I—er—had to."

She flushed and opened the portfolio on the little table by the window, standing behind me as I turned the sketches over—sketches of the grounds and trees and garden. In the first moment of inspection, however, I did not take in clearly why my sister's sense of modesty had been offended. For my attention flashed a second elsewhere. Another bit of the puzzle had dropped into place, defining still further the nature of what I called "the Shadow." Mrs. Franklyn, I now remembered, had suggested to me in the library that I might perhaps write something about the place, and I had taken it for one of her banal sentences and paid no further attention. I realized now that it was said in earnest. She wanted our interpretations, as expressed in our respective "talents," painting and writing. Her invitation was explained. She left us to ourselves on purpose.

"I should like to tear them up," Frances was whispering behind me with a shudder, "only I promised—" She hesitated a moment.

"Promised not to?" I asked with a queer feeling of distress, my eyes glued to the papers.

"Promised always to show them to her first," she finished so low I barely caught it.

I have no intuitive, immediate grasp of the value of paintings; results come to me slowly, and though every one believes his own judgment to be good, I dare not claim that mine is worth more than that of any other layman, Frances had too often convicted me of gross ignorance and error. I can only say that I examined these sketches with a feeling of amazement that contained revulsion, if not actually horror and disgust. They were outrageous. I felt hot for my sister, and it was a relief to know she had moved across the room on some pretence or other, and did not examine them with me. Her talent, of course, is mediocre, yet she has her moments of inspiration—moments, that is to say, when a view of Beauty not normally her own flames divinely through her. And these interpretations struck me forcibly as being thus "inspired"—not her own. They were uncommonly well done; they were also atrocious. The meaning in them, however, was never more than hinted. There the unholy skill and power came in: they suggested so abominably, leaving most to the imagination. To find such significance in a bourgeois villa garden, and to interpret it with such delicate yet legible certainty, was a kind of symbolism that was sinister, even diabolical. The delicacy was her own, but the point of view was another's.

And the word that rose in my mind was not the gross description of "impure," but the more fundamental qualification—"un-pure."

In silence I turned the sketches over one by one, as a boy hurries through the pages of an evil book lest he be caught.

"What does Mabel do with them?" I asked presently in a low tone, as I neared the end. "Does she keep them?"

"She makes notes about them in a book and then destroys them," was the reply from the end of the room. I heard a sigh of relief. "I'm glad you've seen them, Bill. I wanted you to—but was afraid to show them. You understand?"

"I understand," was my reply, though it was not a question intended to be answered. All I understood really was that Mabel's mind was as sweet and pure as my sister's, and that she had some good reason for what she did. She destroyed the sketches, but first made notes! It was an interpretation of the place she sought. Brother-like, I felt resentment, though, that Frances should waste her time and talent, when she might be doing work that she could sell. Naturally, I felt other things as well….

"Mabel pays me five guineas for each one," I heard. "Absolutely insists."

I stared at her stupidly a moment, bereft of speech or wit. "I must
either accept, or go away," she went on calmly, but a little white.
"I've tried everything. There was a scene the third day I was here—when
I showed her my first result. I wanted to write to you, but hesitated—"

"It's unintentional, then, on your part—forgive my asking it, Frances, dear?" I blundered, hardly knowing what to think or say. "Between the lines" of her letter came back to me. "I mean, you make the sketches in your ordinary way and—the result comes out of itself, so to speak?"

She nodded, throwing her hands out like a Frenchman. "We needn't keep the money for ourselves, Bill. We can give it away, but—I must either accept or leave," and she repeated the shrugging gesture. She sat down on the chair facing me, staring helplessly at the carpet.

"You say there was a scene?" I went on presently, "She insisted?"

"She begged me to continue," my sister replied very quietly. "She thinks—that is, she has an idea or theory that there's something about the place—something she can't get at quite." Frances stammered badly. She knew I did not encourage her wild theories.

"Something she feels—yes," I helped her, more than curious.

"Oh, you know what I mean, Bill," she said desperately. "That the place is saturated with some influence that she is herself too positive or too stupid to interpret. She's trying to make herself negative and receptive, as she calls it, but can't, of course, succeed. Haven't you noticed how dull and impersonal and insipid she seems, as though she had no personality? She thinks impressions will come to her that way. But they don't—"

"Naturally."

"So she's trying me—us—what she calls the sensitive and impressionable artistic temperament. She says that until she is sure exactly what this influence is, she can't fight it, turn it out, 'get the house straight', as she phrases it."

Remembering my own singular impressions, I felt more lenient than I might otherwise have done. I tried to keep impatience out of my voice.

"And this influence, what—whose is it?"

We used the pronoun that followed in the same breath, for I answered my own question at the same moment as she did:

"His." Our heads nodded involuntarily towards the floor, the dining room being directly underneath.

And my heart sank, my curiosity died away on the instant; I felt bored. A commonplace haunted house was the last thing in the world to amuse or interest me. The mere thought exasperated, with its suggestions of imagination, overwrought nerves, hysteria, and the rest.

Mingled with my other feelings was certainly disappointment. To see a figure or feel a "presence," and report from day to day strange incidents to each other would be a form of weariness I could never tolerate.

"But really, Frances," I said firmly, after a moment's pause, "it's too far-fetched, this explanation. A curse, you know, belongs to the ghost stories of early Victorian days." And only my positive conviction that there was something after all worth discovering, and that it most certainly was not this, prevented my suggesting that we terminate our visit forthwith, or as soon as we decently could. "This is not a haunted house, whatever it is," I concluded somewhat vehemently, bringing my hand down upon her odious portfolio.

My sister's reply revived my curiosity sharply.

"I was waiting for you to say that. Mabel says exactly the same. He is in it—but it's something more than that alone, something far bigger and more complicated." Her sentence seemed to indicate the sketches, and though I caught the inference I did not take it up, having no desire to discuss them with her just them indeed, if ever.

I merely stared at her and listened. Questions, I felt sure, would be of little use. It was better she should say her thought in her own way.

"He is one