He lights a ship's lantern, one of several treasures he has brought ashore, and is filling his pipe with crumbs of tobacco from various pockets, when the stealthy movements of some animal in the grass startles him. With the lantern in one hand and his cutlass in the other, he searches the ground around the hut. He returns, lights his pipe, and sits down by the fire, which casts weird moving shadows. There is a red gleam on his face; in the darkness he is a strong and perhaps rather sinister figure. In the great stillness that has fallen over the land, the wash of the surf seems to have increased in volume. The sound is indescribably mournful. Except where the fire is, desolation has fallen on the island like a pall.
Once or twice, as nature dictates, CRICHTON leans forward to stir the pot, and the smell is borne westward. He then resumes his silent vigil.
Shadows other than those cast by the fire begin to descend the rocks. They are the adventurers returning. One by one they steal nearer to the pot until they are squatted round it, with their hands out to the blaze. LADY MARY only is absent. Presently she comes within sight of the others, then stands against a tree with her teeth clenched. One wonders, perhaps, what nature is to make of her.)
End of Act II.
ACT III
THE HAPPY HOME
The scene is the hall of their island home two years later. This sturdy log-house is no mere extension of the hut we have seen in process of erection, but has been built a mile or less to the west of it, on higher ground and near a stream. When the master chose this site, the others thought that all he expected from the stream was a sufficiency of drinking water. They know better now every time they go down to the mill or turn on the electric light.
This hall is the living-room of the house, and walls and roof are of stout logs. Across the joists supporting the roof are laid many home-made implements, such as spades, saws, fishing-rods, and from hooks in the joists are suspended cured foods, of which hams are specially in evidence. Deep recesses half way up the walls contain various provender in barrels and sacks. There are some skins, trophies of the chase, on the floor, which is otherwise bare. The chairs and tables are in some cases hewn out of the solid wood, and in others the result of rough but efficient carpentering. Various pieces of wreckage from the yacht have been turned to novel uses: thus the steering-wheel now hangs from the centre of the roof, with electric lights attached to it encased in bladders. A lifebuoy has become the back of a chair. Two barrels have been halved and turn coyly from each other as a settee.
The farther end of the room is more strictly the kitchen, and is a great recess, which can be shut off from the hall by folding doors. There is a large open fire in it. The chimney is half of one of the boats of the yacht. On the walls of the kitchen proper are many plate-racks, containing shells; there are rows of these of one size and shape, which mark them off as dinner plates or bowls; others are as obviously tureens. They are arranged primly as in a well- conducted kitchen; indeed, neatness and cleanliness are the note struck everywhere, yet the effect of the whole is romantic and barbaric.
The outer door into this hall is a little peculiar on an island. It is covered with skins and is in four leaves, like the swing doors of fashionable restaurants, which allow you to enter without allowing the hot air to escape. During the winter season our castaways have found the contrivance useful, but Crichton's brain was perhaps a little lordly when he conceived it. Another door leads by a passage to the sleeping-rooms of the house, which are all on the ground- floor, and to Crichton's work-room, where he is at this moment, and whither we should like to follow him, but in a play we may not, as it is out of sight. There is a large window space without a window, which, however, can be shuttered, and through this we have a view of cattle-sheds, fowl-pens, and a field of grain.