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The scene ended in a crash of music; the curtain fell to a house wild with cheering. Edith and the principal performers were called again and again before the curtain. It was a generous, appreciative audience, giving its heartiest approval by rising. As Betty Wopp and Maria Mifsud, each holding a hand of St. Elmo, left the church, they were highly entertained by that small boy’s account of a “man named Jonah who had swallowed a dwate big fish called a whale.” “Dad an’ Mosey don’t look orful happy,” she laughed. “Smile at me, Mosey.”.
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It occurred to Mrs. Wopp that the object in question might have been a new kind of singing bird, but “least said, soonest mended.” She would ask Moses if Clarence had ever mentioned it, the very first chance she had. None of the other ladies present assayed to join in the conversation, so perhaps most of them also were mystified. Airs. Wopp looked hard at Nell Gordon. Of course she knew what Mrs. Mifsud meant, but she seemed completely absorbed in turning a difficult corner in the quilt. A welcome interruption occurred. “Say, fellows, business now, and no questions asked. There’s a hitch on the stage. Storm, wrap that cloak round you—don’t wait for fixings—and get to your place in the wings, quick! When I say ‘Go,’ take Rain’s hand, crouch low, run to the centre, and between you yank that snow tank off the stage. Sabe?” Billy at work or at play was so absorbed that it was hard for him to measure time; and he had a queer notion that it was some other intelligence beside his own will that reminded him, often too late, of duties waiting. This he named Betsey; and among the children Betsey came to stand for Billy’s conscience. He was a queer figure with his bandaged head, one eye peering out, and a long, dripping red quilt trailing behind him. “I found the bed flooded, and put the comfort round me; but someway that’s wet, too.” He could hardly speak for shivering..
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