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"You speak of a guardian, Mr. Low," said our host in a low voice. "What precisely do you mean?"
Flaxman Low shrugged. "Guardians can take many shapes and forms," he replied, "depending on the skill and audacity of those who call them up. That Karswell was an adept in the field of magic is not, I think, in dispute; we have the death of one man, and the near-death of another, to attest to this. I believe that Karswell summoned a guardian that was in a shape known to him; possibly something not unlike a large dog. It was this guardian which was responsible for the claw marks on the walls, and the soft, padding sound which you heard, and the cold draught which you felt: manifestations of this sort are frequently accompanied by a chill in the atmosphere, sometimes quite severe. I also think it unlikely that the workmen discovered the chamber; there were no signs of anything within it being disturbed, and I am sure that its discovery could not have been kept a secret. The door was, as we saw, quite cleverly built, and I believe the workmen did not realise it was there."
"But why did this guardian not venture outside that one room?" asked Mr. Fitzgerald. Like his wife a few minutes earlier, he now looked considerably more relieved than he had been since we arrived; the prospect of putting an end to his troubles by following Low's advice had obviously taken a weight from his shoulders.
"Without knowing the specifics of what Karswell did to conjure it up in the first place, I ca
"And what did you make of the note, Mr. Low?" asked our host. Low smiled gently.
"I, too, took it as a taunt, although I interpreted it somewhat differently to Mr. Holmes. He seized on the word 'treasure,' whereas I was struck by the use of the word 'vengeance,' and the reference to 'the things that shall come upon them.'"
There was silence then, as we all pondered what we had just heard. Looking upon the faces of Mr. and Mrs. Fitzgerald, I could see that their troubles were, if not quite at an end, at least fading rapidly. Mr. Fitzgerald, it was clear, was prepared to believe Flaxman Low's interpretation of events, while his wife believed that Holmes had hit upon the correct solution. I caught the latter's eye as I thought this, and he must have read my thoughts, for he laughed and said, "Well, we have two solutions, and three listeners. I know that two of you have already made up your minds, so it remains for Dr. Watson to cast the deciding vote. Which shall it be, friend Watson? Tell us your verdict."
I glanced from the one detective to the other: both so alike in their methods, so sure of their case, yet so different in their explanations. I took a deep breath.
"I am glad of my Scottish heritage at this moment," I said, "for it allows me to answer, quite properly, 'Not Proven.'" And further than that I would not be drawn.
There remains little to tell of this strange case. The following morning, as soon as it was light, a proper investigation of the secret chamber was made. Nothing more was found beyond what we had already seen; and the stone steps did, as surmised, lead down through the thickness of the outer wall to a tu
I have not heard that the Fitzgeralds have been troubled since that time; nor did I ever hear of any treasures being found in the house.
One other item, perhaps, bears mentioning. Low had been invited to travel back to London with us, and we found ourselves with some time to spare in the village before our train was due to arrive. We walked, by common accord, over to the small parish church where, we recalled, some of the items salvaged from the original Abbey of Lufford had been stored, and spent a pleasant half-hour therein, admiring the church and its relics. Holmes, indicating that it was time to leave for the station, went outside, and I looked around for Flaxman Low, whom I found staring intently into a glass case which contained some of the remains of the old Abbey. As I paused by his side he turned and smiled at me.
"Ah, Dr. Watson," he said; "or should it be 'Gentleman of the Jury'? Do you still find for 'Not Proven,' or have you had any second thoughts?"
I shook my head. "I do not know," I said honestly. "I have worked with Holmes for many years, and am rather inclined to his viewpoint that there is nothing that ca
Low reached out and shook my hand. "Thank you," he said quietly. Then his eyes returned to the case which he had been studying, and he pointed at an item within it. "I was reading this before you came over," he said. "It is one of the relics from the Abbey of Lufford, a tile that dates back to the fifteenth century. The original is in Middle English, and rather difficult to make out, but a translation is on the card beside it. I wonder if Karswell ever saw it; in the unlikely event that he did, he certainly paid no heed to the warning."
I gazed at the card, and read the following words from Lufford Abbey:
Think, man, thy life may not ever endure; what thou dost thyself, of that thou art sure; but what thou keepest for thy executor's care, and whether it avail thee, is but adventure.
Murder to Music by Anthony Burgess
Anthony Burgess is the world-renowned author of the dystopian novel A Clockwork Orange. His other novels include Inside Mr. Enderby (et seq.), Earthly Powers, and The Long Day Wanes trilogy. Several of his short stories, including this one, can be found in his book The Devil's Mode. Although most readers probably know Burgess because of his fiction, he was a prolific writer of non-fiction and criticism, and he worked on a number of screenplays and as a translator. Burgess was also a composer of music, which, as you might guess from the title, served him well in writing this tale.
The first wife of prolific author Isaac Asimov once chided him for spending so much time working, saying, "When you're on your deathbed, and you've written a hundred books, what'll you say then?" To which Asimov replied, "I'll say, 'Only a hundred!'" In point of fact, Asimov had written or edited closer to five hundred books by the time he died. In a world of poseurs and dilettantes, of people who chatter constantly about the art they intend to create "someday" or "when I have time," it can be inspiring to see people who are so dedicated to their work that the terms art and life become inseparable, and who keep on working right up until the end. The legendary Japanese artist Hokusai, known for masterpieces such as Thirty-six Views of Mt. Fuji, is said to have exclaimed on his deathbed, "If only Heaven will give me just another ten years… Just another five more years, then I could become a real painter." If you're one of those people who's moved by the idea of an artist practicing his art right up until the moment of death, you may find this next tale highly inspirational. Or maybe not, given the circumstances.