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“You know she never does nothin’ to us really, Moses, no matter how she jaws. Come on, you clipped yer pony so lovely an’ evenlike. The horse-clippers is bangin’ on the wall behind you.” Mrs. Newman and Nell waited after the show for the unique trio that had occupied the box but they were nowhere to be seen. Howard Eliot had whisked his companions off under a pretext of urgent business. He went on, a little cautiously now, and shortly came in view of the “Ha’nt,” a sinister though imposing house, built of cut stone, close against the face of the most picturesque mountain of the range, bounding Vina Valley. The windows were curtained with cobwebs and dust. For years the wide front door had been nailed up with the same sun-bleached boards; and “Keep out!” spoke from every gray splinter..

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Howard rode his chestnut saddle-horse “The Kid,” while Nell had “Ladybird.” Moses was not so pious by nature as his mother, and he had flatly refused to have his pinto’s disposition spoiled by giving her such a name as “Hephzibah” his mother’s choice. Maria now began to get alarmed, and her anxiety being communicated to Clarence and Betty, the three young people set off in a combined search. 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. As the stove door opened for the intrepid Moses, out flew Tillie the white bantam hen now as black as a crow with soot. She fluttered into the face of Moses who was kneeling before the stove..