Chapter Sixteen: History

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I understand what Calum meant when he said that places harbor ghosts.

The ancestral home of the Righ is lovely- the brick wall surrounding the riverside estate is draped in creeping ivy, and the wide path leading to the double front doors ends in a circular drive surrounding a fountain. The home is made of river-rock and brick, with wide wood lintels over the doors and windows and beams of exposed cedar wood at the roofline.

The moment I step inside, however, I can sense the lost.

The estate has the distinct mark of a woman's touch- subtle floral wallpaper, crystal vases full of silk flowers, arm chairs and sofas with elegant lines more suited for appearance than for use. I don't know how I know, but this is not Ceallach's handiwork. This traditional, elegant, form-over-function style feels like it belonged to a middle-aged woman of impeccable taste. The sort of woman who would demand all shoes and coats to be put neatly away in the front closet before stepping foot inside her home. The sort of woman who wouldn't so much as walk to her mailbox without being dressed to the nines with a full face of make-up.

Intermixed with this, however, are touches of small rebellion. A deer-head over the fireplace at complete odds with the rest of the decor, a single recliner chair worn for wear, a tobacco pipe sitting on the end table at its side. A subtle stain that looks like it may have come from mud on the cream colored rug in front of the old, weathered chair. I can imagine the arguments that must have taken place for these pieces to wind up in the otherwise elegant and tasteful living space.

It is strange. I have become used to Elder Diyani and Maise's ever-present company, but they remain outside, by the gate, unwelcome interlopers in this place. The letter of introduction Calum had provided via Elder Diyani had only permitted me entry.

I pass the living room, and when I enter a vaulted hallway, complete with cedar wood beams on the ceiling, I get a glimpse of the ghost's faces.

Portraits line the walls, some centuries-old and painted in oils, others new and captured with professional cameras. I see a relatively fresh looking painting of two dark haired children, the girl in a skirt made of the Clan Murray tartan, holding a green-eyed cat, the younger boy in a kilt of the same, his hand on his sister's shoulder. The boy is undeniably Calum- there is a smile curving his young lips and mischief in his eyes.

Beside the painting is a large photograph- a family of four in Sagwu-Dhaoine ceremonial garb. Calum is older, here, perhaps fifteen, his sister just about to tumble over the cusp of adulthood and stunningly beautiful. His mother looks like she was a force to be reckoned with.

She is gorgeous, prim and proper, her spine straight and her smile proud. I can tell at once that this home was her domain, and she was as much a queen of her household as she was Bhanrigh of Dhaoine-Tir. Calum's father appears stoic and strong. Calum inherited his breadth and height. Although likely posed by the photographer, his body language towards his Bhanrigh is unmistakable. He had loved her, deeply. From the way Calum's mother appears to be leaning back into his hand on her shoulder, it seems that she had felt the same.

"People loved them," the housekeeper says softly, behind me. I startle, surprised to hear her speak, having nearly forgotten that she was there. "Such tragedy."

"What happened?" I ask, and the woman shakes her head. She seems reluctant to speak, her eyes darting up and down the hall.

"Their daughter- Lady Leotie- not born skin-walker. It not common, but happen." Her words are clumsy and hesitant. Her accent is thick, but I am able to piece together the meaning from her poor English well enough. "Non-walkers used for alliance. She volunteer to marry son of Iroquois Leader. Make peace. Peace not last. She spoke for Dhaoine-Tir, and killed as traitor. Iroquois sent Righ and Bhanrigh package from her name, before they knew she dead. They open in living room, and saw it her scalp. Declared war."

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