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“And I’m always going to be your little girl, too,” the child pleaded; “so Billy must be my papa’s little boy.” As Clarence depicted the terror of the father, lest his arrow miss the mark and kill his son, Moses rose from his chair in breathless suspense. However, the arrow cleft the apple and left the boy unscathed, and the relieved Moses, sinking back in his chair, recovered himself sufficiently to murmur “What an orful chanct fer anyone ter take!” His boyish knowledge and imagination, equal to many pictures of danger for the girl, did not extend to her captors. He never stopped to consider, nor would he have understood if he had, the plight of the criminals. He knew that two had been captured, one of whom before that had carried off May Nell; but his small newspaper reading of “gangs” of counterfeiters had given him visions of dozens of desperate criminals, terrorizing communities, and equal to any bold crime. Now in his mind’s eye he could see men skulking in the brush, listening in rooms below, only waiting to pounce on May Nell the moment she smashed the window. Oh, yes, he must hurry—hurry!.

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What really ailed Moses was the prospect of bolstering up the pipes again. Moses was whistling a dismal discordant air in the backyard when the voice of his mother smote his ears. Edith worked very hard. She called her operetta “The Triumph of Flora.” The words were her own, written hurriedly and set to familiar though classic airs. Yet many of the daintiest, most tripping melodies she wrote herself. The sorrows of humanity had winged her brain and dipped her pen in harmonies, that she might assuage them. “Billy! My—boy!” Mrs. Bennett bent over him; and he felt a tear where her cheek touched his..