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lling that a new alarm clock!" and he looked at the brass-bound box. Inside was a most complicated electrical timing apparatus, for setting off charges of explosive. It could be adjusted to cause the detonation at any set minute, giving the plotter time to be a long way from the scene. And, only because of a slight defect, Alcando would have been far from the scene when the little explosion occurred at Gatun Dam. Once more the great Canal was open to traffic. The last of the slide in Culebra Cut had been taken out, and boats could pass freely. "Let's make a trip through now, just for fun," suggested Blake to Joe one day, when they had packed up their cameras. Permission was readily granted them to make a pleasure trip through to Panama, and it was greatly enjoyed by both of them. "Just think!" exclaimed Blake, as they sat under an awning on the deck of their boat, and looked at the blue water, "not a thing to do." "Until the next time," suggested Joe. "That's right--we never do seem to be idle long," agreed Blake. "I wonder what the 'next time' will be?" And what it was, and what adventures followed you may learn by reading the next volume of this series, to be called "The Moving Picture Boys Under the Sea; Or, The Treasure on the Lost Ship." "Here you go, Blake!" cried Joe, a few days later. "Letter for you!" "Thanks. Get any yourself?" "Yes, one." "Huh! How many do you want?" asked Blake, as he began reading his epistle. "Well, I'll soon be back," he added in a low voice, as he finished. "Back where?" asked Joe. "To New York." And so, with these pleasant thoughts, we will take leave of the moving picture boys. THE END End of the Project Gutenberg EBook of The Moving Picture Boys at Panama by Victor Appleton *** END OF THIS PROJECT GUTENBERG EBOOK THE MOVING PICTURE BOYS AT PANAMA *** ***** This file should be named 10776.txt or 10776.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/0/7/7/10776/ Produced by Janet Kegg and PG Distributed Proofreaders 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
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