"Of course. But it's locked, and as we don't have any keys which would fit the lock, you'll have to wait until we can get a locksmith out to work on it before you will know what's inside."

"I don't care. No," she corrected herself, "that's wrong; I do care. But anyway its mine!" She caressed the stiff carving with her fingers.

"What's this one?" Val turned to the second box. It, too, was fashioned of wood, but it was plain where the other was carved, and the iron bands across it were pitted with rust.

"A sea chest, I would say." Rupert touched the top gingerly. "By the feel, it's locked too. And I don't care to play around with it. The men who made things like these were too fond of having little poisoned fangs run into your hand when you tried to force the chest without knowing the trick. We'll have to leave this for an expert, too."

"What about the third?"

Charity laughed. "After your two treasures I'm afraid that this will be a disappointment." She indicated a small humpbacked trunk covered with moth-eaten horsehair. "No romance here. But the key is tied to the clasp beside the lock."

"Then open it before I expire of pure unsatisfied curiosity," Ricky begged. "Go on, Rupert. Hurry."

"Oh," she said a moment later, "it's full of nothing but a lot of books."

"What did you expect," Val asked her, "a skeleton? Do you know, I think that Rick's ghost, or whatever influence presides over this house, has a sense of humor. You find a room, or a trunk, or something which makes you feel that you are on the verge of getting what you want, and then it all fades into just nothing again. Now, by rights, that writing-desk should have contained the secret message which would have told us where to find a hidden pa.s.sage or something. But what is in it? A couple of pieces of lining almost completely torn from the bottom. I'll wager that when you open those chests you'll find nothing but a brick or 'April Fool' scrawled across the inside. This isn't true to any fiction I ever read," he ended plaintively.

"Good Heavens!" Charity was staring down at what lay within a portfolio she had opened.

"Don't tell me you have really found something!" Val exclaimed.

"It can't be true!" She still stared at what she held.

Ricky looked over her shoulder. "Why, it's nothing but a picture of a bird," she observed.

"It's a genuine Audubon," Charity corrected her.

[Ill.u.s.tration: _"It's a genuine Audubon," Charity said._]

"What!" With little regard for manners, Rupert s.n.a.t.c.hed the portfolio from her hands. "Are you sure?"

"Yes. But you must take it in to the museum and get an expert opinion.

It's wonderful!"

"Here's another." Reverently Rupert raised the first sketch and then the second. "Three, four, five, six," he counted.

"Was Audubon ever here?" Charity looked about the hall, a sort of awe coloring her voice.

"He might easily have been when he lived in New Orleans. Though we have no record of it," answered Rupert. "But these," he closed the portfolio carefully and knotted its strings, "speak for themselves. I'll take them to LeFleur tomorrow. We can't allow them to lie about here."

"I should hope not!" Charity eyed the portfolio wistfully. "Imagine actually owning six of those--"

"They won't pay our bills," said Ricky, practical for once in her life.

Treasure to Ricky was not half a dozen sketches on yellowed paper but good old-fashioned gold with a few jewels thrown in for her own private satisfaction. The portfolio and its contents left her unmoved. Val admitted to himself that he, too, was disappointed. After all--well, treasure should be treasure.

Rupert carried the portfolio into his bedroom and locked it in one of his mysterious brief-cases which had somehow found its way upstairs.

The two chests they moved out farther into the hall and the trunk was placed back against the wall, ready for further investigation.

"Mistuh Ralestone, suh," Letty-Lou, standing half-way up the back stairs, addressed Rupert, "lunch am on de table. Effen yo'all doan come now, de eatments will be spiled."

"All right," he answered.

"Letty-Lou," called Ricky, "put on another plate. Miss Charity is staying to lunch."

"Dat's all ri', Miss 'Chanda. I'se done done dat. Yo'all comin' now?"

"You see how we are bullied," Ricky appealed to Charity. "Of course you're going to stay," she swept aside the other's protests. "What's food for, if not to feed your friends? Val, go wash up; your hands are frightful. I don't care if you did wash once; go and--"

"This is her little-mother-of-the-family mood," her younger brother explained to Charity. "It wears off after a while if you just don't notice it. But I will wash though," he looked at his hands, "I seem to need it."

"And don't use the guest towels," Ricky called after him. "You know that they're only to look at."

When Val emerged from the bathroom he found the hall deserted. Sounds from below suggested that his family had basely left him for food. He started along the pa.s.sage. Not far from the stairs was the writing-desk where Rupert had left it. Val picked it up, thinking that he might as well take it along down with him.

CHAPTER VII

BY OUR LUCK!

Depositing the desk on the seat of one of the hall chairs, Val started toward the dining-room, a grim hole which Lucy had calmly forced the family to use but which they all cordially disliked. Its paneled walls, crystal-hung chandelier, marble-fronted fireplace, and inlaid floor gave it the appearance of one of the less cozy rooms in a small palace. There were also two tasteful portraits of dead ducks which had been added as a finishing touch by some tenant during the eighties and which still remained upon the walls to Ricky's unholy joy.

But the long table, the high-backed chairs, the side serving-table, and the two tall cabinets of china were fine enough pieces if one cared for the ma.s.sive. Ricky's table-cloth of violent-hued peasant linen was not in keeping with the china and gla.s.sware Letty-Lou had set out upon it.

Charity was commenting upon this ensemble as Val entered.

"Doesn't this red and green plaid seem a bit--well, bright?" The corners of her mouth twitched betrayingly.

"No," Ricky returned firmly. "This cloth matches the ducks."

"Oh, yes, the ducks," Charity eyed them. "So you consider that the ducks are the note you wish to emphasize?"

"Certainly." Ricky surveyed the picture hanging opposite her. "I consider them unique. Not everyone can have ducks in the dining-room nowadays."

"For which they should be eternally thankful," observed Rupert. "They are rather gaudy, aren't they?"

"Oh, but I like the expression in this one's gla.s.sy eye," Ricky pointed out. "You might call this study 'Gone But Not Forgotten.'"

"Corn-bread, please," Val asked, thus attempting to put an end to the art-appreciation cla.s.s.

"I think," continued Ricky, undisturbed as she pa.s.sed him the plate heaped with golden squares, "that they are slightly surrealist. They distinctly resemble the sort of things one is often pursued by in one's brighter nightmares."

"Do you have any really good pictures?" asked Charity, resolutely averting her gaze from the ducks.

"Three, but they've been loaned to the museum," answered Rupert. "Not by well-known painters, but they're historically interesting. There's one of the first Lady Richanda, and one of the missing Rick. That's the best of the lot, according to LeFleur. I saw a photograph of it once. Come to think about it, Val looks a lot like the boy in the picture. He might have sat for it."