I was unable to see the end of those pictures. There was a movement round about me in the midst of the crowd, which was beside itself with painful excitement; and I found myself next to a woman in mourning, whose face was hidden beneath her veils.
She thrust these aside. I recognized Bérangère. She raised her passionate eyes to mine, flung her arms round my neck and gave me her lips, while she stammered words of love. And in this way I learnt, without any need of explanation, that Massignac's insinuations against his daughter were false, that she was the terror-stricken victim of the two scoundrels and that she had never ceased to love me.
CHAPTER XVII
SUPREME VISIONS
The exhibition of the following day was preceded by two important pieces of news which appeared in the evening papers. A group of financiers had offered Théodore Massignac the sum of ten million francs in consideration of Noël Dorgeroux's secret and the right to work the amphitheatre. Théodore Massignac was to give them his answer next day.
But, at the last moment, a telegram from the south of France announced that the maid-of-all-work who had nursed Massignac in his house at Toulouse, a few weeks before, now declared that her master's illness was feigned and that Massignac had left the house on several occasions, each time carefully concealing his absence from all the neighbours. Now one of these absences synchronized with the murder of Noël Dorgeroux. The woman's accusation therefore obliged the authorities to reopen an enquiry which had already elicited so much presumptive evidence of Théodore Massignac's guilt.
The upshot of these two pieces of news was that my uncle Dorgeroux's secret depended on chance, that it would be saved by an immediate purchase or lost for ever by Massignac's arrest. This alternative added still further to the anxious curiosity of the spectators, many of whom correctly believed that they were witnessing the last of the Meudon exhibitions. They discussed the articles in the papers and the proofs or objections accumulated for or against the theory. They said that Prévotelle, to whom Massignac was refusing admission to the amphitheatre, was preparing a whole series of experiments with the intention of proving the absolute accuracy of his theory, the simplest of which experiments consisted in erecting a scaffolding outside the Yard and setting up an intervening obstacle to intercept the rays that passed from Venus to the screen.
I myself who, since the previous day, had thought of nothing but Bérangère, whom I had pursued in vain through the crowd amid which she had succeeded in escaping me, I myself was smitten with the fever and that day abandoned the attempt to discover upon the close-packed tiers of seats the mysterious girl whom I had held to me all quivering, happy to abandon herself for a few moments to a kiss on which she bestowed all the fervour of her incomprehensible soul. I forgot her. The screen alone counted, to my mind. The problem of my life was swallowed up in the great riddle which those solemn minutes in the history of mankind set before us.
They began, after the most sorrowful and heart-rending look that had yet animated the miraculous Three Eyes, they began with that singular phantasmagoria of creatures which Benjamin Prévotelle proposed that we should regard as the inhabitants of Venus and which, for that matter, it was impossible that we should not so regard. I will not try to define them with greater precision nor to describe the setting in which they moved. One's confusion in the presence of those grotesque Shapes, those absurd movements and those startling landscapes was so great that one had hardly time to receive very exact impressions or to deduce the slightest theory from them. All that I can say is that we were the observers, as on the first occasion, of a manifestation of public order. There were numbers of spectators and a connected sequence of actions tending towards a clearly-defined end, which seemed to us to be of the same nature as the first execution. Everything, in fact—the grouping of certain Shapes in the middle of an empty space and around a motionless Shape, the actions performed, the cutting up of that isolated Shape—suggested that there was an execution in progress, the taking of a life. In any case, we were perfectly well aware, through the corresponding instance, that its real significance resided only in the second part of the film. Since nearly all the pictures were twofold, impressing us by antithesis or analogy, we must wait awhile to catch the general idea which directed this projection.