selected such a moment as this to depart from his customary gravity. No, he was speaking seriously; and what he said suddenly struck me as so humorous that I burst out laughing:

"Trafalgar! Don't be offended, uncle; but it's really too quaint! The battle of Trafalgar, which was fought in 1805?"

He once more looked at me attentively:

"Why do you laugh?" he asked.

"Good heavens, I laugh, I laugh.. because.. well, confess."

He interrupted me:

"You're laughing for very simple reasons, Victorien, which I will explain to you in a few words. To begin with, you are nervous and ill at ease; and your merriment is first and foremost a reaction. But, in addition, the spectacle of that horrible scene was so – what shall I say? – so convincing that you looked upon it, in spite of yourself, not as a reconstruction of the murder, but as the actual murder of Miss Cavell. Is that true?"

"Perhaps it is, uncle."

"In other words, the murder and all the infamous details which accompanied it must have been – don't let us hesitate to use the word – must have been cinematographed by some unseen witness from whom I obtained that precious film: and my invention consists solely in reproducing the film in the thickness of a gelatinous layer of some kind or other. A wonderful, but a credible discovery. Are we still agreed?"

"Yes, uncle, quite."

"Very well. But now I am claiming something very different. I am claiming to have witnessed an evocation of the battle of Trafalgar! If so, the French and English frigates must have foundered before my eyes! I must have seen Nelson die, struck down at the foot of his mainmast! That's quite another matter, is it not? In 1805 there were no cinematographic films. Therefore this can be only an absurd parody. Thereupon all your emotion vanishes. My reputation fades into thin air. And you laugh! I am to you nothing more than an old impostor, who, instead of humbly showing you his curious discovery, tries in addition to persuade you that the moon is made of green cheese! A humbug, what?"

We had left the wall and were walking towards the door of the garden. The sun was setting behind the distant hills. I stopped and said to Noël Dorgeroux:

"Forgive me, uncle, and please don't think that I am over lacking in the respect I owe you. There is nothing in my amusement that need annoy you, nothing to make you suppose that I suspect your absolute sincerity."

"Then what do you think? What is your conclusion?"

"I don't think anything, uncle. I have arrived at no conclusion and I am not even trying to do so, at present. I am out of my depth, perplexed, at the same time dazed and dissatisfied, as though I felt that the riddle was even more wonderful than it is and that it would always remain insoluble."

We were entering the garden. It was his turn to stop me:

"Insoluble! That is really your opinion?"

"Yes, for the moment."

"You can't imagine any theory?"

"No."

"Still, you saw? You have no doubts?"

"I certainly saw. I saw first three strange eyes that looked at us; then I witnessed a scene which was the murder of Miss Cavell. That is what I saw, just as you did, uncle; and I do not for a moment doubt the undeniable evidence of my own eyes."

He held out his hand to me:

"That's what I wanted to know, my boy. And thank you."

I have given a faithful account of what happened that afternoon. In the evening we dined together by ourselves, Bérangère having sent word to say that she was indisposed and would not leave her room. My uncle was deeply absorbed in thought and did not say a word on what had happened in the Yard.

I slept hardly at all, haunted by the recollection of what I had seen and tormented by a score of theories, which I need not mention here, for not one of them was of the slightest value.

Next day, Bérangère did not come downstairs. At luncheon, my uncle preserved the same silence. I tried many times to make him talk, but received no reply.

My curiosity was too intense to allow my uncle to get rid of me in this way. I took up my position in the garden before he left the house. Not until five o'clock did he go up to the Yard.

"Shall I come with you, uncle?" I suggested, boldly.

He grunted, neither granting my request nor refusing it. I followed him. He walked across the Yard, locked himself into his principal workshop and did not leave it until an hour later:

"Ah, there you are!" he said, as though he had been unaware of any presence.

He went to the wall and briskly drew the curtain. Just then he asked me to go back to the workshop and to fetch something or other which he had forgotten. When I returned, he said, excitedly:

"It's finished, it's finished!"

"What is, uncle?"

"The Eyes, the Three Eyes."

"Oh, have you seen them?"

"Yes; and I refuse to believe.. no, of course, it's an illusion on my part… How could it be possible, when you come to think of it? Imagine, the eyes wore the expression of my dead son's eyes, yes, the very expression of my poor Dominique. It's madness, isn't it? And yet I declare, yes, I declare that Dominique was gazing at me.. at first with a sad and sorrowful gaze, which suddenly became the terrified gaze of a man who is staring death in the face. And then the Three Eyes began to revolve upon themselves. That was the end."

I made Noël Dorgeroux sit down:

"It's as you suppose, uncle, an illusion, an hallucination. Just think, Dominique has been dead so many years! It is therefore incredible."

"Everything is incredible and nothing is," he said. "There is no room for human logic in front of that wall."

I tried to reason with him, though my mind was becoming as bewildered as his own. But he silenced me:

"That'll do," he said. "Here's the other thing beginning."

He pointed to the screen, which was showing signs of life and preparing to reveal a new picture.

"But, uncle," I said, already overcome by excitement, "where does that come from?"

"Don't speak," said Noël Dorgeroux. "Not a word."

I at once observed that this other thing bore no relation to what I had witnessed the day before; and I concluded that the scenes presented must occur without any prearranged order, without any chronological or serial connection, in short, like the different films displayed in the course of a performance.

It was the picture of a small town as seen from a neighbouring height. A castle and a church-steeple stood out above it. The town was built on the slope of several hills and at the intersection of the valleys, which met among clumps of tall, leafy trees.

Suddenly, it came nearer and was seen on a larger scale. The hills surrounding the town disappeared; and the whole screen was filled with a crowd swarming with lively gestures around an open space above which hung a balloon, held captive by ropes. Suspended from the balloon was a receptacle serving probably for the production of hot air. Men were issuing from the crowd on every hand. Two of them climbed a ladder the top of which was leaning against the side of a car. And all this, the appearance of the balloon, the shape of the appliances employed, the use of hot air instead of gas, the dress of the people; all this struck me as possessing an old-world aspect.

"The brothers Montgolfier," whispered my uncle.

These few words enlightened me. I remembered those old prints recording man's first ascent towards the sky, which was accomplished in June, 1783. It was this wonderful event which we were witnessing, or, at least, I should say, a reconstruction of the event, a reconstruction accurately based upon those old prints, with a balloon copied from the original, with costumes of the period and no doubt, in addition, the actual setting of the little town of Annonay.

But then how was it that there was so great a multitude of townsfolk and peasants? There was no comparison possible between the usual number of actors in a cinema scene and the incredibly tight-packed crowd which I saw moving before my eyes. A crowd like that is found only in pictures which the camera has secured direct, on a public holiday, at a march-past of troops or a royal procession.

However, the wavelike eddying of the crowd suddenly subsided. I received the impression of a great silence and an anxious period of waiting. Some men quickly severed the ropes with hatchets. Etienne and Joseph Montgolfier lifted their hats.

And the balloon rose in space. The people in the crowd raised their arms and filled the air with an immense clamour.

For a moment, the screen showed us the two brothers, by themselves and enlarged. With the upper part of their bodies leaning from the car, each with one arm round the other's waist and one hand clasping the other's, they seemed to be praying with an air of unspeakable ecstasy and solemn joy.

Slowly the ascent continued. And it was then that something utterly inexplicable occurred: the balloon, as it rose above the little town and the surrounding hills, did not appear to my uncle and me as an object which we were watching from an increasing depth below. No, it was the little town and the hills which were sinking and which, by sinking, proved to us that the balloon was ascending. But there was also this absolutely illogical phenomenon, that we remained on the same level as the balloon, that it retained the same dimensions and that the two brothers stood facing us, exactly as though the photograph had been taken from the car of a second balloon, rising at the same time as the first with an exactly and mathematically identical movement!

The scene was not completed. Or rather it was transformed in accordance with the method of the cinematograph, which substitutes one picture for another by first blending them together. Imperceptibly, when it was perhaps some fifteen hundred feet from the ground, the Montgolfier balloon became less distinct and its vague and softened outlines gradually mingled with the more and more powerful outlines of another shape which soon occupied the whole space and which proved to be that of a military aeroplane.

Several times since then the mysterious screen has shown me two successive scenes of which the second completed the first, thus forming a diptych which displayed the evident wish to convey a lesson by connecting, across space and time, two events which in this way acquired their full significance. This time the moral was clear: the peaceable balloon had culminated in the murderous aeroplane. First the ascent at Annonay. Then a fight in mid-air, a fight between the monoplane which I had seen develop from the old-fashioned balloon and the biplane upon which I beheld it swooping like a bird of prey.

Was it an illusion or a "faked representation?" For here again we saw the two aeroplanes not in the normal fashion, from below, but as if we were at the same height and moving at the same rate of speed. In that case, were we to admit that an operator, perched on a third machine, was calmly engaged in "filming" the shifting fortunes of the terrible battle? That was impossible, surely!

But there was no good purpose to be served by renewing these perpetual suppositions over and over again. Why should I doubt the unimpeachable evidence of my eyes and deny the undeniable? Real aeroplanes were manoeuvring before my eyes. A real fight was taking place in the thickness of that old wall.

It did not last long. The man who was alone was attacking boldly. Time after time his machine-gun flashed forth flames. Then, to avoid the enemy's bullets, he looped the loop twice, each time throwing his aeroplane in such a position that I was able to distinguish on the canvas the three concentric circles that denote the Allied machines. Then, coming nearer and attacking his adversaries from behind, he returned to his gun.

The Hun biplane – I observed the iron cross – dived straight for the ground and recovered itself. The two men seemed to be sitting tight under their furs and masks. There was a third machine-gun attack. The pilot threw up his hands. The biplane capsized and fell.

I saw this fall in the most inexplicable fashion. At first, of course, it seemed swift as lightning. And then it became infinitely slow and even ceased, with the machine overturned and the two bodies motionless, head downwards and arms outstretched.