The man was well set-up and good-looking. I suffered tortures.
That evening Bérangère was silent. It struck me that she had been crying. My uncle, on the contrary, on returning from the Yard, was talkative and cheerful; and I more than once felt that he was on the point of telling me something. Had anything thrown fresh light on his invention?
Next day, he was just as lively:
"Life is very pleasant, at times," he said.
And he left us, rubbing his hands.
Bérangère spent all the early part of the afternoon on a bench in the garden, where I could see her from my room. She sat motionless and thoughtful.
At four o'clock, she came in, walked across the hall of the Lodge and went out by the front door.
I went out too, half a minute later.
The street which skirted the house turned and likewise skirted, on the left, the garden and the Yard, whereas on the right the property was bordered by a narrow lane which led to some fields and abandoned quarries. Bérangère often went this way; and I at once saw, by her slow gait, that her only intention was to stroll wherever her dreams might lead her.
She had not put on a hat. The sunlight gleamed in her hair. She picked the stones on which to place her feet, so as not to dirty her shoes with the mud in the road.
Against the stout plank fence which at this point replaced the wall enclosing the Yard stood an old street-lamp, now no longer used, which was fastened to the fence with iron clamps. Bérangère stopped here, all of a sudden, evidently in obedience to a thought which, I confess, had often occurred to myself and which I had had the courage to resist, perhaps because I had not perceived the means of putting it into execution.
Bérangère saw the means. It was only necessary to climb the fence by using the lamp, in order to make her way into the Yard without her uncle's knowledge and steal a glimpse of one of those sights which he guarded so jealously for himself.
She made up her mind without hesitation; and, when she was on the other side, I too had not the least hesitation in following her example. I was in that state of mind when one is not unduly troubled by idle scruples; and there was no more indelicacy in satisfying my legitimate curiosity than in spying upon Bérangère's actions. I therefore climbed over also.
My scruples returned when I found myself on the other side, face to face with Bérangère, who had experienced some difficulty in getting down. I said, a little sheepishly:
"This is not a very nice thing we're doing, Bérangère; and I presume you mean to give it up."
She began to laugh:
"You can give it up. I intend to go on. If god-father chooses to distrust us, it's his look-out."
I did not try to restrain her. She slipped softly between the nearest two sheds. I followed close upon her heels.
In this way we stole to the end of the open ground which occupied the middle of the Yard and we saw Noël Dorgeroux standing by the screen. He had not yet drawn the black-serge curtain.
"Look," Bérangère whispered, "over there: you see a stack of wood with a tarpaulin over it? We shall be all right behind that."
"But suppose my uncle looks round while we're crossing?"
"He won't."
She was the first to venture across; and I joined her without any mishap. We were not more than a dozen yards from the screen.
"My heart's beating so!" said Bérangère. "I've seen nothing, you know: only those – sort of eyes. And there's a lot more, isn't there?"
Our refuge consisted of two stacks of small short planks, with bags of sand between the stacks. We sat down here, in a position which brought us close together. Nevertheless Bérangère maintained the same distant attitude as before; and I now thought of nothing but what my uncle was doing.
He was holding his watch in his hand and consulting it at intervals, as though waiting for a time which he had fixed beforehand. And that time arrived. The curtain grated on its metal rod. The screen was uncovered.
From where we sat we could see the bare surface as well as my uncle could, for the intervening space fell very far short of the length of an ordinary picture-palace. The first outlines to appear were therefore absolutely plain to us. They were the lines of the three geometrical figures which I knew so well: the same proportions, the same arrangement, the same impassiveness, followed by that same palpitation, coming entirely from within, which animated them and made them live.
"Yes, yes," whispered Bérangère, "my god-father said so one day: they are alive, the Three Eyes."
"They are alive," I declared, "and they gaze at you. Look at the two lower eyes by themselves; think of them as actual eyes; and you will see that they really have an expression. There, they're smiling now."
"You're right, they're smiling."
"And see what a soft and gentle look they have now.. a little serious also… Oh, Bérangère, it's impossible!"
"What?"
"They have your expression, Bérangère, your expression."
"What nonsense! It's ridiculous!"
"The very expression of your eyes. You don't know it yourself. But I do. They have never looked at me like that; but, all the same, they are your eyes, it's their expression, their charm. I know, because these make me feel.. eh, as yours do, Bérangère!"
But the end was approaching. The three geometrical figures began to revolve upon themselves with the same dizzy motion which reduced them to a confused disk which soon vanished.
"They're your eyes, Bérangère," I stammered; "there's not a doubt about it; it was as though you were looking at me."
Yes, she had the same look; and I could not but remember then that Edith Cavell had also looked in that way at Noël Dorgeroux and me, through the three strange eyes, and that Noël Dorgeroux similarly had recognized the look in his son's eyes before his son himself appeared to him. That being so, was I to assume that each of the films – there is no other word for them – was preceded by the fabulous vision of three geometrical figures containing, captive and alive, the very expression in the eyes of one of the persons about to come to life upon the screen?
It was a lunatic assumption, as were all those which I was making! I blush to write it down. But, in that case, what were the three geometrical figures? A cinema trade-mark? The trade-mark of the Three Eyes? What an absurdity! What madness! And yet.
"Oh," said Bérangère, making as if to rise, "I oughtn't to have come! It's suffocating me. Can you explain?"
"No, Bérangère, I can't. It's suffocating me too. Do you want to go?"
"No," she said, leaning forward. "No, I want to see."
And we saw. And, at the very moment when a muffled cry escaped our lips, we saw Noël Dorgeroux slowly making a great sign of the cross.
Opposite him, in the middle of the magic space on the wall, was he himself this time, standing not like a frail and shifting phantom, but like a human being full of movement and life. Yes, Noël Dorgeroux went to and fro before us and before himself, wearing his usual skull-cap, dressed in his long frock-coat. And the setting in which he moved was none other than the Yard, the Yard with its shed, its workshops, its disorder, its heaps of scrap-iron, its stacks of wood, its rows of barrels and its wall, with the rectangle of the serge curtain!
I at once noticed one detail: the serge curtain covered the magic space completely. It was therefore impossible to imagine that this scene, at any rate, had been recorded, absorbed by the screen, which, at that actual moment, must have drawn it from its own substance in order to present that sight to us! It was impossible, because Noël Dorgeroux had his back turned to the wall. It was impossible, because we saw the wall itself and the door of the garden, because the gate was open and because I, in my turn, entered the Yard.
"You! It's you!" gasped Bérangère.
"It's I on the day when your uncle told me to come here," I said, astounded, "the day when I first