The case of Miss ElliottOrczy, Emmuska Orczy, Baroness
General
The case of Miss Elliott
Orczy, Emmuska Orczy, Baroness
Detective and mystery stories, English; English fiction -- 20th century
“He was discharged, of course; the magistrate adding a very severe
remark on the subject of ‘carelessly collected evidence.’ As for Miss
Amelia, she sailed out of the court like a queen after her coronation,
for with Wyatt’s discharge the case against her naturally collapsed.
As for me, I walked out too, with an elated feeling at the thought
that the intelligence of the British race had not yet sunk so low as
our friends on the Continent would have us believe.”
Chapter IV
“But then, who murdered the old man?” I asked, for I confess the
matter was puzzling me in an irritating kind of way.
“Ah! who indeed?” he rejoined sarcastically, while an artistic knot
went to join its fellows along that never-ending bit of string.
“I wish you’d tell me what’s in your mind,” I said, feeling peculiarly
irritated with him just at that moment.
“What’s in my mind?” he replied, with a shrug of his thin shoulders.
“Oh, only a certain degree of admiration!”
“Admiration at what?”
“At a pair of exceedingly clever criminals.”
“Then you do think that Wyatt murdered Dyke?”
“I don’t think—I am sure.”
“But when did they do it?”
“Ah, that’s more to the point. Personally, I should say between them
on Wednesday morning, 18th November.”
“The day they went for that motor-car ride?” I gasped.
“And carried away the old man’s remains beneath a multiplicity of
rugs,” he added.
“But he was _alive_ long after that!” I urged. “The woman Nicholson——”
“The woman Nicholson saw and spoke to a man in bed, whom she
_supposed_ was old Mr. Dyke. Among the many questions put to her by
those clever detectives, no one thought, of course, of asking her to
describe the old man. But even if she had done so Wyatt was far too
great an artist in crime not to have contrived a make-up which,
described by a witness who had never before seen Dyke, would easily
pass as a description of the old man himself.”
“Impossible!” I said, struck in spite of myself by the simplicity of
his logic.
“Impossible, you say?” he shrieked excitedly. “Why, I call that crime
a masterpiece from beginning to end; a display of ingenuity which,
fortunately, the criminal classes seldom possess, or where would
society be? Here was a crime committed, where everything was most
beautifully stage-managed, nothing left unforeseen. Shall I
reconstruct it for you?”
“Do!” I said, handing across the table to him a brand new, beautiful
bit of string, on which his talon-like fingers fastened as upon a
prey.
“Very well,” he said, marking each point with a scientific knot. “Here
it is, scene by scene: There was Alfred Wyatt and Amelia Dyke—a pair
of blackguards, eager to obtain that £4,000 which only the old man’s
death could secure for them. They decide upon killing him, and: Scene
1—Miss Amelia makes _her_ arrangements. She advertises for a
charwoman, and engages one, who is to be a very useful witness
presently.
Public-domain text, read in full here on John Shaqi.
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