Eye of the Crow

“Thief!” into the night, there is no sign of Sherlock Holmes.

He runs toward Mayfair, concentrating on a single thought. It is the hardest thing he’s ever had to do: he has to control his rage and his grief. He absolutely must to gain this vengeance. He needs to be ice cold, as villainous and as clever as a fox. He thinks of the things his mother has told him about performing.

“When an opera singer creates a character, she collects all the emotions she thinks that person might have … buries them deep inside her and then uses them.”

He buries his boiling anger, his white-hot rage. He wants it to power, not overwhelm him. He wants to use it! He can’t make mistakes, not if he wants his mother’s due. Tears come to his eyes again. He stops them, tucks his chin down onto his chest, holds his jaw tight, and glares into the darkness.

He flies across London in the night and lands at the Mayfair address.

The house is across the street from the one he’d been in the previous night. The Peelers are everywhere. He sees half a dozen before he even arrives. On the street where he will operate, there are two: one at each end of the avenue. His house is in the middle.

He darts over an iron fence, into a little backyard, and begins moving behind the houses, up and down like a snake over the separating walls.

Then he comes to the house he wants.

It has a long lane and a little mews and stable at the back. That’s unusual. Most stables are kept on smaller nearby streets, so the mansions are far from the smell. But because this house has its own little lane, a small additional stable has been built at the back, perhaps just for vehicles. A high wall runs from it along the backyard to the house. That will help him get onto the roof. Entering via the chimney is still the best idea – no one has figured out how he’s gotten into the other houses – he hasn’t been recognized. The chimney is still the way.

But just as he is about to scale the wall, he hears a noise behind him. His hand goes to his knife and he drops down behind the wall. Someone is inside the stable!

In seconds the two front doors swing open and a man emerges carrying a lantern. His frame is wide like a rugby player’s; and his thick head, like a bulbous canning jar on his shoulders, is shaved to the scalp. Something is familiar about him but from behind the wall, the boy can’t see him clearly. The man closes the doors and walks down the lane toward the street, glancing around, going right past the boy settling a black hat onto his head and a dark scarf around his neck.

Sherlock waits until the footsteps fade.

Now he can get on the roof. But something makes him want to look inside the stable. Those wide, rugby shoulders, that black hat and scarf … he’s seen them before.

He advances down the lane and pulls open the stable doors.

A dark coach … but it is brown. He closes the entrance.

Then he smells something. Paint. Someone has recently painted the coach. Sherlock looks down the street in the direction the thick-shouldered man has gone. Rushing to the street, the boy sees him pass under a streetlamp, revealing himself from head to boots … wearing a black-liveried coachman’s uniform with red stripes.

Sherlock reaches for the knife. But then he pauses. Even if he can kill this brute, it won’t eliminate the real villain. The coachman had been doing a job, following a meddling boy and girl, scaring them … for his living. Sherlock looks at the darkened house. The coachman isn’t the source of evil here. His real prey is inside.

Though standing on the wall allows him to start halfway up the house, there are no iron rungs or drainage pipes here. He’ll have to climb the outside of the building. It is an ornate home, filled with tall windows and deep frames and covered with green ivy. Up he goes like a spider, from wide windowframe to windowframe, up the ivy between them, silently and stealthily, until he reaches the roof Nothing will stop him now.

He is down the chimney in minutes. He doesn’t even look for an emergency way out. It doesn’t matter anymore. He wants two things: real evidence of the villain’s guilt … and the villain himself

He sweeps across the dining room and up the stairs to the first floor, then the second. Once he is there, it is obvious where the master sleeps. And that he sleeps alone.

The boy makes his way to the big double doors at the end of the hall.

His mind is racing – the coachman, the freshly painted carriage … the poison on his mother’s lips. There is no doubt now that this is the right place.

Evidence … then the villain. He feels for his knife.

The room smells of tobacco – a man’s lair.

Sherlock closes the door gently behind him. The almost paralyzing nervousness he felt in the other houses isn’t in him tonight. Vengeance is. His rage makes him strong and determined.

He crouches down and cases the room.

The man is snoring in the bed, lying on his back, the outline of his round gut rising and falling. Sherlock turns around. There is a cabinet, a washstand, a wardrobe … and a small writing desk.

This is the desk. It has to be. The one he has been searching for since he began entering the houses. All the evidence is coming together. He has to cinch it now. Malefactor said that when he found that one piece of evidence, that vital piece … everything would be solved.

Sherlock crawls across the carpet to the desk. It feels glossy, as if heavily stained. There are initials carved on the middle drawer. He runs his hands along the letters: J … T … R.

That’s the name – the last one left on his mother’s list. The desk belongs to the owner of this house and no one else … his own private depository.

Sherlock starts going through the drawers, finding banknotes and leaving them, papers that mean nothing, and photographs that he drops to the floor.

In the bed, the man stirs.

There has to be something, somewhere in this desk.

In the last drawer, the one on the left side, Sherlock finds a small box. It is heavy and made of iron. He tries to open it. It won’t budge. He holds it up in the moonlight and discovers a thick lock.

Sherlock remembers Malefactor’s lecture on picking them.

You need two sharp objects. He has one – a hatpin he found on the street a few days ago. He’d even bent its end, ready for action.

He pulls the knife from his clothing. Its tip is like a pin: the business end of a butcher’s blade that can slice through flesh as if it is butter.

Sherlock has heard Malefactor’s lock speech more than once. Fascinated by mathematics in all its forms, the young crime lord talks about the geometry of the interior, its tumblers, how they all need to fall into position for the lock to be sprung. You have to feel it: you have to click one and then the other and then the last.

Sherlock penetrates the lock with the tip of the knife, then slides the hatpin in too. He feels around inside. He begins pushing the tumblers back. Click. He can almost hear it. Click. There is the second one. Click…. The last.

Presto! He turns the blade. The lock opens.

He puts the knife and hatpin back into his coat, sets the heavy box on the floor, and lifts the lid.

There is only one object inside.

A purse.

It is embroidered with beads to form exotic birds, and splashed with red, which Sherlock at first thinks is part of the design. But it is raised and crusted on the surface.

Blood!

Some of the beadwork has been torn off.

Fingers trembling, he opens the purse.

Will there by anything in it?

There are a few coins, a small pot of rouge, a handkerchief

He is about to put it down, when he feels something else inside: a little pouch, like a secret pocket. It is difficult to open. He reaches in and finds a letter.

The killer took this purse in order to make the crime look like a robbery. He kept it here because the police had the Arab in custody and would never come to his Mayfair mansion. He would dispose of it, wisely, after the