Harry Mulisch - The Discovery of Heaven

After a quarter of an hour the door to the convent was closed again.

"Quarter past nine," whispered Quinten. "At ten past ten, then."

In a quarter of an hour the fathers would be in bed and by approximately a quarter past ten they would have gone to sleep. Because Onno had remembered once reading something about the periodicity of sleep, he had looked up a study of it in a university bookshop at Quinten's insistence. Besides the fantastic periods of "paradoxical sleep" — that of the dreams, from which one was easily awakened — sleep consisted of four degrees of depth. The first and longest period of the deepest sleep occurred twenty-five minutes after falling asleep and itself also lasted approximately twenty-five minutes. The second period came seventy minutes later, lasted no longer than ten minutes, but was followed after less than half an hour by the even shorter third and last period.

For Quinten that was enough to decide to work only during the deepest, dreamless phases, from which sleepers could be roused only with difficulty. So, over the course of the night, he had three quarters of an hour in all to play with. That ought to be enough.

"Ten past ten."

When Mickey Mouse showed the correct time to the second, Quinten stood up and silently pushed the curtain aside. Through the three stained-glass windows, the streetlights ensured that there was not quite total darkness. On the altar a red lamp was lit. Quickly and silently, he walked in his soft thief's shoes around behind the Sancta Sanctorum to the choir chapel on the other side, but the light was out there too; by the door to the sacristy he squatted down and peered around the corner: no one had remained behind in silent prayer; only a sour smell indicated that the old men had been there. Back in the chapel of San Lorenzo he saw the shadow of Onno, who was rubbing his left leg painfully. Quinten took his backpack from the confessional, gave his father the pocket flashlight, and walked between the rows of pews to the double door opposite with the two eyes in it, which gave access to the Sancta Sanctorum.

Like a doctor feeling his patient's pulse, he laid his hand momentarily on the top sliding padlock, which formed the nose of the bronze face. Then he knelt down, unfastened the backpack, and carefully spread out on the floor a chamois cloth containing ten or twelve long steel pins, in different sizes, gleaming with oil. With the lamp at its lowest, Onno lit his work.

At home he had seen Quinten busy with his preparations and they had seemed to him so ridiculous that he had found it too embarrassing to inquire about them — but what he saw now filled him with astonishment. Quinten tucked a hammer with a rubber head into his trouser belt and like a professional burglar picked up a couple of pins, which fitted into the H-shaped keyhole. While he slid them slowly into the colossal lock, leaning with one ear against the door, he averted his eyes in order to concentrate fully on what his hands felt on the inside. Suddenly Onno remembered something from his earliest childhood, from before the war: the photographer on the beach at Scheveningen. After he had taken the cover off the lens behind his tripod, he put his arms in the two black sleeves that hung down from his huge camera and performed mysterious movements inside, which must not see the light of day, while he kept his eyes focused just as blindly on the horizon as Quinten now did on the invisible ceiling paintings. While his movements became even more minute and precise, Quinten closed his eyes and parted his lips a little. Finally he pulled the hammer from his trouser belt, looked precisely at what he was doing, and gave the pins a short, dull tap. From the inside of the lock came a stiff click. He looked up at his father with a smile and carefully pulled the heavy shackle from the box and the rings on the door.

"One down," he whispered.

Onno looked at him open-mouthed. Quinten had told him about Piet Keller, the locksmith at Groot Rechteren, whom he had often visited as a little boy; but it had seemed to him impossible that after so many years it could result in what he now saw: the opened lock. While Quinten wasted no time and immediately took the lower lock in hand, Onno realized that everything had now suddenly become much more dangerous.

If they had been discovered before or afterward, they would have said that they had wanted to spend the night in the proximity of the acheiropoeton out of devotion; he had been convinced that after fiddling with the lock a bit, they would have gotten no farther than the chapel of San Lorenzo. But in the meantime the lock had been picked and the pins were already in the second lock. His initial lightheartedness had disappeared instantly — but at this stage there was obviously no stopping Quinten any longer. The only way of putting an end to it was to go immediately to the convent door, bang on it with his stick, and rouse the fathers from the deepest level of their sleep. But then he would have lost his son for good.

By the time the second lock had also admitted defeat with a click, things had still gone without a hitch. Quinten looked at his watch: twenty-three minutes past eleven. In the bronze of the right-hand half of the door there were a couple of keyholes in incomprehensible places; he had read in Grisar that the door was originally Roman, and hopefully they were simply separate relics from that time. He cautiously pushed against the left-hand side, and it immediately gave way. .

The center of the world!

He took his backpack and, lit by his father's flashlight, stepped across the threshold. He would have preferred to do it more solemnly, striding slowly, like a Pontifex Maximus — but now that he had gotten here he was suddenly in a hurry: there were twelve minutes left for the first part of the operation. Was it always like this, perhaps? Did the real work lie in the preparations and was the actual achievement nothing more than a bonus?

As he went down a passageway, approximately four yards long, that led into the chapel, a Chinese fairy tale that Max had once told him came back to him: the emperor had once commissioned a draftsman to draw a cockerel, and the latter had said that he needed ten years for the work; after he had lived at the emperor's expense for ten years and had drawn a thousand cockerels every day, he went to the palace again; when the emperor inquired if he had the drawing with him, the draftsman asked for a pencil and paper and drew a cockerel with a single line, whereupon the stupid emperor became so furious that he tore up the drawing and had the draftsman beheaded.

The low, narrow passageway, the fifteen-hundred-year-old connection with the former papal palace, seemed to explode at its end into the high, square space of the Gothic chapel. Without looking up or around, Quinten went to the altar and knelt down with his tools. Onno followed him with the flashlight, and although he had not been drinking, he gradually felt as if he were becoming tipsy. Non est in toto sanctior orbe locus. The things that were happening now were so outrageous that he could scarcely comprehend them. Probably he was dreaming. Unlike the fathers, he was in the state of paradoxical sleep: any moment now he would wake up, bathed in sweat, as the saying went; Edgar would be sitting on the windowsill and the sun would have risen over another hot day in Rome, full of politics, tourism, and things that twenty-four hours later would all be forgotten for all eternity. He glanced back and now saw the barred window from the inside, in a dim light that came through the windows on the ground floor up the Holy Stairs.

"Hold the flashlight still," whispered Quinten in a commanding tone.

The door to the chapel was probably still regularly used, but the locks of the barred doors in front of the altar had not been opened since 1905. There were just over ten minutes left for the first phase, but he did not have to force himself to be calm, because he was calm. He'd seen that the two bottom padlocks, no bigger than a hand, were conventional in construction and proof only against force, not careful thought: from the five simple skeleton keys, which he had had made by a locksmith behind the Pantheon, he immediately selected the right one.