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
“In the rear of the boxes he ripped off the false hair, rapidly
adjusted his make-up and passed through the stagedoor. The door leads
into a narrow passageway which in turn leads into a corridor, branching
out to various parts of the backstage area. His dressing-room is a few
feet from the entrance to the corridor. He slipped inside, threw his
stage-hat among his regular effects, dashed the remaining contents
of the death-flask into the wash-bowl and cleaned out the flask. He
emptied the contents of the hypodermic into the toilet drain and put
away the needle, cleaned. If it was found—what of it? He had a
perfectly sound excuse for owning it and besides the murder had not
been committed by such an instrument at all.... He was now ready for
his cue, calm, debonair, a little bored. The call came at exactly 9:50,
he went on the stage and was there until the hue-and-cry was raised at
9:55 in the orchestra....”
“Talk about your complicated plots!” ejaculated Sampson.
“It is not so complicated as it seems at first hearing,” returned the
Inspector. “Remember that Barry is an exceptionally clever young man
and above all an excellent actor. No one _but_ an accomplished actor
could have carried off such a plan. The procedure was simple, after
all; his hardest job was to keep to his time-schedule. If he was seen
by any one he was disguised. The only dangerous part of his scheme was
the getaway—when he walked down the aisle and went backstage through
the box stagedoor. The aisle he took care of by keeping an eye out
for the usher while he sat next to Field. He had known beforehand, of
course, that the ushers, due to the nature of the play, kept their
stations more or less faithfully, but he counted on his disguise and
hypodermic to help him through any emergency that might arise. However,
Madge O’Connell was lax in her duty and so even this was in his favor.
He told me last night, not without a certain pride, that he had
prepared for every contingency.... As for the stagedoor, he knew from
experience that at that period in the play’s progress practically every
one was on the stage. The technical men were busy at their stations,
too.... Remember that he planned the crime knowing in advance the exact
conditions under which he would have to operate. And if there was an
element of danger, of uncertainty—well, it was all a risky business,
wasn’t it?—he asked me last night, smiling; and I had to admire him for
his philosophy if for nothing else.”
Public-domain text, read in full here on John Shaqi.
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