Hall of Mirrors

By FREDRIC BROWN

For an instant you think it is temporary blindness, this sudden dark that comes in the middle of a bright afternoon.

It must be blindness, you think; could the sun that was tanning you have gone out instantaneously, leaving you in utter blackness?

Then the nerves of your body tell you that you are standing, whereas only a second ago you were sitting comfortably, almost reclining, in a canvas chair. In the patio of a friend's house in Beverly Hills. Talking to Barbara, your fiancée. Looking at Barbara—Barbara in a swim suit—her skin golden tan in the brilliant sunshine, beautiful.

You wore swimming trunks. Now you do not feel them on you; the slight pressure of the elastic waistband is no longer there against your waist. You touch your hands to your hips. You are naked. And standing.

Whatever has happened to you is more than a change to sudden darkness or to sudden blindness.

You raise your hands gropingly before you. They touch a plain smooth surface, a wall. You spread them apart and each hand reaches a corner. You pivot slowly. A second wall, then a third, then a door. You are in a closet about four feet square.

Your hand finds the knob of the door. It turns and you push the door open.

There is light now. The door has opened to a lighted room ... a room that you have never seen before.

It is not large, but it is pleasantly furnished—although the furniture is of a style that is strange to you. Modesty makes you open the door cautiously the rest of the way. But the room is empty of people.

You step into the room, turning to look behind you into the closet, which is now illuminated by light from the room. The closet is and is not a closet; it is the size and shape of one, but it contains nothing, not a single hook, no rod for hanging clothes, no shelf. It is an empty, blank-walled, four-by-four-foot space.

You close the door to it and stand looking around the room. It is about twelve by sixteen feet. There is one door, but it is closed. There are no windows. Five pieces of furniture. Four of them you recognize—more or less. One looks like a very functional desk. One is obviously a chair ... a comfortable-looking one. There is a table, although its top is on several levels instead of only one. Another is a bed, or couch. Something shimmering is lying across it and you walk over and pick the shimmering something up and examine it. It is a garment.

You are naked, so you put it on. Slippers are part way under the bed (or couch) and you slide your feet into them. They fit, and they feel warm and comfortable as nothing you have ever worn on your feet has felt. Like lamb's wool, but softer.

You are dressed now. You look at the door—the only door of the room except that of the closet (closet?) from which you entered it. You walk to the door and before you try the knob, you see the small typewritten sign pasted just above it that reads:

It is not signed. You look at the desk and see that there is an envelope lying on it.

You do not yet go to take that envelope from the desk and read the letter that must be in it.

Why not? Because you are frightened.

You see other things about the room. The lighting has no source that you can discover. It comes from nowhere. It is not indirect lighting; the ceiling and the walls are not reflecting it at all.