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t pause at the door from which, when he last stood there, he had been so cruelly rejected, but went in, almost holding his breath, bewildered, uncertain, but half realizing the truth of what was transpiring, like one in a dream. "Wait here," said Mr. Dinneford, and he left him in the parlor and ran up stairs to find Edith. George Granger had scarcely time to recognize the objects around him, when a carriage stopped at the door, and in a moment afterward the bell rang violently. The image that next met his eyes was that of Edith standing in the parlor door with a child all bundled up in bed-clothing held closely in her arms. Her face was trembling with excitement. He started forward on seeing her with an impulse of love and joy that he could not restrain. She saw him, and reading his soul in his eyes, moved to meet him. "Oh, George, and you too!" she exclaimed. "My baby and my husband, all at once! It is too much. I cannot bear if all!" Granger caught her in his arms as she threw herself upon him and laid the child against his breast. "Yours and mine," she sobbed. "Yours and mine, George!" and she put up her face to his. Could he do less than cover it with kisses? A few hours later, and a small group of very near friends witnessed a different scene from this. Not another tragedy as might well be feared, under the swift reactions that came upon Edith. No, no! She did not die from a excess of joy, but was filled with new life and strength. Two hands broken asunder so violently a few years ago were now clasped again, and the minister of God as he laid them together pronounced in trembling tones the marriage benediction. This was the scene, and here we drop the curtain. End of the Project Gutenberg EBook of Cast Adrift, by T. S. Arthur *** END OF THIS PROJECT GUTENBERG EBOOK CAST ADRIFT *** ***** This file should be named 4592.txt or 4592.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.org/4/5/9/4592/ Produced by Charles Aldarondo 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 General Terms of Use part of this l
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