The Roman Hat Mystery
Part One
“The policeman must oft follow the precept of the ‘bakadori’—those fool-birds who, though they know disaster awaits them at the hands and clubs of the beachcombers, brave ignominious death to bury their eggs in the sandy shore. … So the policeman. All Nippon should not deter him from hatching the egg of thoroughness.”
From A Thousand Leaves,
by Tamaka Hiero
I
In Which Are Introduced a Theatre-Audience and a Corpse
The dramatic season of 192‒ began in a disconcerting manner. Eugene O’Neill had neglected to write a new play in time to secure the financial encouragement of the intelligentsia; and as for the “lowbrows,” having attended play after play without enthusiasm, they had deserted the legitimate theatre for the more ingenuous delights of the motion picture palaces.
On the evening of Monday, September 24th, therefore, when a misty rain softened the electric blaze of Broadway’s theatrical district, it was viewed morosely by house-managers and producers from 37th Street to Columbus Circle. Several plays were then and there given their walking-papers by the men higher up, who called upon God and the weather-bureau to witness their discomfiture. The penetrating rain kept the play-going public close to its radios and bridge-tables. Broadway was a bleak sight indeed to those few who had the temerity to patrol its empty streets.
The sidewalk fronting the Roman Theatre, on 47th Street west of the “White Way,” however, was jammed with a mid-season, fair-weather crowd. The title “Gunplay” flared from a gay marquee. Cashiers dextrously attended the chattering throng lined up at the “Tonight’s Performance” window. The buff-and-blue doorman, impressive with the dignity of his uniform and the placidity of his years, bowed the evening’s top-hatted and befurred customers into the orchestra with an air of satisfaction, as if inclemencies of weather held no terrors for those implicated in Gunplay’s production.
Inside the theatre, one of Broadway’s newest, people bustled to their seats visibly apprehensive, since the boisterous quality of the play was public knowledge. In due time the last member of the audience ceased rustling his program; the last latecomer stumbled over his neighbor’s feet; the lights dimmed and the curtain rose. A pistol coughed in the silence, a man screamed … the play was on.
Gunplay was the first drama of the season to utilize the noises customarily associated with the underworld. Automatics, machine guns, raids on nightclubs, the lethal sounds of gang vendettas—the entire stock-in-trade of the romanticized crime society was jammed into three swift acts. It was an exaggerated reflection of the times—a bit raw, a bit nasty and altogether satisfying to the theatrical public. Consequently it played to packed houses in rain and shine. This evening’s house was proof of its popularity.
The performance proceeded smoothly. The audience was properly thrilled at the thunderous climax to the first act. The rain having stopped, people strolled out into the side alleys for a breath of air during the first ten-minute intermission. With the rising of the curtain on Act II, the detonations on the stage increased in volume. The second act hurtled to its big moment as explosive dialogue shot across the footlights. A slight commotion at the rear of the theatre went unnoticed, not unnaturally, in the noise and the darkness. No one seemed aware of anything amiss and the play crashed on. Gradually, however, the commotion increased in volume. At this point a few spectators at the rear of the left section squirmed about in their seats, to assert their rights in angry whispers. The protest was contagious. In an incredibly short time scores of eyes turned toward that section of the orchestra.
Suddenly a sharp scream tore through the theatre. The audience, excited and fascinated by the swift sequence of events on the stage, craned their necks expectantly in the direction of the cry, eager to witness what they thought was a new sensation of the play.
Without warning the lights of the theatre snapped on, revealing puzzled, fearful, already appreciative faces. At the extreme left, near a closed exit-door, a large policeman stood holding a slight nervous man by the arm. He fended off a group of inquisitive people with a huge hand, shouting in stentorian tones, “Everybody stay right where he is! Don’t move! Don’t get out of your seat, any of you!”
People laughed.
The smiles were soon wiped away. For the audience began to perceive a curious hesitancy on the part of the actors. Although they continued to recite their lines behind the footlights they were casting puzzled glances out into the orchestra. People, noting this, half-rose from their seats, panicky in the presence of a scented tragedy. The officer’s jovian voice continued to thunder, “Keep your seats, I say! Stay where you are!”
The audience suddenly realized that the incident was not playacting but reality. Women shrieked and clutched their escorts. Bedlam broke loose in the balcony, whose occupants were in no position to see anything below.
The policeman turned savagely to a stocky, foreign-looking man in evening clothes who was standing by, rubbing his hands together.
“I’ll have to ask you to close every exit this minute and see that they’re kept closed, Mr. Panzer,” he growled. “Station an usher at all the doors and tell ’em to hold everybody tryin’ to get in or out. Send somebody outside to cover the alleys, too, until help comes from the station. Move fast, Mr. Panzer, before hell pops!”
The swarthy little man hurried away, brushing aside a number of excited people who had disregarded the officer’s bellowed admonition and had jumped up to question him.
The bluecoat stood wide-legged at the entrance to the last row of the left section, concealing with
