The Moving Picture Girls at Oak Farm: or, Queer Happenings While Taking Rural PlaysHope, Laura Lee
General
The Moving Picture Girls at Oak Farm: or, Queer Happenings While Taking Rural Plays
Hope, Laura Lee
Farm life -- Juvenile fiction; Girls -- Juvenile fiction; Motion pictures -- Production and direction -- Juvenile fiction
"But I knew something would happen," he said. "That hoodoo of coming
out on track thirteen is still after us," and he limped along the row
of corn.
The scene was almost over, when a movement was observed amid the
waving stalks, back of where Paul and Alice were posing.
"Who's that!" cried Mr. Pertell, sharply, from his place beside Russ
at the camera. "Keep back, whoever you are. Don't get into the
picture--you'll spoil it."
An instant later there was a bellow, as of a score of automobile
horns, and an immense black bull came rushing through the corn,
heading directly for Paul and Alice.
"Oh!" screamed Alice, as Paul caught her in his arms.
CHAPTER VII
THE PLAY OF THE HOSE
"Russ! Daddy! Somebody save Alice!" cried Ruth, from her place near
the young moving picture operator. "Can't someone do something?"
"Get a pitchfork!"
"Go at him with those hoes!"
"Throw stones at him!"
This was some of the advice from the others of the moving picture
company, as they stood grouped back of the camera, where they had
been watching the filming of the last scene in the little drama.
Meanwhile, of course, Russ had stopped the camera, for he did not
want to include the bull in the picture, no provision having been
made for the creature by the author who furnished the "scenario," or
"screed."
The animal had "butted into" the scene in a most uncalled-for manner,
and now was butting its massive head against the frail green stalks
of corn, knocking them aside, pawing the dirt and shaking its head
at the frightened players.
For a moment, after their first outcries, the players were silent.
Alice, who had shown just the least inclination to faint, now stood
upright again, and with a vivid blush, released herself from Paul's
arms.
"I--I'm all right now," she said, softly, straightening out her
shirtwaist.
"You won't be if that bull comes for us," he answered. "Here, get
behind me. I'll see if I can scare him off."
"Oh, no! Don't!" she begged. "That might make him worse. See, he is
quiet now."
And indeed the animal had not moved much beyond the spot where he had
broken through the rows of corn to interrupt the moving pictures.
"Something's got to be done," said Mr. Pertell, in a quiet voice. "I
think it will be best if none of you moves. Keep your places, and
I'll see if I can't slide out back of Russ, and get help--or at least
a weapon to drive the bull away. A fence rail would do. Russ, stand
still. You make a good screen for me now, and the bull can't see me.
He may make a jump if he sees any of us moving. Such creatures often
do, I understand."
It seemed the best plan to follow, but there was no need of trying
it, for at that instant Sandy Apgar, who had returned, and who had
heard the cries, came bursting in on the scene.
Public-domain text, read in full here on John Shaqi.
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