CHAPTER XVIII
BILBY'S TRUMP CARD
Naturally, Ruth went in search of Mr. Hammond the moment she landed onthe island where the moving picture company was established. But, as shesaw that the _Gem_ was not at the dock, she scarcely expected to find thepresident of the company at hand--and in that expectation she was notmistaken.
Mr. Hooley, the director, however, told her what he knew about theoccurrence that had started Totantora so madly from the island in thecanoe. Bilby and whoever it was that backed him in his enterprise wereevidently determined to obtain the services of Wonota, the Osageprincess, if it could be brought about.
"Looks to me," said the director, "as though we were going to have sometrouble finishing this picture, Miss Fielding."
"We can't finish it without Wonota!" cried the girl.
"You don't think you could rewrite the remaining scenes so that we cankeep on to the conclusion?" he asked thoughtfully.
"Why, Mr. Hooley! How about the throne-room scene? Wonota must appear inthat. You say yourself that we cannot use anybody in her place."
"How about cutting out that scene? Finish the play on this side of thewater. Don't go to France at all."
"Then the picture is spoiled!"
"No picture is spoiled until it goes out of our hands, you know," and Mr.Hooley smiled satirically. "You know how it is in the picture business,Miss Fielding. Some unfortunate producer buys a script or a story. Thescenario writer 'saves' the story by his work on the script. Then thecontinuity man 'saves' it a second time. Then the director 'saves' itafter he gets it into his hands. We know that the star performer always'saves' it again. And then the film cutter and the title writer each'save' it.
"Most pictures are 'saved' in this way by the omniscience of all who workon it so that, when it is finally produced, the writer seldom recognizesmore than a glimmer of his original idea in the final product.
"You are much better treated than most picture writers, you know verywell. And here you have a chance to 'save' your own work," and Mr. Hooleyfinished with a laugh.
"It is no laughing matter," she told him. "I wanted this to be a reallybig picture. And I do not want to cut out Wonota. Without thatthrone-room scene it will fall flat."
"We should have taken it in New York," grumbled Mr. Hooley. "I felt it atthe time. But Mr. Hammond contracted for so many weeks' use of thisisland and the time is running out already."
"And Wonota and Totantora are gone!"
"Exactly."
"Do you know where they have gone?"
"Haven't the least idea. But Mr. Hammond knows."
"He went to town?" asked Ruth thoughtfully.
"He has gone to confer with the lawyers and see if they can get the courtto vacate the injunction issued against our use of Wonota. Bilby and thesheriff came again. They had a warrant this time. It called for theproduction of Wonota. Luckily you had her off the island at the time.They searched every nook and cranny, and meanwhile Totantora got away.They wanted him too."
"I think that Bilby is too mean for words!"
"Well, I take it that it was his trump card. He must have some powerfulinfluence behind him. But--"
"But what, Mr. Hooley?" asked Ruth eagerly.
"I can see how we might get over the difficulty if the courts will notlisten to reason."
"Oh! Do tell me!"
"We can move the whole company over the Canadian border, and before Bilbycan do anything over there we'll have finished 'The Long Lane's Turning.'That's the only way I see out of the mess."
"But think of the expense!"
"Sure! I'm thinking of that all the time," grumbled Hooley. "And don'tyou forget that the boss never allows me to lose sight of it. Yourinterest in this picture is greater than mine, Miss Fielding; but my jobis sort of tangled up in it, too. Mr. Hammond is a good man; but he is agood business man first of all. I am afraid that you will be obliged tomake some changes in the remaining scenes so as to overcome thedifficulty of losing Wonota."
"I will not do it!" cried the girl, this time in anger.
"Better read your contract. If you won't do it, somebody else will haveto. You know, we've got a man at the studio who could change Hamlet intoa slap-stick comedy over night, if the emergency arose."
"I will not agree to have my picture ruined," said Ruth, almost in tears.
"That isn't the way to look at it," Hooley observed more kindly. "Justsee that you save your story yourself instead of letting some otherperson do it for you. That's the answer, I fear."
Ruth had no appetite for dinner that evening, but she was obliged to meether friends and the actors and actresses who ate at her table with atleast an appearance of cheerfulness.
It was impressed upon her mind more deeply than ever before, however,that her arrangement with the Alectrion Film Corporation was not whollysatisfactory. She had learned so much now about the making of a screenpicture that often her advice in the directing of the action was acceptedwith admiration by Mr. Hooley. Mr. Hammond was not afraid to go away andleave the two to film the most important scenes in a script.
And why should she be tied to certain agreements that cramped her?Especially in a case of this kind. For the sake of saving expense Mr.Hammond was likely to insist that the artistic part of "The Long Lane'sTurning" should be sacrificed.
Ruth felt that on her part she would spend twenty-five thousand dollarsmore (if she had it to spend) in shipping the whole company over theborder and making the remainder of the picture in Canada.
"I am going to be in a position some time where I shall have the say asto every detail of the picture," she told herself. "I want to be my ownmanager and my own producer. Otherwise I shall never be happy--nor will Iever be sure of making worth-while pictures."
For Ruth took this career of hers very seriously indeed. Because she didso, perhaps, the fact that Tom Cameron seemed to consider his work solightly caused Ruth to criticise the young man harshly. That could onlybe expected.
Tom did not return for dinner. Nor did Mr. Hammond come back toheadquarters. Chess Copley was eager to get the girls out in his_Lauriette_ again.
"Pooh! it's nothing much, I guess," said Helen, seemingly having lost herfirst interest in the smugglers and the King of the Pipes. "And, anyway,I shall not go unless Tom is with us."
"Why, Helen!" cried Ruth, "I thought you were so eager."
"Well, perhaps. If Tom went."
"But we promised Chess."
"You promised him. He wants to do it because you are going."
"Now, Helen, you know--"
"I know just what I am saying. I have no interest in 'Lasses Copley. Youhave."
"You are the most exasperating girl!" exclaimed Ruth, in some warmth.
They were in their room freshening their toilets for the evening.
"I don't seem to suit you any more than Tom does," said her chum coolly.
"I declare, Helen! you go too far."
"I shan't go too far this time--without Tom." Helen laughed in aprovoking way. "You can run along with your Chessleigh if you like. Notme!"
"That is just what I will do," said Ruth quietly, but with flashing eyes."I would not insult him by refusing--now. I will tell him you have aheadache and cannot come."
"Do as you like," was the ungracious reply. "You are crazy about Chess, Iguess."
"I believe you are jealous, Helen Cameron!" cried Ruth, in wonder.
"I don't know why I should be," returned Helen lightly. "I've no interestin Chess Copley. And I haven't had since--"
"Since when, I'd like to know?"
"Since I found him out. So now! That's enough. I am not going. Unless, ofcourse, Tom returns and wants me to go along with you and Chess."
What more was there to say? Ruth did not wish to disappoint Chessleigh.She felt that Helen Cameron had no reason for treating the young man asshe did.
So, as she had done before, and without much interest in the eveningsailing party, Ruth left the bungalow to join the waiting Chessleigh att
he dock.
Ruth Fielding on the St. Lawrence; Or, The Queer Old Man of the Thousand Islands Page 18