The Three Eyes. Морис Леблан
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,