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grief, the tears streamed down his furrowed cheeks, and he exclaimed, "My boy! my dear boy! the pride and hope of my old age! Forgive me as you have forgiven him, and never leave me again." "I never will, Uncle," was the answer. At Snyder's funeral the most beautiful floral tribute was an exact copy of the Steel Wheel Club's railroad cup, in Parma violets, with the inscription, woven of white violets, "Forgive us our Trespasses." Directly behind the coffin, the members of the club marched in a body, headed by their captain, Rod Blake, whose resignation had never been accepted. As for the young captain's future, the events on which this story is founded, are of too recent occurrence for it to be predicted just yet. That he will become a prominent railroad man, in some one of the many lines now opening before him, is almost certain. He finished his apprenticeship with Truman Stump, on locomotive number 10, and became so fully competent to act as engineman himself, that the master mechanic offered him the position. At the same time President Vanderveer invited him to become his private secretary, which place Rod accepted, as it seemed to him the best school in which to study the higher branches of railroad management. He is still one of the most popular fellows on the road, and his popularity extends to every branch of the company's service. Even Smiler, the railroad dog, will leave his beloved trains for days at a time, to sit in the President's office, and mount guard over the desk of the private secretary. Not long ago, when the chief officer of the road was asked to explain the secret of Rod Blake's universal popularity, he replied: "I'm sure I don't know, unless it is that he never allows his pride to get the better of his judgment, and always performs his duties on time." ***END OF THE PROJECT GUTENBERG EBOOK CAB AND CABOOSE*** ******* This file should be named 22497.txt or 22497.zip ******* This and all associated files of various formats will be found in: http://www.gutenberg.org/dirs/2/2/4/9/22497 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
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