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I felt a keen current of air and, on turning, found the window open, at the extreme end of the gallery, which I call the 'off-turning' gallery, to distinguish it from the 'right' gallery, on to which the apartment of Mademoiselle Stangerson opened. These two galleries cross each other at right angles. Who had left that window open? Or, who had come to open it? I went to the window and leaned out.
If the man gets into the 'right' gallery by any other way than the 'off-turning' gallery, you will see him before I shall, because you have a view along the whole length of the 'right' gallery, while I can only command a view of the 'off-turning' gallery. All you need do to let me know is to undo the cord holding the curtain of the 'right' gallery window, nearest to the dark closet.
The curtain will fall of itself and immediately leave a square of shadow where previously there had been a square of light. To do this, you need but stretch your hand out of the closet, I shall understand your signal perfectly." "And then?" "Then you will see me coming round the corner of the 'off-turning' gallery." "What am I to do then?"
"And he pointed to the further end of the chateau, where a ladder stood resting against the stone brackets supporting the terrace, under the window which I had found open. The projection of the terrace had prevented my seeing it. Thanks to that ladder, it was quite easy to get into the 'off-turning' gallery of the first floor, and I had no doubt of it having been the road taken by the unknown.
After all, I had nothing to reproach myself for, and if something had happened that my friend had not expected he could only blame himself. Unable to be of any further assistance to him by means of a signal, I left the dark closet and, still in my socks, made my way to the "off-turning" gallery. There was no one there. I went to the door of Rouletabille's room and listened. I could hear nothing.
What were these evidences? "1st. I had seen the unknown in Mademoiselle Stangerson's chamber. On going to Frederic Larsan's room, I had found Larsan sound asleep. "2nd. The ladder. "3rd. I had placed Frederic Larsan at the end of the 'off-turning' gallery and had told him that I would rush into Mademoiselle Stangerson's room to try to capture the murderer.
I was already in the gallery, revolver in hand, rushing like a madman towards Mademoiselle Stangerson's room. The moment I arrived at the intersection of the "off-turning" gallery and the "right" gallery, I saw a figure leaving her apartment, which, in a few strides had reached the landing-place. I was not master of myself. I fired.
"I rise; Larsan follows me; we descend to the ground-floor of the chateau. I lead him to the little semi-circular room under the terrace beneath the window of the 'off-turning' gallery. I point to the door, now closed, open a short time before, under which a shaft of light is visible. "'The forest-keeper! says Fred. "'Come on! I whisper.
The door of the room opens on to the end of the gallery, exactly facing the east window, at the extremity of the 'right' gallery, where Rouletabille had placed Daddy Jacques, and commands an uninterrupted view of the gallery from end to end of the chateau. "That 'off-turning' gallery," said Rouletabille, "I reserve for myself; when I tell you you'll come and take your place here."
With his lips once more to my ear, he added: "'Do you know that he has slept in the upper room of the donjon ever since it was restored? And with the same gesture he pointed to the half-open door, the ladder, the terrace, and the windows in the 'off-turning' gallery which, a little while before, I had re-closed. "What were my thoughts then? I had no time to think. I felt more than I thought.
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