The Mystery of the Yellow Room by Gaston Leroux (ereader iphone txt) 📕

to the highest judicial positions, he had never really worked for anything but to win a success at the romantic Porte-Saint-Martin, or at the sombre Odeon.

Because of the mystery which shrouded it, the case of “The Yellow Room” was certain to fascinate so theatrical a mind. It interested him enormously, and he threw himself into it, less as a magistrate eager to know the truth, than as an amateur of dramatic embroglios, tending wholly to mystery and intrigue, who dreads nothing so much as the explanatory final act.

So that, at the moment of meeting him, I heard Monsieur de Marquet say to the Registrar with a sigh:

“I hope, my dear Monsieur Maleine, this builder with his pickaxe will not destroy so fine a mystery.”

“Have no fear,” replied Monsieur Maleine, “his pickaxe may demolish the pavilion, perhaps, but it will leave our case intact. I have sounded the walls and examined the ceiling and floor and I know all about it. I am not to be deceived.”

Having thus reassured his chief, Monsieur Maleine, with a discreet movement of the head, drew Monsieur de Marquet’s attention to us. The face of that gentleman clouded, and, as he saw Rouletabille approaching, hat in hand, he sprang into one of the empty carriages saying, half aloud to his Registrar, as he did so, “Above all, no journalists!”

Monsieur Maleine replied in the same tone, “I understand!” and then tried to prevent Rouletabille from entering the same compartment with the examining magistrate.

“Excuse me, gentlemen,—this compartment is reserved.”

“I am a journalist, Monsieur, engaged on the ‘Epoque,’” said my young friend with a great show of gesture and politeness, “and I have a word or two to say to Monsieur de Marquet.”

“Monsieur is very much engaged with the inquiry he has in hand.”

“Ah! his inquiry, pray believe me, is absolutely a matter of indifference to me. I am no scavenger of odds and ends,” he went on, with infinite contempt in his lower lip, “I am a theatrical reporter; and this evening I shall have to give a little account of the play at the Scala.”

“Get in, sir, please,” said the Registrar.

Rouletabille was already in the compartment. I went in after him and seated myself by his side. The Registrar followed and closed the carriage door.

Monsieur de Marquet looked at him.

“Ah, sir,” Rouletabille began, “You must not be angry with Monsieur de Maleine. It is not with Monsieur de Marquet that I desire to have the honour of speaking, but with Monsieur ‘Castigat Ridendo.’ Permit me to congratulate you—personally, as well as the writer for the ‘Epoque.’” And Rouletabille, having first introduced me, introduced himself.

Monsieur de Marquet, with a nervous gesture, caressed his beard into a point, and explained to Rouletabille, in a few words, that he was too modest an author to desire that the veil of his pseudonym should be publicly raised, and that he hoped the enthusiasm of the journalist for the dramatist’s work would not lead him to tell the public that Monsieur “Castigat Ridendo” and the examining magistrate of Corbeil were one and the same person.

“The work of the dramatic author may interfere,” he said, after a slight hesitation, “with that of the magistrate, especially in a province where one’s labours are little more than routine.”

“Oh, you may rely on my discretion!” cried Rouletabille.

The train was in motion.

“We have started!” said the examining magistrate, surprised at seeing us still in the carriage.

“Yes, Monsieur,—truth has started,” said Rouletabile, smiling amiably,—“on its way to the Chateau du Glandier. A fine case, Monsieur de Marquet,—a fine case!”

“An obscure—incredible, unfathomable, inexplicable affair—and there is only one thing I fear, Monsieur Rouletabille,—that the journalists will be trying to explain it.”

My friend felt this a rap on his knuckles.

“Yes,” he said simply, “that is to be feared. They meddle in everything. As for my interest, monsieur, I only referred to it by mere chance,—the mere chance of finding myself in the same train with you, and in the same compartment of the same carriage.”

“Where are you going, then?” asked Monsieur de Marquet.

“To the Chateau du Glandier,” replied Rouletabille, without turning.

“You’ll not get in, Monsieur Rouletabille!”

“Will you prevent me?” said my friend, already prepared to fight.

“Not I!—I like the press and journalists too well to be in any way disagreeable to them; but Monsieur Stangerson has given orders for his door to be closed against everybody, and it is well guarded. Not a journalist was able to pass through the gate of the Glandier yesterday.”

Monsieur de Marquet compressed his lips and seemed ready to relapse into obstinate silence. He only relaxed a little when Rouletabille no longer left him in ignorance of the fact that we were going to the Glandier for the purpose of shaking hands with an “old and intimate friend,” Monsieur Robert Darzac—a man whom Rouletabille had perhaps seen once in his life.

“Poor Robert!” continued the young reporter, “this dreadful affair may be his death,—he is so deeply in love with Mademoiselle Stangerson.”

“His sufferings are truly painful to witness,” escaped like a regret from the lips of Monsieur de Marquet.

“But it is to be hoped that Mademoiselle Stangerson’s life will be saved.”

“Let us hope so. Her father told me yesterday that, if she does not recover, it will not be long before he joins her in the grave. What an incalculable loss to science his death would be!”

“The wound on her temple is serious, is it not?”

“Evidently; but, by a wonderful chance, it has not proved mortal. The blow was given with great force.”

“Then it was not with the revolver she was wounded,” said Rouletabille, glancing at me in triumph.

Monsieur de Marquet appeared greatly embarrassed.

“I didn’t say anything—I don’t want to say anything—I will not say anything,” he said. And he turned towards his Registrar as if he no longer knew us.

But Rouletabille was not to be so easily shaken off. He moved nearer to the examining magistrate and, drawing a copy of the “Matin” from his pocket, he showed it to him and said:

“There is one thing, Monsieur, which I may enquire of you without committing an indiscretion. You have, of course, seen the account given in the ‘Matin’? It is absurd, is it not?”

“Not in the slightest, Monsieur.”

“What! “The Yellow Room” has but one barred window—the bars of which have not been moved—and only one door, which had to be broken open—and