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"We are the brig Louisa Ann of Whitby from Callao, one hundred and seventy days out, bound to the port we belongs to. We are short of provisions, and should feel grateful if you could let us have a cask of beef." "Mr Greyquill!" cried Captain Acton. "Who is in command of this ship?" she enquired in a low, harsh voice, almost a whisper. "Whoever he is," she rattled on, "I am his prisoner. I am being carried away into captivity, I who am a princess, though soon to be clothed in tatters. If you are a man with a heart have mercy upon me, and turn this ship and steer me home!".

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Billy whistled. "But fifty sticks, Maurice! It's almost more'n she'll need, don't you think?" As he climbed the rail fence his eyes swept the Settlement below, resting at length on the jail-like wall in the edge of the Scroggie timber, above which the tall derrick protruded like a white, scarred face. "Humph!" he mused, "Scroggie and Hinter must either have struck water, or give up. Their rig's quiet after chuggin' away day and night for weeks." Captain Acton listened to her with profound interest. He was greatly impressed and moved by his daughter's exhibition of traditionary genius. She recalled his wife, of whom he was passionately proud and fond. He had never imagined that Lucy had the[Pg 372] talent of an actress, but the dramatic character of her narrative and every point in her extraordinary relation convinced him that she was a born artist, and that accident had compelled her to reveal to herself gifts of power, perception, and imagination of whose existence she had been as ignorant as her father. "But you mustn't go without having a cup of tea and a bite to eat," she protested. "Please sit down and I'll have it ready in a minute.".