The Moving Picture Girls at Oak Farm.

by Laura Lee Hope.

CHAPTER I

FILMING A SMASH

"All aboard for Oak Farm!"

"Are we all here; n.o.body missing?"

"What a relief to get out of the hot city, with summer coming on!"

"Yes, I'm so glad we can go!"

These were only a few of the expressions that came from a motley a.s.semblage of persons as they stood in a train shed in Hoboken, one June morning. Motley indeed was the gathering, and more than one traveler paused to give a second look at the little group. Perhaps a brief list of them may not be out of place.

There were four pretty girls, two of the innocent type that can so easily forget their own good looks; two not so ingenuous, fully aware that they had certain charms, and anxious that they be given full credit for them.

Then there was a man, with rather long black hair, upon which perched, rather than fitted, a tall silk hat that had lost its first sheen. If ever "actor" was written in a man's make-up it was in the case of this personage. Beside him stood, attired much the same, but in garments that fitted him better, another who was obviously of the theater, as were the two girls who were so aware of their own good looks.

Add to this two or three young men, at least two of whom seemed to hover near the two girls who were innocently unaware of their beauty; a bustling gentleman who seemed nervous lest some of the party get lost, a motherly-looking woman, with two children who were here, there and everywhere; another man who looked as though all the milk and cream in the world had turned sour, and finally one on whose round German face there was a gladsome smile, which seemed perpetual--and you have the main characters.

No, there was one other--a genial man who seemed to be constantly trying to solve some puzzle, and taking pleasure in it.

And these personages were waiting for a train. That was evident. You might have puzzled over their occupation and destination, as many other travelers did, and the problem would not have been solved, perhaps, until you had a glimpse of the markings on their trunks. But when you noted the words: "Comet Film Company," you understood.

"Oh, won't it be just delightful, Ruth!" exclaimed one of the younger girls.

"It certainly will, Alice. I'm just crazy to get out where I can gather new-laid eggs and know they are fresh!"

"Little housekeeper!" exclaimed the man standing beside the one who looked as though he dreamed of nothing else but "Hamlet."

"Well, Daddy dear, won't it be just fine to have fresh eggs?"

demanded the one addressed as Ruth. "If Alice thinks it's easy to get them in the city----"

"Now Ruth DeVere, you know I was only chaffing!" exclaimed Alice.

"But I don't believe you'll get much chance to gather eggs, Ruth."

"Why not?"

"Those two youngsters will claim that as one of their daily--ch.o.r.es--I believe they're called on a farm," and with laughing brown eyes she motioned to the boy and girl who, at that moment, were playing tag around the motherly-looking woman.

"Oh, yes, I suppose Tommy and Nellie will be after them," agreed Ruth. "But I can go with them."

"And jump off the beam in the barn down into the hay! Won't that be fun!" cried Alice. "I haven't done that--not in years, when we went once to grandfather's farm. Oh, for a good jump into the fragrant hay!"

"Why, Alice, you wouldn't do that; would you?" asked Ruth, as she straightened her sailor.

"She may--and you may all have to!" spoke the man who seemed in charge of this odd theatrical company.

"How is that, Mr. Pertell?" asked Ruth.

"Well, you know we're going to make moving pictures of all sorts of rural scenes that will fit in the plays, and jumping into a haymow may be one of them," he laughed.

"I refuse to do any such foolishness as that!" broke in the tragic actor. "I have demeaned myself enough already in this farce and travesty of acting, and to jump into a haymow--ye G.o.ds! Never!" and he seemed to shudder.

"Oh, I guess you'll do it, Mr. Bunn, or give up your place to someone who will," said Mr. Frank Pertell, the manager, calmly.

The tragic actor sighed, and said nothing.

"Huh! Yes! Jumping around in barns! Some of us will break our arms or legs, that's certain!" exclaimed the man who looked as though all the world were sad. "I know some accident will happen to us yet."

"Oh, cheer up, Mr. Sneed. The worst is yet to come, Sir Knight of the Doleful Countenance!" exclaimed a fresh-faced young man who carried under his arm a small box, from which projected a handle and a small tube. The initiated would have known it at once as a camera for taking moving pictures. "It will be jolly out there at Oak Farm, I'm sure."

"That's right, Russ! Don't let Mr. Sneed get gloomy on such a fine day!" whispered Alice DeVere. "But when is our train coming?"

"It will be made up soon," Russ Dalwood answered. "Perhaps it is ready now. I'll go and inquire."

The two girls, before spoken of as being too well aware of their own good looks, were talking together at one side of the big concrete platform beneath the train shed. As they strolled about and talked, one of them, from time to time, applied a chamois to her already well-powdered nose, and took occasional glimpses of herself in the tiny mirror imbedded in the top of the box that contained her "beautifier." Occasionally the two would glance at Alice and Ruth, and make remarks.

"Train will soon be ready for us," announced Russ Dalwood, coming back to join the rest of the theatrical troupe which, instead of presenting plays in a theater, posed for them before the clicking eye of the camera, the films later to be shown to thousands in the chain of moving picture playhouses which took the Comet Company's service. "We can go aboard in five minutes!" Russ added.

"That's good," sighed Ruth. "There's is nothing so tiresome as waiting. Which track will it be on, Russ?"

"Number thirteen!"

"What! Great Scott! Track thirteen! I'm not going!" cried Pepper Sneed, who had come to be known as the "grouch" of the company.

"Not going! Why not, I'd like to know?" demanded Mr. Pertell.

"Why--track thirteen--that's unlucky, you know. Something is sure to happen!"

"Well, as we have to get to Beatonville, where Oak Farm is located, and as this is the only road that goes there, I'm afraid we'll have to take that train, whether it's on track thirteen or not," declared Mr. Pertell. "Unless," he added with gentle sarcasm, "you can get the company to switch it to another track."

Mr. Sneed did not answer, but later Paul Ardite, who was one of the younger members of the company, saw the actor tieing a knot in his watch chain, and tossing a penny into a rubbish heap.

"What in the world are you doing that for?" demanded Paul.

"Trying to break the hoodoo!" exclaimed Mr. Sneed. "To start out to do new film work on track thirteen! Whew! That's terrible!"

But Paul only laughed.

"Now, is everyone here?" asked Mr. Pertell a little later, when a railroad man, through a megaphone, announced the make-up of the train.

"It seems so," remarked Mr. DeVere, who spoke in a hoa.r.s.e and husky whisper, difficult to understand. In fact, as you will learn later, it was this affliction that had caused him to be acting for moving pictures instead of in the legitimate drama.