^ LI n' I'' .z_^ r :> \ cL^ DENISON'S ACTING PLAYS. Price 15 Cents Sach, Postpaid. Catalogue Free. M. r. All that Glitters is not Gold, com- edy, 2 acts, 2 hrs 6 All Expenses, lEthiopian, 10 min. 2 ABsessor, sketch, 1 5 min 3 Biibes in Wood, burle6qiie,35 min 4 Borrowing Trouble, farce, 30 min 3 Bad Job, farce, 30 min 3 Fnimble's Courtship, slvetcb, 18 m. 1 Bardell vs. Pickwick, farce, 25 m. 6 Back from Californy, Ethiopian, 12 min 3 Caste, comedy, 3 acts^ 2 hrs. 30 m. 5 Cow that Kicked Chicago, farce, 20 min , 3 Country Justice, farce, 15 min,... 8 Circumlocution Oifice, 20 min 6 Chimney Corner (or Grandfather's Mistake), drama, 2 acts, 1 hr. 30 min 5 Danger Signal, drama, 2 acts, 2 hrs 7 Desperate Situation^ farce, 25 min 2 Deat'inallorn, Ethiopian, 8 min. 2 East Lynne, drama, 5 acts, 2 hrs. 8 Family Strike, farce, 20 min 8 Fruits of Wine Cup, Temperance drama, 3 acts. 1 hr 6 4 Friendly Move, sketch, 20 min ... 5 Funnygraph, Ethiopian, 12 min.. 6 Home, comedy, 3 acts, 2 hrs 4 3 Handy Andy, Ethiopian, 12 min.. 2 Haunted House, Ethiopian, 8min. 5 Homoeopathy, farce, 30 min 5 Hans Yon Smash, farce, 30 min,. 4 Hard Cider, Temperance, 15 min. 4 Initiating a Granger, farce, 25 m. 8 In the Dark, farce, 25 min 4 In the W^ron^ House, farce, 30 m. 4 Irish Linen Peddler, farce, 40 min 3 J a the Editor In, farce, 20 min. . . . 4 I'll Stay Awhile, farce, 20 min.... 4 Ici on Parle Prancais, farce, 40 m. 4 I'm not Mesilf at All, farce, 25 m. 3 John Smith, farce, 80 min 5 Joke onSquinim, Ethioi). 25 min. 4 Jumbo Jum, farce, 50 min 4 Kansas Immigrants, farce, 80 m.. 5 Kiss in the Dark, farce, 30 min. .. 2 Louva the Pauper, drama, 5 acts, 1 hr. 45 min 9 Larkins' Love Letters, farce, 50 m. 3 Lady of Lyons, drama, 5 acts, 3 hrs. 30 min 8 Limerick Boy, farce, 30 min 5 Lost in London, drama, 3 acts, 1 hr. 45 min 6 London Assurance, comedy, 5 acts, 2hrs.30min 9 Lucy's Old Man, sketch, 15 min. . 2 Michael Erie, drama, 2 acts, 1 hr. 30 min 8 Mike Donovan's Courtship, com- edietta, 2 acts, 15 min 1 Movement Cure, farce, 15 min 5 Mrs. Gamp's T^a, sketch, 15 min. Mischievous Nigger, farce, 20 min. 4 My Wife's Relations, comedy, 1 hr 4 My Jeremiah, farce, 20 min 3 My Turn Next, farce, 50 min 4 My Neighbor's Wife, farce, 45 m. 3 U. V. Not Such a Fool as he Looks, com- edy, 3 acts, 2 hrs 5 8 No Cure No Pay, Ethiopian, 10m. 8 1 Only Daughter, drama, 3 acts, 1 hr, 15min 5 2 Our Country, drama, 3 acts, 1 hr,,10 S Odds with the Enemy, drama, 6 ^cts, 2hrs 7 4 On the Brink, Temperance drama, 2 acts, 2 hrs 12 8 Othello and Desdemona, Ethio- pian, 12 min 2 Pet of Parsons' Ranch, frontier drama, 5 acts, 2 hrs 9 8 Pets of Society, farce, 30 min 7 Pull Back, farce, 20 min 6 Pocahontas, music'l b'rlesque, 1 h.lO S Parlor Entertainment, 25 min.,. 3 5 Played and Lost, sketch, 15 min, . 8 2 Persecuted Dutchman, 35 min .... 6 8 Quiet Family, farce, 45 min 4 4 Quar'some Serv'nts, Ethiop 8 min 3 Regular Fix, farce, 50 min 6 4 Rough Diamond, farce, 40 min. ,.48 Solon Shingle, comedy, 2 acts, 1 hr. 30 min 7 S Soldier of Fortune, comedy, 5 acts, 2 hrs, 20 min 8 8 Seth Greenback, drama, 4 acts, 1 hr, 15 min " 7 3 School Ma'am(Tho), drama, 4 acts, 1 hr. 45 mm 6 B Stage Struck Darkey, 10 min — 2 1 Stocks Up, Stocks Down, Ethio- pian, 8 min 8 Sports on a Lark, Ethiopian, 8 m. 8 Sham Doctor, Ethiopian, 15 min. 4 2 Slasher and Crasher, farce, 1 hr. 15 min 5 8 Squeers' School, sketch, 18 min.. 4 2 Sparkling Cup, Temperance drama, 5 acts, 2 hrs It 4 Too Much of a Good Thing, farce, 50min 3 6 Two Gents in Fix, farce, SO min 2 Tv/o Puddifoots, f arce^ 40 min ... 3 8 Two Pompeys, Ethiopian, 8 min, 4 Tricks, Ethiopian farce, 15 min,. 5 2 Ticket of Leave Man, drama, 4 acts, 2 hrs, 45 min 8 3 Turn Him Out, farce, 50 min 3 8 Toodles, drama, 2 acts, 1 hr 15 ra. 6 2 Ten Nights in a Bar Room, Tem- perance drama, 5 acts, 2 hrs. .11 5 Two Ghosts in White, sketch, 25 m 8 Under the Laurels, drama, 5 acts, Ihr. 45min 5 4 Unhappy Pair, Ethiopian. 10 min. 8 Uncle Jeff, Ethiopian farce, 25 m. 5 2 Wanted a Correspondent, farce, 2 acts, 1 hr 4 4 Wide Enough for Two, farce 50m. 5 2 Which will be Marry, farce, 30 m. 2 8 Won at Last, comedy, 3 acts, 1 hr. 45 min 7 S Women of Lowenburg, Historical Sketch, 5 scenes, 50 min 10 10 Yankee Detective, drama, 3 acts, 2 hrs 8 8 t. S.'DENISON, Publisher, 163 Randolph St., Chicago. SHADOW CASTLE A COMEDY DRAMA IN FOUR ACTS WITH ORIGINAL PLOT AND STAGE EFFECTS BY W. FARRAND FELCH, AUTHOR OF ''THE PET OF PARSON'S' RANCH.'* f CHICAGO : T. S. DENISON, Publisher, 163 Randolph Street. Copyright, tSSS, by T. S. Denison. 4 SHADOW CASTLE. ACTS. /9^ ^ ^ Act I. A Child of the Wave. 4^ ^ Act II. Wrecked in Port. ' . Act III. Snow-bound, Act IV. The Waifs Wedding. CHARACTERS. '* Flossy," the Angel of '' Shadow Castle." Amos Fog, the Demon of " Shadow Castle." Archie Saunders, a Man of the World, Stranded at Last. Rev. Peter Peters, " Peter, the Parson;" a Clergyman Adrift among Wolves. Jason Jarvis, One of the Wolves. Mrs. Malone, a Friend in Need. Jeannette Malmaison, Flossy's Maid; in Love with the Par- son. George Washington Jones; in Love with Flossy, but All in Vain. Mason, the Miner, and other miners and hunters ad. lib. Time — The Present Day. Location — On the Shores of Lake Michigan. Time of Playing — Two Hours. PROPERTIES. Act I. Scefie i. Tent, containing stores in small tin boxes, blankets, pipe, flask, a small bound book, and an oil portrait framed or unframed, of some handsome lady; dog ; boat in L. 4 E. for Archie ; boat comes on R. 4 E. with Fog. Scene 2. A flask for Mrs. Malone. Scene 3. Baize cloth or dark carpet for water, to wave behind water borders from R. and L. 3 and 4 entrances. Practical balcony seen R. 4 E., containing chairs, flower pots, and rope ladder to reach from balcony to water be- TMP92-008882 SHADOW CASTLE. ^ low. Boat for Archie, sugar lumps, sewing and sewing basket and small book for Flossy ; boat for Fog ; pipes and punch- bowl filled with punch for Fog to offer to Archie ; rope, etc. Act II. Boat for. Archie ; torch for Fog ; pistol and flask for Archie. Scene 3. Book and pipe; coat and shoes for George to put on. The same oil portrait as in Act i. Act III. A prayer book for Jeannette in Scene i. Scene 3. A rope to bind Fog, fire-brands, etc. Act IV. A Christmas tree, small, neatly trimmed with trinkets and lights and surmounted with a wax cross ; prayer book and money bags for Fog to offer to Parson ; poison-phial for Fog. [Note — The Christmas tree scene can be omitted if pre- ferred.] SUGGESTIONS AS TO COSTUMES, Flossy. Short dresses of good material ; neat, attractive, but not gaudy. Vary the dress with each act. In Act 3, win- ter costume. Blonde hair streaming over shoulders. Amos. Rough hunter's suit, frayed and torn. Archie. Genteel sporting costume in Act i. In Act 2, with or without coat, adrift in the boat, — as you think best. Act 3, winter suit. Act 4, genteel suit. His costumes must not be too elaborate or varied, as a camper-out is not supposed to carry many suits. Peter. Long black coat, black pants ; high black cravat and standing collar, shabby genteel ; a thin cloak or cape. Jason and miners in rough suits. Jeannette. Plain dress and shawl. George. Rough hunter's suit. NOTE. This structure on piles can be constructed out of the stock scenery of any opera house or well-furnished hall. It can be made by placing a two-story cottage back C. in 4 extending 6 SHADOW CASTLE. out half way across the stage or less, and have a balcony con- structed out from the second story strong enough to hold three or more people at a time. The first story can then be covered up with scenery to represent bushes, grasses, rushes, etc., and the piles can be real sticks of wood in front of this shrubbery and supporting the balcony, about six feet high. The better way, perhaps, if stage is large enough, is to con- struct on substantial wooden piles (as large as an ordinary telegraph pole) a platform to extend half-way across stage- This can be backed by a sea-horizon scene, which will show of course between the piles ; then, the part above the platform can be arranged, with suitable scenery, to represent a small house or a cabin, with a practical balcony as above. The whole should be substantially constructed so as to be drawn off, piles and all, without taking it apart, and can be easily made. The Author. BILL OF THE PLAY. Act I. ''The thief in the night;" ''Shadow Castle;" " Flossy " and Saunders; Surprised by Amos Fog; Adrift on Lake Michigan. Act II. Ashore in the fog; Amos Fog attempts to wreck a vessel; attempts to strangle Archie; is shot, and pleads for life; Back to Shadow Castle. Act III. Archie leaves Castle; compelled to return; Amos tortured by miners, rescued by Archie. Act IV. Retribution. Amos expiates his crimes. SHADOW CASTLE. ACT I. Scene I. — Open stage^ cut wood wings^ camp fire in L. 4 E.^ small tent R. Archie engaged in feeding fire at rise of cur- tain. Rises and stretches his arms above his head. Set rocks 4 R. and L., kicked by water horizon. Archie. Well, I am now living the life of a good, hearty, comfortable bear. I am out in the wilderness away from civi- lization, and I feel myself free from the frivolity, the hypocrisy, the evil, the cowardice, and the falsity of the world. Now I can live close to nature, and mentally and physically become a man. Not a puppet, not a fashion-plate, as I was when I mingled in the gay circles of society, but a man. Here I have all that life holds of real worth. The sun, the free winds of heaven, the broad water, the woods, the flowers, the birds, the wild animals, whom I welcome as my fellows. True-heart, my dog, shall be my companion — much more trustworthy than a human friend. {Calls his dog to him and pats it on the head, then goes to stirring the fire. Rises after fixing the fire, during which time he has been hummifig a song. Looks around him.) Hello ! Some one coming ; and were it Old Nick in person, I should be glad to see him and shake his clawed hand. {Boat comes on R.) Well, always let the other man speak first. This boom- erang of a boat has a shape in it, I perceive. Guess I'll speak first. [Boat comes to C. and stops C.) . Well, old gentleman, where did you come from ? Fog. Nowhere. Arch. And where are you going .^ Fog. Back there. 7 8 SHADOW CASTLE. ^ Arch. Couldn't you take me with you ? I have been try- ing all my life to go nowhere, but never could learn the way. I always found myself some where. Fog. Nonsense. Who are you ? Arch. Well, I don't exactly know. Once I was supposed to be Archie Saunders of Fifth avenue. New York City ; but the wilderness has taken all the conceit of high-toned society out of me. So I suppose I am nobody now. Stay to supper and we will discuss the question. Will you ? It's long since I've had an argument with flesh and blood. You are flesh and blood, I suppose, aren't you ? Fog. Nonsense, young man. How came you here ? By water ? Arch. No ; by land. Fog. Along shore ? Arch. No ; through the woods. Fog. Nobody ever comes through the woods. Arch. I'll agree to that. But you know I am somebody. Fog. Do you mean that you have come across from Lake Superior on foot ? Arch. Yes, I landed on the shore of Lake Superior a month or two ago, and I struck inland the same day ; where I am now I neither know nor want to know, for I am trying to get away from the world, from society and all its shams, and from the remains of a broken heart. Fog. {Scowling.) Very well, very well ; but that's all non- sense. You have no boat, what are you going to do now ? Arch. Oh, I'm going somewhere, I suppose. Fog. Humph ! Do you start to-morrow ? Arch. Probably ; by that time I will be ready to move on. Fog. Just so. I will stay to supper, I think. {Comes for- ward and sits by the fire, war fating his hands and feet.) Arch. Very well ; perhaps you will tell me who you are ? Fog. Fog ; Amos Fog ; fisherman and hunter among the islands farther south. SHADOW CASTLE. g Arch. How long have you lived here ? Fog. About fifteen years. I saw your fire and came in shore to see what it meant ; for in fifteen years no one has ever camped here before. Arch. I suppose not. And so you have been here all that time, then ? Fog. Off and on ; off and on ; I live a wandering life. (Archie Ji//s a pipe for Fog and they smoke ^ wJiile Archie /re lake out of reach of the waves. A small balcony to be used, large and strong e?iough to hold two or three persons, extends out frofn the door of the house, with a neat railing aroimd balcojiy. Door of the house opefis on the balcony. Window of house also shows with small white curtain, and fiowers on the ivindoiv sill, as also on the balcony railitig. A rope ladder hangs from the edge of the balcojiy doiun to the water. Archie appears coming on in boat at L.ji E. Archie. I have undertaken this voyage from a pure in- born sense of justice. My book of sonnets and my Fran- cesca's picture, indeed ! Would nothing else content him ? He seems to be a very aesthetic rogue ; but I'll find him, if I SHADOW CASTLE. 15 perish in the attempt. Well, I must unlimber myself and get out of this fog, or I shall be lost, [Paddling vigorously ; stops and looks up.) How fast it is coming in. [Looks around and discovers the house at R. 4.) Thank heaven I am safe. I can reach that house and find a safe harbor. [Paddles, and the boat goes off R. 2 E. Flossy comes out of the house as the boat goes off, and begins to sing, at the same tiine attending to the flowers on the balcony. While she is thus engaged the boat is arranged to come on at R. 4 -£"., directly at the foot of the house beloiv the bal- cony. Archie paddles boat on, and then stops to look up at the balcony. Starts at beholding Flossy.) What does all this mean ? A fairy, as Fm alive. (Flossy seats herself in a chair. Produces a book from her pocket and goes to reading, at the safne time nibbling at some lumps of white sugar which she also takes from her pocket. Archie looks again.) No, it can't be a fairy, for she is eating, so she must be human. She is eating sugar. Eating my sugar and reading my sonnets. Sugaration ! that's cool. Well, at all events, my trip has not been in vain. (Flossy stops reading, turns a page, and looks tip. As she does so she catches sight of Archie and leans over the balcony, her longy flossy hair floating out on the breeze. ) Flossy. {Calls out to yVrchie beloiv.) Oh, George ; is that you ? Arch. No, it isn't George, it's Archie. But who are you? Flos. My name is " Silver Hair," as George calls me, and " Flossy," as father calls me. I see you aint George. Now, who are you, any way ? Arch. A hungry, tired man, who would like to come aboard and rest awhile. Flos. Aboard ? Why, this is not a boat. Arch. What is it then ? Flos. A castle — Shadow Castle. Arch. Ahem ! And you reside here ? Flos. Of course ; where else should I reside ? Is it not a beautiful place ? l6 SHADOW CASTLE. Arch. I could tell better if I was up there. Flos. Well, come up, then. Arch. How ? Flos. Don't you see the ladder ? Arch. Ah, yes ; Jacob's Ladder, I suppose. George comes up this way, I suppose ? Flos. He does not, but I wish he would. Arch. Undoubtedly. But tell me, did you ever hear about Jacob's Ladder ? Flos. No ; I never heard about it. Come up and tell me about it. Arch. You surely have read about it in the Bible? Flos. The Bible ? What is the Bible ? Arch. [Aside.) Is it possible she don't know what the Bible is? Surely this is a new kind of a heathen — and a very pretty one, too. [Aloud.) The Bible is a book. Flos. Oh, it's a book, is it ? I like books. I have read five ; and now I've got a new one. Arch. Ahem! Yes; and how do you like the new one? ( Comes up the ladder., /taving tied his boat to one of the piles which support the house. He climbs over the balcony and sits on the rail- ing. Takes the book in Ms hands. Aside.) It is the identical Shakspere. But the little witch is welcome to it, any way. (Aloud.) You have not answered my question. How do you — Flos. How do I like the book ? I do not understand it at all. Perhaps you can explain it to me. Arch. (Smiling.) I think I can. That is, if you wish to learn. Flos. Is it hard to learn ? Arch. That depends on the scholar. (Jeannette appears at the door.) Ah, this is another one of the family, eh ? Flos. Yes, this is Jeannette, my nurse. (Aside to Jean- nette.) He came in a boat, Jeannette ; and he says he is tired and hungry ; so we had best have supper now, without waiting for father. As soon as the sun goes down it will be quite damp; SHADOW CASTLE. I 7 perhaps you had best build a small fire. Just a few shavings and one little stick, Jeannette. i^Exit Jen. at door.) While Jeannette is getting supper I will show you my flowers and pets. Arch. By all means. Have you anything in the way of mermaidens ? Flos. The idea ! No, mermaidens dwell in the water ; they can't live in houses as we can. Did you not know that ? I have seen them on moonlight nights far out at sea, combing their hair ; and so has Jeannette, and so has Aunt Shadow. Arch. Aunt Shadow? Another member of the family? (Aside.) Perhaps a ghost. Flos. Yes ; she's a member of our family, only she aint here any more. She went away one night when I was asleep. I do not know why it is, but if people go away from here in the night they never come back. Will you do so? Arch. No ; when I go away, I will take you with me. (Zaug/mig.) Flos. Will you ? very well ; and father can go too, and Jeannette ? Arch. (Aside.) She really takes me in earnest — the inno- cent little puss. (Aloud.) Well, I don't know about them; but we wont talk about it just yet. Flos. Well, I really don't care to leave here, for I am so happy. I wouldn't live on the shore, would you ? Arch. Oh, certainly not. But you do not find all these flowers on the shore, do you ? Flos. No ; father found them. He finds everything for me. He has something in his boat almost every night for me. Oh, I hope he will come soon, and I know he will be so glad to see you. Arch. Will he ? (Aside.) I wish I was sure of that. (Aloud.) Has he any men with him ? Flos. Oh, no ; we live here all alone — father, Jeannette, and I. 2 l8 SHADOW CASTLE. Arch. But you were expecting somebody you called George. Flos. Yes ; I have been expecting George for more than two weeks. Every night I watch for him ; but he does not come. Perhaps he and Aunt Shadow will come together ; do you think they will ? Arch. Oh, certainly. [Aside.) Anything to please the little witch. Flos. Oh, I'm so glad, so glad ! for father and Jeannette will never say so. I think I shall like you. Say, what shall I call you ? Arch. Well, you may call me Archie. Flos. Would you like some lumps of sugar ? Arch. No, thank you, you can keep them. Flos. Father brought them to me. Brown sugar we have always ; but white, not always, and 1 like it so much. Don't you ? Arch. No, I care nothing for it. (Flossy takes up a bit of seiving from basket at her side and commences to sew.) Arch. So you can sew ? Flos. Of course I can. Aunt Shadow taught me. There is no need to do it, for I have so many dresses, silks and satins, too; but I like to sew. Arch. Yes, and I think I heard you singing as I came up the lake. Will you not sing for me ? {She begins singing, and continues until boat comes on at L. 2 E.) Flos. Ah, there comes father. I hear the oars of his boat. Yes, I see him. [She leans over the balcony^ Arch. (Aside.) I may as well face the old rogue at once. Fog. (Coming on Z.) Ah, she is there. I can see her plainly. (Cai/ing.) Are you there, darling, well and safe? Flos. Yes, father. Fog. (Aside.) Thet«; is some one with her, and it is not Jeannette. But who can it be ? (He rows ojf R. 2 E., and re- appears at R. \ E., luhere he hitches his boat and climbs the rope ladder?) SHADOW CASTLE. 1 9 Flos. {^Leaning over balcony.) Yes, father, I am here, and so glad to see you. (^Her father s head appears above the bal- cony on ladder.) We have a visitor, father dear ; are you not glad to see him ? Fog. (Amos climbs over the balcony and confronts Archie.) What are you aoing here ? Arch. Looking for my property. {Aside to Fog.) Fog. [Aside.) Take it, and begone. Arch. [Aside.) I will — to-morrow. Flos. His name is Archie, father ; and we must keep him with us. Fog. Yes, dear ; no doubt, as long as he wishes to stay- But perhaps he has a home and friends waiting for him. Flos. What have you brought to-night for me, father ? Fog. Nothing, child ; that is — nothing of consequence. But it is growing late. Run off to your nest. Flos. Oh, no, papa. You have had no supper, nor — Fog. I am not hungry. Go, child, go ; do not worry me. Flos. Worry you, father ? never. (Embraces him and then kisses him.) Well, I will go straight to my room now. Good- night — Archie. Arch. Good-night. {Exit Flossy at door. Aside.) Now for us two. Fog. {Drawing up his chair confidentially.) You see how it is ; that child is the darling of my life, and I could not resist taking those things for her from you ; she has so few books and she likes those little lumps of sugar — just as any child likes candy. It's all right, aint it ? Arch. Oh, certainly, it's all right about them ; she is wel- come to them. But what about the picture of my lady love that you stole ? Fog. Sh-sh-sh ! not so loud. I would not have her know for the world that I stole them. It was a father's foolish pride to take that picter. I knew that Flossy was far prettier than it, but I wanted to see the two side by side. My Flossy is prettier — now isn't she ? ^6 SHADOW CASTLE. Arch. I do not think so. Fog. Don't you, though ? Well, I suppose it is 'cause I am foolish about Flossy ; but you see she is all the world to me. We live here all alone. My sister brought her up. Arch. You mean Aunt Shadow, that went away ? Fog. Yes ; she was my sister, and — and — she went away last year. Have a pipe, stranger ? Arch. I should think you would find it hard work to live here. Fog. I do ; but a poor man can't choose. I hunt and fish, and get out a few furs sometimes. I traffic with the Beaver Island people now and then. I bought all my furniture in that way. You wouldn't hardly think it, but they did have a great many nice things down to Beaver. Arch. It looks to me like steamboat furniture. Fog. That is it; it is. A steamer went to pieces down there, and they saved almost all her furniture and fixings- They are very good sailors. Arch. Wreckers, perhajDS. Fog. Well, I would not like to say that. You know we do have terrible storms in these waters ; and then, there is the fog ; this part of Lake Michigan is foggy half the time. Twelve hours out of the twenty-four the gray mist lies on the water here and outside, shifting slowly backward and forward like a waving curtain. Arch. Yes, I had an experience of the fog. I came near being lost in it. But tell me more about your little girl. She tells me she has a great many dresses — silks and fine things. How did you get them for her ? Fog. Oh, those silks came from the steamer too — the trunks, you know. But I have never told Flossy. She might ask where were the people they belonged to, and I should have to tell her they were drowned ; and then the little gal wouldn't feel like wearing them any more. Arch. I do not like the idea of dressing in dead men's SHADOW CASTLE. 21 clothes. It does not seem right that such a bright, happy- creature as she should do so. Fog. Neither do I like the idee. But how could we help their drowning, when we were not there to save them? Be- sides, those dresses were going for a song after the wreck, down at Beaver. The child loves pooty things ; so what else could I do but buy 'em for her ? You wont tell her, will you, stran- ger ? I may have done wrong in the matter ; but it would kill me to have the child lose faith in me. You wont tell her about it, eh ? Arch. No, I will not. Why should I ? Fog. Sure enough ; why should you ? That's right. Thankee. Take a glass of hot punch, will you, stranger ? I'll get it ready in no time. [Exits into house.) Arch. [Aside. Sfnoking.) What does all this mean ? There is some mystery here. I like it not. What motive can this old chap have in keeping the little fairy cooped up in this old hulk", all her life, away from the world, away from society ; but, pshaw ! society would spoil her as it has spoiled me. Perhaps he wishes to keep her from being tarnished by rough contact with the world. Well, if she were mine I could not want her to be less innocent and unsophisticated than she is. She is simplicity, and innocence, and childishness personified. (Enter Fog with a glass of punch steaming hot, which Archie drinks slowly while conversing.) Are you going to keep the girl shut up here forever ? Fog. No, that's just it. No, I am not. But you see she has been but a child all this time — nothing but a child. My sister has taught her well. We have done the best we could by her. But as soon as I have a little more money — just a little more — I intend to move to one of the towns down the lake and have a small house and everything comfortable. I have planned it all out. I shall have — [Aside.) Hanged if he aint falling asleep. It's taking effect. I'll soon have him out of the way. 22 SHADOW CASTLE. Arch. ( Waking out of a doze ) I think T had best retire, as I feel weary. Fog. Certainly, but as I was saying — Arch, Never mind ; I can hear the rest to-morrow. Fog. Very well, so you are going to-morrow ? I am sorry you go so soon ; I'd like to have you stay a few days. I am going over to-morrow to the shore where I first met you, to tend to some traps. Perhaps you'd like to go along and enjoy a little hunting? Arch. No, I have had too much of that already. I should like to find a steamer or vessel going to Chicago. Fog. Nothing easier. I'll take you down to the Islands to-morrow, if the wind is fair, and you can catch a vessel there. Would you like to look round the castle ? I am going to draw the ladders up. No ? Well then, let me show you your room. This way, sir. [They exit into house. Fog re-enters from house and sits smoki?ig.) He must not stay here another day. How in the mischief did he come here ? It must have been by acci- dent. (A brief silence?) And he's seen my Flossy, too. If he stays here another day he would be for running away with her; and what could I do without Flossy. He must not stay here. I must get rid of him to-night. I can do it easily. That punch was drugged, and he is sound asleep by this time. I'll let him down in a boat, and I'll row him over to Beaver before he wakes up ; and then I'll leave him on shore, and when he wakes up and comes to his senses he wont know whar he is. That's what I'll do. (^Exit into the house. Conies out bearing AKQm^ in his arms fast asleep. Puts a rope under Archie's arms, then lets him down slowly from the balcony by the rope until Archie is safely deposited in boat below. He then prepares the rope ladder to descend to boat; but as he is about to descend ladder ^ the boat drifts off.) Good God ! it has broken loose and is drifting out into an open sea, and in the thickest fog I ever saw. [Curtain.) SHADOW CASTLE. 23 ACT II. Vieia of an open sea, same as last act. Scene, set rocks in f?'ont, but no house in sight. Stage very dark. Storm, thmider and lightning. Baize ivaned up and doivn so as to show the lake in violent commotion. Boat containing Archie is moved on L. 2, with Archie /// // asleep. He wakens slowly as if dreaming. Arch. Poor old man ! How he must have worked, and stolen, and starved to keep her safe and warm in this far away nest of his, hidden in the fogs. Well, I wont betray the old fel- low ; but I'll go to-morrow. Yes, I'll go to-morrow ! [Starts up, looks around wildly.) What does this all mean ? Where am I ? What does it all mean ? I went to sleep in the old castle, and I waken to find myself at sea in an open boat. My God ! but this is some treachery ! Could he be so heartless as to set me adrift to perish ? Well, I must save myself, some- how. I must paddle out of this fog, and then perhaps I can see land somewhere. We'll see who will conquer, Fate or I. [Begins to paddle vigorously. His oar strikes bank at R. 2 ^., and he feels for the bank with oar.) Yes, it is land ! land ! I an saved at last ! (Carefully feels his way, and then alights on the bank after securing his boat to bank. While he is mooritig the boat, Amos Fog has climbed up at R. 4 E., and has tied a large torch high in the branches of a tree so that it illuminates the water, and lights up the scene. Archie sees the torch?) What can that mean ? It was not there a moment ago. Perhaps some one has put it there as a guide for me. They must have seen my little boat out at sea, and placed that torch in the tree to show me which way the land lay. Thank God for that. [Looks around.) Strange. The harbor must be on the other side. [Looks out to sea, L.) Great God I there is a vessel heading this way. It is coming toward the reef. It will go to pieces on the rocks, but I am helpless, and I cannot aid the poor wretches. There, I hear a crash ! It has gone aground and it will soon go to pieces. [Looks up at light.) The light ! 24 SHADOW CASTLE. it is a lure ! a false light ! I must take it down. (Starts to go off R., when he is roughly seized by Amos Fog, who grasps him by the throat. They struggle.) Fog. I know you — rascal. You have come back to life, have you ? I thought I was rid of you forever. But FU make short work of you now. ( Throws Archie down on his knees and strangles him. Archie atte^npts to cry out.) No use to cry out. Better say your prayers, youngster, and say 'em quick. (Archie reaches round to his hind pocket and gets revolver. Fog tries to grasp his arm, but Archie struggles, and in the scuffle the revolver goes off and Fog falls, groaning with pain.) Oh, I am wounded. Stop ; do not kill me. Arch. Kill you ? you tried to kill me, wretch. It was you who set that lure. Fog. Yes. Arch. Well, can anything be done for those men on board? Answer, or FU end your miserable life at once. I don't know why I did not kill you outright, you miserable coward. Fog. Nothing can be done now. It's too late. I know every inch of the reef and shore. Besides, it was only a small schooner. There's not more'n six on board. Arch. Silence. Each man of the six is worth a hundred such as you. Fog. That may be, for my life aint worth much now, sence you shot me. Stranger, can't you do something for me, or I shall bleed to death. Don't mind them. They're about gone now. The water is deadly cold out thar. By daylight the things will be coming ashore. You'll see to 'em for me, wont you. Arch. See to them ? I'll see to nothing, murderer. Fog. Murderer ? and if I die, what diXt you but a murderer? Arch. An avenger. Fog. Flossy would die, too ; there is but little left in the house and she'd starve soon. It was for her sake that I come out here to-night. SHADOW CASTLE. 25 Arch. Well, I will take her away ; not for your sake but for her own. Fog. But how could you find her? Arch. As soon as it is daylight 1 can sail over. Fog. Over ? Over where ? That is it, you do not know. Stranger, you might row and sail about here for days, and I'll warrant you'd never find my castle. It's hidden away in a nest of reeds, trust me for that. The way to it lies through a perfect tangle of channels, and islands, and marshes ; and the fog covers it about half of the time. The only approach to it is through a channel masked by a movable bed of sedge which I contrived and which turns you back into the marsh by another way. So you might float around for days and never find the castle. Arch. I found it once. Fog. That was because you came from the north shore, which aint guarded, because no one ever comes from that way. You are miles away from there now. Arch. Well, I shall find it again, as I found it before, never fear. Tell me the truth, old man, has the girl no boat ? Fog. No. Arch. Will any one go to rescue her? Does any one know of the castle ? Fog. Not a human being on this earth beside myself. Arch. Where are Aunt Shadow and George that she told me about ? Fog. Didn't you guess that, stranger? Aunt Shadow is dead ; and the boy I sent away because he was so foolish as to fall in love with Flossy. My child knows nothing of death. I only told her that her aunt had gone away, and I never could bear to undeceive her. Arch. But is there no way for her to cross the islands to the mainland ? Fog. No ; there is a circle of deep water all around the castle outside. 26 SHADOW CASTLE. Arch. I see then, that there is nothing to do but to save your justly forfeited Hfe. It would not be worth the saving, if it were not for the child. i^Stoops oz'er Amo?> a/id attends to his wounds.) Tell me v/hy you placed all my property in the boat with me when you set me adrift ? As you are a thief and a robber I should have thought you would have kept them. Fog. I did not wish to harm you ; only to get rid of you. You had provisions, and your chances were as good as ever if you ever came to shore. Arch. But I might have found my way back to the castle ? Fog. Once outside you could never have done that Arch. I could have gone back along shore ? Fog. No ; there are miles and miles of swamps where the streams come down. But tell me, do you sec anything coming ashore ? Arch. No ; the poor men's bodies will wash ashore, no doubt. Fog. No ; they don't often come in here ; and they're more than likely to drift out to sea. Arch. Miserable man. So this is not the first time you have wrecked a vessel ? Fog. Only four times — only four times, in fifteen long years. And then only because my Plossy was close to starva- tion. The steamer wa^ honestly wrecked — the " Anchor " of the Buffalo line — and she did not go to pieces for two days ; and what I gathered from her lasted me a long time, besides furnishing the castle. It was a godsend to me — that steamer, stranger. Arch. Yes, no doubt ; but you are none the less a murderer. Fog. Do not judge me too harshly, boy. I work, I slave, I go hungry and cold to keep her happy and warm. But there are times when everything fails, and starvation is at the door. But she never knows it ; none of 'em ever knows it, for I keep the keys and tell 'era little stories just to please 'em. But as SHADOW CASTLE. 27 Go J is my judgc\ the wolf has often been at my door, and is there now unless something washes ashore. Arch. Why do you not fish and hunt for her food ? Fog. Fish and hunt ? I do, stranger ; but my darling is not accustomed to coarse food ; her delicate life must be care- fully nourished. Oh, iv;// do not know. You do not know all. I am growing old, and my e3^es and hands are not what they were once ; that very night when I came home and found you there, I had just lost overboard my last supplies which I had stored so long for her sake. If I could walk now, I would show you my cellar and storehouse in the woods. But I can't walk. ]\Iebbe Fll never walk again, for this wound is a very dangerous one, and may lame me for life. Arch. Never mind that now. You surely could have labored honestly, and could have supported your child in that way. Fog. Labor ? Ah, how I have labored for her. I have felt my muscles crack ; I have dropped like a log from sheer weariness. Talk of tortures ! which of them have I not felt with the pains and faintness of exposure and hunger racking me from head to foot. Have I stopped for snow and ice ? Never. I have worked, worked, worked, with the tears of pain rolling dowr^ my cheeks, with my body gnawed with hunger. Last night when I was shifting my boxes of provisions they slipped and fell overboard out of my grasp, just as if they knew it — knew all the time that they were the last. So I had to come home empty-handed, and I found you there. When I sent you adrift I would have taken your supplies for my Flos- sy's sake, only I couldn't send you adrift without a chance for life. You look at me with scorn. You are thinking of those dead men out there — but what are they to my Flossy — rough, common fellows. Arch. They are better than you are, at all events. Well, I am going to try to save them, if I can. Fog. You are not going ? You are not going to leave me 28 SHADOW CASTLE. to die ? Ah, well, that is all I can expect from you. The sun will come and burn me, thirst will come and madden me ; this wound will torture me, and all is no more than I deserve. But Flossy ! if I die she dies. Come back. If you forsake me, you forsake her. You cannot reach her alone, and 1 — only I — can guide you to her. Oh, save me for her sake. Oh, God have pity and soften his heart. {Falls fainting on bank. Close in.) Scene Second — front scene — wood or water. Arch. (Enter Archie R.) It is too late. I cannot save them. I tried to reach them in the boat, but could find no trace of the wreck, so I came back to the shore. What a wretch is this Fog, who could lure them on to death. He de- serves a worse death. I do not feel it would be riijht to save him. But I must for the sake of the girl. [Slops irresolute.) Yes, I will go to him. I am a brute to desert a dying man. (Enter from R. Fog, dragging himself on sloiuly and painfully. Falls at the entrance R. Akchi'E. ru /is to him.) The man has dragged himself thus far in search of me, rather than let his child starve. How he must love the little one. Yes, I must save her. I will take him, and he shall guide me back to her. After that, it would not matter much if he sho^ild die, if it would be any expiation for this wholesale crime. [Goes to old Fog and lifts him up.) He has dragged himself along until he has unloosened the bandages. [He proceeds to bind up the mans woujids again, and to restore him to consciousness by apply- ing a flask to Fog's lips.) There is blood on him and he has left a trail of blood behind him, marking the way he came. My God ! if this man dies I shall be his murderer. I shudder to think of it — of the life-long remorse and misery that it would cause me. Fog. [Reviving, looks up.) Thank God, I have found you. Take me home, sir. Take me home. But stop ! First look and see if anything has come ashore. If there is nothing, my darling will starve, for I am unable to help her. SHADOW CASTLE. 2() Arch. {Looks off R.) Yes, there are several casks and a box stranded in the shallow water. But I cannot touch them. / am not a wrecker. Fog. You are not a wrecker ? Yes, and you can thank God for that. But if you let my darling starve, do you not think you would be worse than a wrecker ? Arch. Never mind that; I have money. I can purchase for her as many dainties as she may wish. She shall be well treated, never fear. {Lifts Fog iip in his amis.) But shall we see the castle to-night ? Fog. We may be there to-night if the wind does not shift. Arch. Have we then so far to go ? Why, I came across in a night. Fog. Add a day to the night and you have it. I let you down at night and you drifted away ; but the drug held you in its strong hold for a long day^ and you never knew what happened to you. Then the storm came up and I came over here to set the light. It was a chance that I did not count on when your boat floated this way and landed you ; and when I saw you, I knew I would have to get rid of you, or you would discover my plot to wreck the vessel. And — and this is the end of it all. Arch. Yes, this is the end of all your plotting and schem- ing, and it is nearly the end of you. Fog. Yes, it may be ; but I want you to promise me — promise that you will never betray me to my child. Arch. I promise. Fog. That is not enough. Swear it. Arch. I swear to you as between man and man, that I will not betray you. Fog. That is enough ! Now let us go on or it will be too late. (Archie picks him up and carries him off R. Full off and disclose inUrior of the castle.) 3© SHADOW CASTLE. Scene Third. Interior of the castle. A large table C. Bed with curtains L. C. at rear, in which Fog is lying, very sick. Archie is seated near the table R. reading. Fog. I suppose you know what day this is ? Arch. No, I have lost all reckonings of time and place. Fog. You are worse than I am. I keep a reckoning, although I do not show it. To-day is Sunday, but Flossy does not know it. All days are alike to her. She does not know what the Sabbath means, and she has never heard of the Bible. Arch. {^Dropping his book.) Yes she has, for I told her. Fog. You told her ? {Starting up in bed.) Arch. Be quiet or you will disturb those bandages again. I only asked her if she had read the book, and she said no. That was all. But supposing that I had told her about the Bible, would it harm her to know of it ? Fog. It would harm her to lose faith in me Arch. Thenwhy have you not told her so yourself? Fog. I left her to grow up as the flowers grow. Is that not enough ? Is she not pure and good ? Yes, a thousand times more so than any school or church could make her. Arch. And yet you have taught her to read ? Fog. Yes. I knew not what might happen. I could not expose her, defenceless in a hard world. Religion is all fancy, but education is like an armor. I cannot tell what may happen. Arch. That is very true. You may die, you know. You are an old man. Fog. Don't talk of death. Let me be in peace while I may. {Turns his face to the wall.) Arch. Ah, I see, I have touched the old man's conscience. Well, I will let him be. Let him think it all over, and perhaps he will repent sometime. I must stay here until he recovers. Of course I cannot leave them to starve. And if he dies I will take them away from here — back to civilization and give SHADOW CASri-E. 3 1 them the benefits of a home and society. Society ? There it is aL^ain. How I hate that word. Ihit tlien, this httle pc3.v\ of Sliadow Castle surely would shine in society, even if she had nothing more to recommend her than her precious innocence. 1^ N I' I ', R J 1 ■, ANN \'V\"\- 1<: /ro/// 7v\ Approaches him. Jeannkttk. lk)n jour, Monsieur. Arch. Talk ]Onj;lish to me, please. I hate French. Sit down, 1 want to talk to you. It is about l^'lossy. Jkan. Yes; isn't she beautiful ? Arch. Ahem, no ; not exactly in my eyes. Jkan. Why, what more can you want. Monsieur? She has pretty eyes and hair. Arch. There is no mind in her face ; she has no education. Jkan. lUit she is still a child. Arch. Yes, that's just it. She will always be a child ; she will never mature. Ji:an. Oil, yes, she will. She can cook, and sew, and dance, and sini;'. Arch. Oh yes, without doubt, ('ertaiidy, and amen to all that ! Hut she cannot read very well ; she is hardly beyond the spelling period, when she repeats "The good boy has a top," " The good girl can sew a seam." N(;w what does all that amount to ? Jkan. You must be patient with her. Teach her yourself. Arch, 'I'each her myself. But I — what if I do not like the task. You forget that I am a woman-hater ? Jean. Suppose you try. It will amuse you. Enter fro/ii L. Flossy, /// short dress, hair down. Flos. Jeanncttc, I have come to have you braid my hair. [Scats herself in front (f J i.a nni'-TTK, 7vho hei^ins braidinij; her hair. Arc nil': rci^ards her closely.) Arch. {Aside.) She is very beautiful. 1 might paint her picture in that attitude, with her hair down. It would make a fine companion picture for my portrait of Francesca. Bah ! 32 SHADOW CASTLE. It is sacrilege to speak of those two in the same breath. Francesca, with her wealth of golden hair and her rich, oriental complexion — and this little blonde — oh, well, they are both pretty, but in an opposite way — that's all. [Aloud.) Flossy, what would you say if I were to paint your picture ? Flos. Ah, do, please do, Archie. That will be so nice. It will look so nice beside the other one. (Archie turns /its kick and scowls,) Yes, paint it for me. I will dance for you and sing now, if you wish. {Begins to dance ^ Arch. Stop child ! It is Sunday. Fog. [Peering out from the bed.) Let her dance. No mat- ter what the day is ; let her dance, I say. It does my old heart good to see her dance. (Flossy comes forward and dances. Archie does not pay any attention j but Fog and Jean- NETTE applaud her.) Fog. Now, my pet Flossy, will you not sing something for your father ? (She introduces song here, then exits L.) Jean. Do you not like her? She is bright, and pretty, and — Arch. Do not deceive yourself. It is all superficial. Jean. Why do you judge the child so harshly? She is a poor unfriended girl, and I will defend her against any one ; I will put her against a man even, who has the best of Boston culture behind him. Arch. [Aside.) She means me. But never mind, I can fall back on my culture for safety, anynow. Oh well, I shall not get sentimental over her. [Aloud.) You can go, Jean- nette, as it is getting late. I will* watch by his bedside to- night. Jean. Thank you. Monsieur, you are very kind. [£xit L. bowing?) Arch. Now I am all alone, I will smoke my pipe. I call it Sweet Silence, and it is fitly named. It is far preferable to that chattering French girl. Boston culture, indeed ! What does she know of Boston culture, that she must depreciate it SHADOW CASTLE. S3 in that style. Why, I doubt if she has ever seen Boston. Well, if the old man should die, as he is very likely to do, if "liis wound does not improve, I would take Flossy to Boston with me, and put her in a good school ; and I would give her a first- class education ; then I would bring her out into society and — confound it — there it is about society again. (Gefs up, pokes the fire and then looks at the old man in bed.) He's fast asleep, and resting easily. I'll go back to my easy chair and think about Francesca. {Goes to window and looks out.) What a horrible storm is raging without ! The rain comes down in sheets. Thank heaven for a good shelter and a warm fire. (A knock is heard at the door C. and Archie goes to the door and opens it.) Enter George Jones. A slim young man with pale and pinched features, large eyes, and haggard look. He is dressed shabbily, and the water is run- 7iing from his garments in little streams. He stands shivering, looking at Archie /// a suspicious manner. Arch. What do you want? Geo. Shelter. (Archie draws him in and shuts the door.) Arch. Well, this is a pretty time of the night to come for shelter. Who are you ? Explain yourself. Geo. I'm George. Arch. So you are the George I have heard so much about. And where did you come from ? Geo. Nowhere. Arch. Why, fool, you are now next door to nowhere. Stop shivering, you horrible image of despair. Geo. Please sir, I can't help it. Arch. Oh, can't you ? I suppose not. Well, of course I shall have to go to work, as I knew I should at the first, and get you into dry clothes. Sit down here. (George sits in the easy chair in which Archie has been sitting.) Now take off your clothes— your outside clothes, I mean. (George takes off his 3 34 SHADOW CASTLE. coat^ hat ajid shoes, and puts them in a pile?) Now, youngster, putTon these. (Archie gives him coat and shoes of his ow??.) Well, you begin to look like a man now, with my clothes on. (Archie then sits doiun by him and begins s?noking.) Geo. I do feel a bit comfortabler. Arch. Well, as there's no use calling up the folks, suppose you sit here and tell me all about yourself, while you are get- ting warm. What's your name ? Geo. George Washington Jones ; I'm a poor orphan and I've got the chills and fever so bad I had to come back ; but I didn't expect to find strangers. Arch. So I suppose you want to know how I came here, eh? Well, I drifted in ; then the old gentleman met with an — an accident, and I've been taking care of him ever since, and doctoring him in the hopes of saving his life. From the appearance of yourself I should judge that I've saved yours, too. Geo. Yes, I reckon )^ou have, governor. I was out on the mainland hunting, but I didn't have any luck, and I tried to cross back to Beaver Islands, but got lost in the fog ; the fog kept me prisoner until all my provision was gone, and I was half dead with hunger ; I had been drifting for two days with- out food when I came across the castle, and knew my bearings. So I put in here, hoping to find Flossy and shelter. I only want to stay until the storm goes down. I don't want to stay any longer, governor, since he druv me away. I wouldn't have come back now, only I wanted so bad to see Flossy. Arch. So the old man chased you away because you were in love with Flossy, eh ? Geo. That's just it, governor. 'Cause I loved the gal. Arch. You should do nothing of the kind. Don't you know that falling in love is all sheer foolishness ? Why, you aint a man yet. Geo. Yes I am, as much a man as I'll ever be, governor. Arch. What do you know of the world now ? You have SHADOW CASTLE. 35 never been away from here any great distance, and know nothing of the outside world. Geo. Yes, I know that ; but /';;/ satisfied. Arch. George, I want to tell you something in confidence. I don't expect the old man will get well. In that case Flossy would be without a natural protector — Geo. Oh, but I'll protect her. Arch. Nonsense ! You couldn't protect your grand- mother. Now, I am rich, have a good home, move in good society ; I intend to take Flossy away with me — in case the old man dies, and give her a good education, and the bringing up of a lady. Geo. Oh, sir, she wouldn't speak to me then. Arch. I'll do more, George. You seem to be "a likely boy," as the phrase is out here. I'll take you too, and give you a good business education, and a start in life. Geo. Would I be near Flossy, if I went with you ? Arch. Ah, I don't know about that. You see I would not have you together much, for she would be away at boarding school, and you would be in Boston, in business. Geo. Yes, but I couldn't abear that, nohow. I couldn't stay away from her no time at all. Arch. Is it so bad as that, George ? Geo. Yes, 'deed and double ; I'm in earnest, head over heels. I say, governor, don't you think she's got a nice little face, now aint she ? Arch. Really, I'm no judge of her style. I will show you the picture of a lovely woman I once knew. {^Produces the picture of Francesca.) There are many such faces out in the world, and you can see them if you go. Geo. {Gazing at the pictitre closely?) It's some queen, I reckon. Arch. No, no ; it's a beautiful lady, and you shall know her ; her very self if you wish. Look at the waves of golden hair, her starry eyes, her velvet skin with its rose leaf glow, 36 SHADOW CASTLE. See her head, her bearing, her exquisite royal beauty. Look, look with all your eyes, and tell me if jw/, too^ can see anything in her to love. Geo. It's mighty grand ! it's powerful fine, governor ; but arter all Flossy is sweeter nor her. Arch. (Aside.) Good Lord ! can it be possible this boy has such depraved taste that he can see nothing in 7/ty Fran- cesca to compare with /ii's Flossy ? Geo. I say, governor, can't Flossy go with me ? Arch. I tell you no. You ;;///^/ give her up. She is as ignorant as you are ; and being a woman she cannot learn, or rather unlearn. Geo. But can't women folks learn ? Arch. No ; they are an inferior race. By nature they must be either slaves or tyrants — tyrants to the weak, slaves to the strong. The wise man binds them down ; the chains may be gilded, but none the less they are chains. Geo. Well then, governor, I'll just take Flossy with me as my slave. It '11 do, as long as I have her, somehow. Arch. Ha, ha, ha ! JV/iy do you want her, George ? She is utterly ignorant. Geo. I know it, governor. Arch. And she does // castle. Archie seated R. and Fog Z., c 071V er sing at rise. Fog. The ice is moving out. In a month you can sail safely, and I suppose you will go for good this time. Arch. Yes, and I shall take Flossy with me. I intend to make Flossy my wife. Fog. At last? ■ Arch. At last. No wonder you are glad. Fog. Glad ? No, not glad. Arch. Of course it is a great thing for you to have Flossy off your hands and placed in a home high above your expecta- tions. Ah! Love is a strange power. I do not deny that I have fought against it — but — but why should I conceal it ? I love Flossy with all my heart and soul; she seems to have grown into my very being. Fog. [Lea?is foriuard and grasps Archie liy the hand.) I know you love her. I know something of men; and I have watched you closely. It is for this love that I forgive — I mean that I am glad and thankful for it — very thankful. Arch. And you have reason to be. As my wife. Flossy will have a home, a circle of friends which — but you could not understand. Let it pass. And now tell me all you know of her. Fog. Will you have the whole story? Arch. As well now as ever, I suppose; but be as brief as possible. Fog. Well then, forty years ago or thereabouts, a murder was committed in New York City. I shall not tell you what it was; there is no need; enough that the whole East was stirred up, and a heavy reward was offered for the man who did the deed. I am that man. SHADOW CASTLE. 53 Arch. Good God! Can it be possible? And you dare confess it now? Fog. Yes, why should I excuse the deed to you now? No, I will not. It was done and /did it; that is enough. The damning fact that has made my whole after life a bitter draught. There was no gain to me; only loss — black, eternal loss of everything, in heaven above or on the earth; for hell itself seemed to spew me out. 1 fled away with the mark of Cain on my brow; and the horror was so strong on me that I could not kill myself, for I feared to join the dead. I fled to the uttermost parts of the earth and yet came back again to the scene of my crime, moved by a strange impulse. After years had passed I returned to the old home, and crept to the old house where my only sister was living alone. Arch. The sister you call Shadow? Fog. Yes. I made myself known to her. She left her home and followed me with a sort of dumb affection — poor old woman. We kept together after that — two hunted creatures, instead of one; we were always fleeing, always imagining that fingers were pointed at us. I called her my " Shadow," and we took the name of ^' Fog " — to us meaning that we were nothing but creatures of the mist. Arch. The name was certainly appropriate. Fog. At last one day the cloud over my mind seemed to lighten a little as the thought came to me that no punishment can endure forever without impugning the justice of the Creator. Arch. You are right, as near as hum.an judgment can know of such things. But let me hear the rest of your story. Fog. Well, the thought came to me that some day my pun- ishment should end. That day I found Flossy on the wreck of the steamer; no one knew anything about her; she was almost in rags, fair and delicate, and wasted by sickness. Then an- other thought came to me — expiation! I would take this for- lorn little creature, and bring her up as my own child, tenderly, carefully — a life for a life. 54 SHADOW CASTLE. Arch. You could not have had a better expiation. Fog. Yes; and my poor old sister took to the child wonder- fully too. We wandered for a time longer after we came west- ward to the lakes, and several years before we settled here. Shadow took care of the babe, and made her dresses and taught her to sew and read. You must not think that Flossy is totally ignorant. Arch. I will teach her. Fog. Is it strange that I should become attached to the child ? I have loved her with so great a love all these years that my days have flown by; for her I have sailed out over the icy waters, and into the storm; for her I have hunted through the winters, and have dared a thousand deaths, to labor, to suffer, to save, for her sake — these have been my pleasures through all these years. When I came home, here she was to meet me, her sweet voice calling me Father, the only father she had ever known. When my poor old sister died, I took her away in my boat at night and buried her in deep water. My darling knows nothing of death. I could not tell her. Arch. And those wrecks ? How do you make them bal- ance with your scheme of expiation ? Fog. I will not have them brought up in that way; I tell you I WILL not. Have I not explained that I was desperate? What are one or two miserable crews to the delicate life of my beautiful child ? And the men had their chances, in spite of my desperate lure. Does not every storm threaten them with death ? But shall I tell you the whole ? Listen then. Those wrecks were the greatest sacrifices, the most bitter tasks of my hard life; the nearest approach I have yet made to expiation. Arch. How do you mean ? Fog. Do you suppose I wished them to drown ? Do you suppose I knew not the greatness of my crime ? Ah ! I knew It only too well, and yet I sailed out and did the deed. It was for her sake — to keep her from suffering and starvation; so, I sacrificed myself bravely. I would murder a thousand men in SHADOW CASTLE. ce cold blood, and bear a thousand additional punishments to keep my darling safe and warm. Do you not see that my whole life has been a self-sacrifice, the greatest, the most complete I could make ? I vowed to keep my darling tenderly; I have kept my vow. See that you keep yours. Arch. I will, God helping me. Fog. I know you love her, but how much ? Arch. Does it need the asking? Am I not giving up my life, my name, everything into her hands? Fog. You could not give them into hands more pure. Arch. I know it. I am content. And yet I sacrifice some- thing — family and friends. Fog. Do you hesitate ? Arch. Of course I do not. Why do you ask ? But some things may be pardoned in a case like mine. Fog. I can pardon them. Arch. I can teach her, of course, and a year or so among cultivated people will work wonders; I think I shall take her abroad first. How soon did you say we could go ? Fog. The ice is moving. There will be vessels through the straits in two or three weeks. (His voice trembles. Archie looks up and finds hi jn weeping.) Forgive me; but the little girl is very dear to me. Arch. She shall be as dear to me as she has been to you, do not fear. My love is proven by the very struggle I have made against it. I venture to say no man ever fought harder against himself than I have in this old castle of yours. I kept that picture of my Francesca as a counter-charm. It is the portrait of a woman who, at a word, will give herself and her fortune into my keeping — a woman high in the cultivated cir- cles of society here and abroad, beautiful, accomplished, a queen in her sphere. But all was useless ! That long night in the snow, when I crawled back and forth to keep myself from freezing, it came to me with a power I could not resist, that the whole of earth and all its gifts could not be compared 5^6 SHADOW CASTLE. with the love I felt for this little girl, and she will be very happy with me. Fog. I know it. Arch. Did you foresee this end ? Fog. I could only hope for it. I saw that she loved you. Arch. Well, well; it was natural, after all. Your expiation has ended better than you hoped; for the little orphan girl you have reared has found a home and friends, and you need yourself work no more. Choose your home anywhere, here or elsewhere in the West, and I will see that you are comfortable for the rest of your life. Fog. I will stay here. Arch. As you please; Flossy shall not forget you. She will write you often. Do you know what day to-morrow is ? Fog. Yes, it is Christmas; but Flossy knows nothing of Christmas. I never could bear to tell her the story of the cross. Arch. Then she shall know; I have prepared a Christmas tree and loaded it down with presents, such as I could procure. ( Goes to door C. a?id thi'ows it open, I'evealing a Christmas tree surmounted with a small cross and loaded with trinkets?) It is but a poor thing after all; but I had no way of getting better presents for her out here in the woods. Fog. Perhaps I can help you. [Goes to a closet and opens it, producing a box of toys.) I did not show you this for fear it would anger you; but there must have been a child on board after all. This came from that steamer that was wrecked. (^They proceed to tie the toys on the tree.) Flos. (Enter Flossy jR.) Why, what does all this mean ? Fog. You tell her. [Aside to K-^cni-s..) Arch. It means, Flossy, that to-morrow is Christmas, and that out in the world where we are going, Christmas is always celebrated by giving presents, and trees like this are always decked for children. SHADOW CASTLE. 57 « Flos. Am I a child ? What do _;'.-'Tnr"^^' St. Nicholas' Dtishing Bride C. L. Moore. Two Views of Christmas, good dialogue Dicktns. Hang up the Baby's Stocking Marriage of Santa Claus, Humorous Christmas Blessing ir ' ' i " Vr ' V " A Christmas Dream, fine 1 oem H. A. Foster. Through the Loopholes • NOTHING BETTER THAN THE RECITATION SERIES, A bouquet of choice thoughts to tickle the fancy, CONTENTS OF No. 4. Price 25 Cents. A Tribute to Grant, Eloquent Rev. H. D. Jenkins The Joshua of 1776, Fine Description The Latest Barbara Frietchie, Comic "I.eadviile Jim" W, W. Fink Jerry, Pathetic Mary L. Dickinson The Wee, Wee Bairnie, Pathetic The Mutilated Currency Question, Humorous Brooklyn Eacrle Memory, Poem 'James A. Garfield How a Song Saved a Soul ... F. L. Stanton A Decoration Day Address Rev. H. Stone Richardson Mr. Hoffenstein's Bug-le, \'ery Funny What the Robin Can Tell Mary's Night Ride, Vivid Description G. W. Cable Mr. ilopwell's Theory of Suppressing- a Fire, Humorous Detroit Free Press A Model Summer Hotel, Humorous Traveler's Record Pat and the Oysters, Humorous Family Gov ernment, Apt Illustration H. W. Beecher The Heroes and the Flowers, Beautiful Description B. F. Taylor Expecting to Get Even Boston Bost Driving a Hen, Humorous .Mobile Register A Retrospective, *' Old Settlers " , Where are the Wicked Folks Buried ? Truth Seeker Romance of a Hat, Humorous Harper'' s Magazine Forever, Sentimental "john Boyle O' Reilly Courtship Fair and Square , Every Year, Didactic Hon. James Covert Temperance Song Recital Mrs. P. D. Brown Strangelv Related Kit, or Faithful Unto Death, Pathetic Sam's Letter, Very Funny Our American Cousin Kindness Chas. R, Barrett A Tribute to Longfellow F. N. Zabriskie Civil War, Tragic Petah, Comic Drmking a Tear The Married Man and the Bachelor The V-A-S-E N.Y. Independent The Battle of Mission Ridge, Stirring Description Benj. F. Taylor Heroic Medley " Herman Page A Christmas Carmen J. G. Whittier The Girl in Gray Willis Merritt An Easter-Tide Deliverance Maria H. Bitlfinch Fading George J lowland Aurelia's Unfortunate Young Man, Humorous Mark Tzvaiti Fritz and His Betsy Fall Out, Humorous George M. Warren Help Me Across, Papa, Pathetic Exchange Mr. Diffident's Speech Scene from Leah the Forsaken, Dramatic A Railroad Car Scene - • • . Death of Little Hackett, Pathetic T. S. Denison Farmer Stebbins' Appearance on Rollers Will Carleton in Harper's Weekly An Untiniely Call N. 2". Sun He Guessed He'd Fight, Comic Only Five Minutes to Live Arkansazo Traveler Calling the Angels In Calib^'- Fifty- Four Will Carleton, in Harper's Weekly Mother's Doughnuts Charles E. Adams The Prospects of the Republic; Oration Edward Everett Intensely Utter, Humorous Albany Chronicle Napoleon Bonaparte Charles P. Phillips Autumn Thoughts, Humorous Bill Nye A Christmas Song Father Ryan The Froward Duster .. .RaV, J. Burdetie THE ETHIOPIAN DRAMA. Price, IS cts. each, post-paid. These plays are all short, and very funny. Nothing poor in the list. Th«y serve admirably to give variety to a proeramme. The female characters may be assiimed by males in most cases. Where somethings thoroughly comical, but unobjectionable is wanted, they are just the thing. STAGE STRUCK DABKT. A very funny " take*off" on tragedy; 2 male, i female. Time 10 minutes. STOCKS UF— STOCKS DOWX. » males; a played-^out author and his sympathizing friend; very funny and full of " business '* and practical jokes. Time 10 minutes. DSAF—IN A HOBX. a males; neg^o musician and a deaf pupil. A very interesting question suddea* Ijr enables the latter to hear. Full of first-class " business." Time 9 minutes. HANDT ANDY, 2 males; master and servant. The old man is petulant and tl?' ^ servant makes all sorts of ludicrous mistakes and misunderstands every order. Very lively in action. Time 10 minutes. THE MISCHIEVOUS NIGGER, A farce; 4 males, 2 females. Characters: The mischievoxu nigger, eld flum, J^rench barber, Irishman, widow, nurse. Time 20 minuses. THE SHAM DOCTOR, A negro farce ; 4 males, a females. This is a tip-top faree. The '*sluun doctor" can not fail to bring down the house. Time 15 minutes. NO CURE, NO PAT. 3 males, i female. Doctor Ipecac has a theory that excessive terror will 9ure people who are deaf and dimib. His daughter's lover is mistaken for the patient to the terror of all. OiUy one darky. A capital little piece for schools or parlor. Time 10 minutes. TRICKS, 5 males, a females. (Only two darkys, i male, i female.) A designing old step-father wishes to marry his step-daughter for her money. She and ner lover plan an elopement. The old man discovers it and has an ingenious counter-plot — which fails completely, to his discomfiture. Time 10 minutes. Suited to parlor performance. HAUNTED HOUSE, a males. A white- washer encounters "spirits" in a house he has agreed to white-wash. Plenty of business. Time 8 minutes. THE TWO POMJPETS. 4 males. A challenge to a duel is worked up in a very funny way. Time 6 minutes. AN UNHAPPY PAIR, 3 males, and males for a band. Two hungry niggers strike tlie musicianr for a square meal. Good for school or parlor, and very tunny. Time xo minutes. ~ LIBRARY OF CONGRESS Any Play on this List 15 Cts. Pc ||ii||ili|llllll|llll|llllll||lH^ Plays by T. S. DENISON. ODDS WITH THE ENEMY. A dra.^ia in five acts ; 7 male and 4 fe- male characters. Time, 2 hours. SETH GREENBACK. A drama in four acts; 7 male and 3 fe- male. Time, i hour 15 m. INITIATING A GRANGER. A ludicrous farce ; S male. Time, 25 m. TWO GHOSTS IN WHITE. A humrrous farce based on boarding-- scliool life ; 7 female characters. Time, 25 m. THE ASSESSOR, A humorous sketch; 3 male and 2 fe- male. Time, 15 m. BORROWING TROUBLE. A ludicrous farce; 3 male and g fe- tchIQ:, Time, 30 m. COUNTRY JUSTICE. A very amusina;- country law suit; 8 male characters. (May admit 14.) Time, 15 m. THE PULL-BACK. A laughable farce; 6 female. Time, 20 mill. HANS VON SMASH. A roaring- farce in a prolog^ue and one act; 4 male and 3 female. Time, 30 m. OUR COUNTRY. A patriotic drama in three parts. Re- quires 9 male, 3 female, (Admits 9 male 1"; female.) Four fine tabh.-aux. Time, about I hour. THE SCHOOL MA'AM, A briliant comedy in four acts; 6 male, 5 female. Time, i hour 45 inin. THE IRISH LINEN PEDDLER. A lively farce ; 3 male, 3 female. Time, 45 m. THE KANSAS IMMIGRANTS; Or, the Great Exodus. A roaring- farce; 5 male, i female. Time, 30 m. TOO MUCH OF A GOOD THING. A splendid farce; 3 male, 6 female. Time, 45 m. IS THE EDITOR IN? A farce; 4 male and 2 female. AN ONLY DAUGHTER. A drama in three acts ; 5 male and 2 female. Time, i hour 15 m, PETS OF SOCIETY. A farce in high life ; 7 females. Time, 30 m. T. S. DEN mal T'Sie '103 2^^ g A v^, y iiiaie and 4 fe- male characters. Time, i hour 45 m. UNDER THE LAURELS. A drama in five acts; a stirring- play, fully equal to Louva the Pauj>er. Five male, 4 feirale. Time, i hour 45 m. THE SPARKLING CUP. A temperance drama in five acts; 12 male and 4 female. Plays by H. Ellio tt McBride. ON THE BRINK. A temperance drama in two acts; 12 male, 3 female. Time, i hour 45 m. A BAD JOB. A farce; 3 male, 2 female. Time, 30 m. PLAYED AND LOST, A sketch; 3 male, 2 female. Time, 20 m. MY JEREMIAH. A farce; 3 male, 2 female. Time, 25 m* LUCY'S OLD MAN. A sketch; 2 male, 3 female. Time, 20 m. THE COW THAT KICKED CHICAGO. A farce; 3 male, 2 female. Time, 25 m. I'LL STAY AWHILE. A farce; 4 male. Time, 25 m. THE FRIDAY AFTERNJOH DIALOGUES, Short and lively. For boys and girls. ' — Price 26 cts. FRIDAY AFTERNOON SPEAKER- A choice collection. Three parts: for little folks, for older boys and girls, short pithy dialogues. — Ptice 25 cts. SCRAP BOOK READINGS. Latest and best pieces. — Price per No. (paper cover) 25 cts, WORK AND PLAY. BY MARY J. jACqUES. A gem for the little folks. This is a book of both instruction and amusement. Part I consists of a large v'.riety of very easy progressive exercises in letters, numbers, objects, geography, language, animated nature, motion, songs, etc. Part II consists of dialotrues, charades, pantomimes, etc. all original.— Price, in Manilla boards, post paid, 50 cts. ISON, Publisher, CHICAGO. LIBRARY OF CONGRESS 016 103 235 9 •