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Tear them up, tear them up!" "Why, Karl." "Tear them up, now, at once. I shall never look at them again. Do it. What does it matter? I am only Herman Stueler. Now!" With shaking fingers she tipped the tattered sheets, and the tears ran over and down her cheeks. It would not have hurt her more had she torn the man's heart in twain. He watched her with fevered eyes till the last scrap floated into her lap. "Now, toss them into the grate and light a match." And when he saw the reflected glare on the opposite wall, he sank deeper into the pillow. The woman was openly sobbing. She came back to his side, knelt, and laid her lips upon his hand. There was now only a dim white speck on the horizon, and with that strange sea-magic the hull suddenly dipped down, and naught but a trail of smoke remained. Then this too vanished. Breitmann withdrew his hand, but he laid it upon her head. "I am a broken man, Hildegarde; and in my madness I have been something of a rascal. But for all that, I had big dreams, but thus they go, the one in flames and the other out to sea." He stroked her hair. "Will you take what is left? Will you share with me the outlaw, be the wife of a disappointed outcast? Will you?" "Would I not follow you to any land? Would I not share with you any miseries? Have you ever doubted the strength of my love?" "Knowing that there was another?" "Knowing even that." "It is I who am little and you who are great. Hildegarde, we'll have our friend Ferraud seek a priest this afternoon and square accounts." Her head dropped to the coverlet. After that there was no sound except the crisp metallic rattle of the palms in the freshening breeze. THE END End of the Project Gutenberg EBook of A Splendid Hazard, by Harold MacGrath *** END OF THIS PROJECT GUTENBERG EBOOK A SPLENDID HAZARD *** ***** This file should be named 15671.txt or 15671.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/5/6/7/15671/ Produced by Al Haines Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the G
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