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Then the pictures began to thicken fast: the derelict bark "Lady Letty" rolling to her scuppers, abandoned and lonely; the "boy" in the wheel-box; Kitchell wrenching open the desk in the captain's stateroom; Captain Sternersen buried at sea, his false teeth upside down; the black fury of the squall, and Moran at the wheel; Moran lying at full length on the deck, getting the altitude of a star; Magdalena Bay; the shark-fishing; the mysterious lifting and shuddering of the schooner; the beach-combers' junk, with its staring red eyes; Hoang, naked to the waist, gleaming with sweat and whale-oil; the ambergris; the race to beach the sinking schooner; the never-to-be-forgotten night when he and Moran had camped together on the beach; Hoang taken prisoner, and the hideous filing of his teeth; the beach-combers, silent and watchful behind their sand breastworks; the Chinaman he had killed twitching and hic-coughing at his feet; Moran turned Berserker, bursting down upon him through a haze of smoke; Charlie dying in the hammock aboard the schooner, ordering his funeral with its "four-piecee horse"; Coronado; the incongruous scene in the ballroom; and, last of all, Josie Herrick in white duck and kid shoes, giving her hand to Moran in her boots and belt, hatless as ever, her sleeves rolled up to above the elbows, her white, strong arm extended, her ruddy face, and pale, milk-blue eyes gravely observant, her heavy braids, yellow as ripening rye, hanging over her shoulder and breast.