The Roman hat mystery : $b A problem in deductionQueen, Ellery
General
The Roman hat mystery : $b A problem in deduction
Queen, Ellery
Detective and mystery stories; Fathers and sons -- Fiction; Novelists -- Fiction; Police -- New York (State) -- New York -- Fiction
“The fact that the murderer could not enter until 9:30 or thereabouts
explains why the torn edges of LL32 Left and LL30 Left did not
coincide. It was necessary for Field and Barry, you see, to come in at
different times. Field could not very well enter with Barry or even at
a noticeably late hour—the matter of secrecy was too important to
Barry, and Field understood, or thought he did, how necessary it was
for him to play the secret game.
“When we pinned the guilt on Barry Thursday night, we resolved to
question subtly the other members of the cast as well as workmen
backstage. We wanted to find out, of course, whether any one had
actually seen Barry leave or return. As it happened, no one had.
Everybody was busy either acting, redressing, or working backstage. We
conducted this little investigation after the performance that night,
when Barry had already left the theatre. And it was checkmate, right
enough.
“We had already borrowed a seating-plan from Panzer. This map, together
with the examination of the alleyway on the left and the dressing-room
arrangement backstage—an examination made directly after the second act
Thursday night—showed us how the murder was committed.”
Sampson stirred. “I’ve been puzzling my wits about that,” he confessed.
“After all, Field was no babe-in-the-woods. This Barry must be a
wizard, Q. How did he do it?”
“Every riddle is simple when you know the answer,” retorted the
Inspector. “Barry, whose freedom began at 9:20, immediately returned
to his dressing-room, slapped on a quick but thorough facial disguise,
donned an evening-cloak and the tophat which was part of his costume—
you’ll remember he was already dressed in evening-clothes—and slipped
out of his room into the alley.
“Of course you can’t be expected to know the topography of the theatre.
There is a series of tiers in a wing of the building backstage, facing
the left alley, which is made up of dressing-rooms. Barry’s room is on
the lowest tier, the door opening into the alleyway. There is a flight
of iron steps leading down to the pavement.
Public-domain text, read in full here on John Shaqi.
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