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The Moving Picture Girls in War Plays: The Sham Battles at Oak Farm, a novel by Laura Lee Hope |
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Chapter 2. Off For Oak Farm |
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_ CHAPTER II. OFF FOR OAK FARM "What's that, Russ? A retake?" asked Alice. "Yes, of that auto scene in the park." "Is that the one I'm in?" Ruth inquired. "Yes. You're both in it, and so is Paul. It's the scene where Mr. Bunn is struck by the auto mud-guard--not hurt, you know, and you, Ruth, jump out to give first aid." "What's the matter with the scene?" asked Alice. "I certainly struck him all right with the mud-guard." "Yes, that part was all right," Russ admitted. Alice had been running the automobile in the scene. "And didn't I do my first aid business well?" Ruth demanded. "Yes," Russ acknowledged. "Your part came out perfect. But just at the critical moment--you know, where Mr. Bunn was supposed to think he was dying and wanted to right the wrong he had done in cutting his daughter off in his will with only a dollar--some boys got in the way of the camera. They were outsiders, butting in, the way they always do when we film stuff in the park. It wouldn't have been so bad, only one of the youngsters began to pull off some funny stuff right in range of Mr. Bunn's agonized face. I didn't see him at the time, or I'd have stopped the running of the film. It was only when we got it in the projection room that we discovered it. "So Mr. Pertell ordered a retake of that one scene, and it's got to be done in a hurry. It won't take long. Mr. Bunn will meet us in the park. Be sure and wear the same things you had on that day. It won't do to have you get out of the auto in one dress, Ruth, and, a second later, kneel down beside Mr. Bunn in a gown entirely different." "All right, Russ, I'll be careful." "Oh, dear! But my packing!" sighed Alice. "I'll never get it done, and we must start for Oak Farm----" "Mr. Pertell will have to make allowances," said Russ, quickly. "Come on--move the boat! You won't be needed in the real war scenes for a couple of days, anyhow, though I suppose there'll be rehearsals. But it can't be helped. This retake is holding up the whole film, and it's to be released next week." Delaying only long enough to put on the proper dresses and to tell their father where they were going, Ruth and Alice DeVere were soon on their way to Central Park, where the scene was to be filmed, or photographed over again--a "retake," as it is called, the bane alike of camera men and directors. And while the girls--the moving picture girls--are on their way to do over a bit of work, I shall take the opportunity of telling my new readers something about Ruth and Alice DeVere. I have called them just what they are: "The Moving Picture Girls," and that is the title of the first volume of this series, which depicts them and their adventures. Their mother had died some years previously, leaving them to the care of their father, Hosmer DeVere, at one time a talented actor in the legitimate drama. But a throat affection forced him to give up his acting and, at the opening scene in the first volume, we find him and his daughters in rather straitened circumstances, living in a second-rate apartment house in New York. Across the hall dwelt Russ Dalwood, with his mother. Russ was a "camera man." That is, he took moving pictures in the big studios and out of doors for the Comet Film Company, of which Mr. Frank Pertell was manager and director. It was Russ who suggested to Mr. DeVere a way out of his troubles. He could not act in the "legitimate," as his voice was gone; but no voice is needed to appear on the films for the movies, since a mere motion of the lips suffices, when any speaking is to be done. The "silent drama" has been the salvation of many an actor who, if he had to declaim his lines, would be a failure. At first Mr. DeVere would not hear of acting before the camera, but he soon came to know that greater actors than he had fallen in line with the work, especially since the pay was so large, and finally he consented. An account of his success and of the entrance of his daughters into the field is given in the initial book. Ruth, the elder girl, was, like her father, of a romantic turn. Also she was rather tall and willowy, as Mr. DeVere had been before he had taken on flesh with the passing of the years; and she was cast for parts that suited her type. She was deliberate in her actions, and in "registry." Alice, like her late mother, was warm-hearted and impulsive, plump, vivacious and full of fun. Both girls were excellent movie actresses. In the company they had joined was Mr. Wellington Bunn, an old actor, who hoped, some day, to appear in Hamlet--Hamlet in the legitimate. Paul Ardite, who played light parts, had become very fond of Alice. Russ Dalwood had a liking for Ruth, and the four had many pleasant hours in each other's company. Pearl Pennington was the leading lady at times, and was rather disposed to domineer over our girls, as was her chum, Laura Dixon. Mrs. Maguire was the "mother" of the film company. She portrayed old lady parts, and her two grandchildren, Tommie and Nellie, the orphans, were cast for characters suitable to them. Carl Switzer, a German-American, did comedy parts and was a good fellow, though occasionally he would unconsciously say some very funny things. His opposite in character was Pepper Sneed, the grouch of the company. But Pepper could do valuable work, especially as a villain, and so he was kept on. As for Pop Snooks, the company could not have got along without him. It was Pop, the property man of the company, who made many of the devices used when the company went to "Oak Farm," as told in the second volume, where scenes for farm dramas were filmed. Pop could use a drawbridge in one scene, and, in the next, convert it into a perfectly good cow-barn. Pop was a valuable man. There were other members of the company, of more or less importance, whom you will meet as this story progresses. It was in the third volume of the series, "The Moving Picture Girls Snowbound," that Ruth and Alice succeeded in getting "the proof on the film" that saved Mr. DeVere from an unjust charge. From the cold and frostiness of Deerfield the girls went to Florida, where "Under the Palms," many stirring acts were filmed. It was here that Alice and Ruth helped find two girls who were lost in the wilds of the Everglades. "The Moving Picture Girls at Rocky Ranch" gave Ruth and Alice a taste of cowboy life, and though rivals tried to spoil some of the valuable films, they were not altogether successful, even though a prairie fire figured in their schemes. The girls, with their father, had recently returned from a perilous trip. This is told about in the volume immediately preceding the one you are reading--"The Moving Picture Girls at Sea." In that Alice and Ruth proved, not only their versatility as actresses, but also that they could be brave and resourceful in the face of danger. And they more than repaid the old sailor, Jack Jepson, who saved their lives, by doing him a good turn. "Well, life at Oak Farm will be vastly different from that on the _Mary Ellen_," remarked Alice, as she looked from the automobile as it swung along through the New York streets on the way to the park. "Yes," agreed her sister. "But I like it up there." "There are going to be some strenuous times," said Paul. "We've got to do some hustling work." "All the better," declared Russ. "I like to keep the film running. This sitting about all day and reeling off only ten feet makes me tired." "You like action!" laughed Ruth. "Yes; and plenty of it." Oak Farm was the property of the Apgars. There was Mr. Belix Apgar, the father, Nance, his wife, and Sandy, an energetic son. The farm was located in New Jersey, about forty miles from New York, and it provided a picturesque background for the scenes evolved by Mr. Pertell and his company. It was during a scene on the farm, some time before, that a valuable discovery had been made, which endeared the moving picture girls and their chums to the Apgars. "How did Mr. Pertell come to pick out Oak Farm for the war plays?" asked Ruth, as the automobile bounced along. "Well, I suggested it to him," answered Russ. "I remembered the background, and I felt sure we could get all sorts of settings there to make the proper scenes. There are hills, mountains, valleys, streams, bridges, waterfalls, cliffs and caves. Everything needed for perfectly good war dramas." "How did they come to want that sort of stuff?" asked Paul. "Oh, war stuff is going big now," Russ answered. "All this talk of preparedness, you know, the war in Europe, and all that. The public is fairly 'eating up' war pictures." "I hope we don't have to fire any guns!" exclaimed Ruth, with a shudder. "You'll see and hear plenty of 'em fired," Russ told her. "There are to be some big battle scenes and cavalry charges. But one of you will be back of the firing line, I believe." "How is that?" asked Alice. "Well, one of you girls is to be cast for an army nurse, and the other will be a spy. The spy has to carry a revolver." "I'm going to be the spy!" cried Alice, impetuously. "I know how to shoot a gun." "I'd rather be the nurse," murmured Ruth, and truly she was better fitted for that part. "'A Girl in Blue and A Girl in Gray' is to be the title of the war play--or at least one of them," went on Russ. "There will be some lively scenes, and I'll be on the jump most of the time." "Are you going to film them all?" asked Paul. "Oh, no. I'm to have several assistants, but I'll be in general charge of the camera squad. So, girls, look your prettiest." "They always do that," said Paul. "Thank you!" came in a feminine duet. A little later the place where the retake was to be made was reached. Mr. Bunn was on hand, wearing his air of "Hamletian gloom," as Alice whispered, and the work of retaking the scenes was soon under way. This time all went well. Alice drove her "flivver" at Mr. Bunn, who was properly knocked down and looked after by Ruth. No small boys, with an exaggerated sense of humor, got in the way, and the girls were shortly back in their apartment. They had moved to a more pretentious home since their success in moving pictures, and the Dalwoods had taken an apartment in the same building. "And now to get on with my packing!" sighed Alice. "All I am sure of is that I have my 'brogans' in." "I'll help you," offered Ruth. Two days later the Comet Film Company, augmented for the occasion, was at the depot in Hoboken, ready to take the Lackawanna train out to Oak Farm, New Jersey, where it nestled in the hills of Sussex County. "I don't see how they are going to take battle scenes with just this company," observed Alice, as she surveyed her fellow workers. "And where are the guns and horses?" "They'll come up later," Russ informed her. "There are to be two big companies and a couple of batteries, but they won't be on hand until they are really needed. It costs too much to keep them when they are not working." "Are you all here?" asked Mr. Pertell hurrying along the seats with a handful of tickets--"counting noses," so to speak. "All here, I think," answered Russ. "Where is Carl Switzer?" asked the manager. "He was here a minute ago," Alice said. "Well, he isn't here now," remarked Mr. Bunn. "And almost time for the train to start!" exploded the director. "We need him in some of the first scenes to-morrow. Get him, somebody!" "Hey, Mister! Does yer mean dat funny, moon-faced man what talks like a pretzel?" asked a newsboy in the station. "Yes, that's Mr. Switzer," was the answer. "Where is he?" "I jest seen him go out dat way," and the boy pointed toward the doors leading to the street in front of the ferry. This street led over to the interned German steamships at the Hoboken piers. _ |
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