On the BorderlandAustin, F. Britten (Frederick Britten)
Science
On the Borderland
Austin, F. Britten (Frederick Britten)
English fiction -- 20th century; Paranormal fiction; Short stories, English
She turned her head slowly round to me, like a sleep-walker faintly
aware of some sound that does not, however, wake her, and stared me
full in the face with eyes in which there was not the slightest glimmer
of recognition.
“Pauline!” almost screamed her mother, “don’t you know your own name?”
An expression of curious intelligence dawned in her face--her aspect
changed in some subtle manner, as though another, quite different,
personality was emerging in her--she laughed in low, confident tones
utterly unlike her ordinary laugh.
“My name is Lucia!” she said, as though stating a well-known fact.
Lucia! To say that we were startled is to understate our
astonishment--we were dumbfounded. The first word of the cryptic
message! We gazed at her for a moment as at a complete stranger
from the clouds--and indeed she looked it, as she smiled at us with
bright malicious eyes. The diffident Pauline we knew had completely
disappeared.
“She is possessed!” screamed her mother. “Oh, God--restore her! restore
her!”
The girl stood up suddenly from her chair, passed her hand over her
eyes, shook herself as though shaking off sleep. She turned away from
us deliberately.
“Oh, John!” she said, and there was an odd little foreign accent in
her tone, “I have dreamed--such a strange dream! I dreamed--I know
not!--that I was not Lucia!” She laughed softly in her new low tones,
“--That strange people were asking me my name. Then I woke--oh, John!”
she sidled up in a wheedling manner to what, so far as we could see,
was vacant space. “I am Lucia, am I not?--And you love me? You love
me?” Her shoulders moved sinuously as though she were putting herself
under the caresses of a person invisible to us. “You love me--and I
love you, although you have only that one terrible eye!” She still
spoke with that curious foreign accent which lent a certain piquancy
to her speech. “You love me, you John Dawson, you Englishman, you love
me for ever, say?” She reminded me of Carmen sidling up to Don José.
“You not deceive me--or----!” She looked up as into a tall man’s face
with a sudden expression of feline vindictiveness, her white teeth
showing in an ugly little rictus of the mouth, and slid her hand down
stealthily toward her stocking. “But no!” She smiled; her hand came up
again as though to rest upon a man’s shoulder. “You love me--and I love
you--and,” her voice dropped, “when we have killed the others we go
away with the treasure--you promise me, John Dawson?”
She appeared utterly unaware of our presence. There was a dramatic
intensity in her voice and gestures which thrilled even me, although I
had attended some hypnotic experiments in London and was aware of the
complete realism with which a somnambulist will play a part suggested
to him. I had no doubt whatever that she was in a state of hypnosis,
accidentally self-induced, and that she was merely acting on the
suggestions of the talk she had overheard.
Public-domain text, read in full here on John Shaqi.
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