232 files changed, 19271 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/23116-8.txt b/23116-8.txt
new file mode 100644
index 0000000..11bffd4
--- /dev/null
+++ b/23116-8.txt
@@ -0,0 +1,6305 @@
+The Project Gutenberg eBook, Ruth Fielding Down East, by Alice B. Emerson
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Ruth Fielding Down East
+       Or, The Hermit of Beach Plum Point
+
+
+Author: Alice B. Emerson
+
+
+
+Release Date: October 20, 2007  [eBook #23116]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+
+***START OF THE PROJECT GUTENBERG EBOOK RUTH FIELDING DOWN EAST***
+
+
+E-text prepared by David Edwards, Anne Storer, D. Alexander, and the
+Project Gutenberg Online Distributed Proofreading Team
+(https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustration.
+      See 23116-h.htm or 23116-h.zip:
+      (https://www.gutenberg.org/dirs/2/3/1/1/23116/23116-h/23116-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/3/1/1/23116/23116-h.zip)
+
+
+
+
+
+RUTH FIELDING DOWN EAST
+
+Or
+
+The Hermit of Beach Plum Point
+
+by
+
+ALICE B. EMERSON
+
+Author of "Ruth Fielding of the Red Mill," "Ruth
+Fielding at Sunrise Farm," "Ruth Fielding
+Homeward Bound," Etc.
+
+Illustrated
+
+
+
+
+
+
+
+[Illustration: TOM CAST ASIDE HIS SWEATER AND PLUNGED INTO THE TIDE.
+_Ruth Fielding Down East Page 113_]
+
+
+
+
+
+New York
+Cupples & Leon Company
+Publishers
+
+
+
+
+              Books for Girls
+            BY ALICE B. EMERSON
+            RUTH FIELDING SERIES
+       12mo.   Cloth.    Illustrated.
+
+      RUTH FIELDING OF THE RED MILL
+      RUTH FIELDING AT BRIARWOOD HALL
+      RUTH FIELDING AT SNOW CAMP
+      RUTH FIELDING AT LIGHTHOUSE POINT
+      RUTH FIELDING AT SILVER RANCH
+      RUTH FIELDING ON CLIFF ISLAND
+      RUTH FIELDING AT SUNRISE FARM
+      RUTH FIELDING AND THE GYPSIES
+      RUTH FIELDING IN MOVING PICTURES
+      RUTH FIELDING DOWN IN DIXIE
+      RUTH FIELDING AT COLLEGE
+      RUTH FIELDING IN THE SADDLE
+      RUTH FIELDING IN THE RED CROSS
+      RUTH FIELDING AT THE WAR FRONT
+      RUTH FIELDING HOMEWARD BOUND
+      RUTH FIELDING DOWN EAST
+
+  CUPPLES & LEON CO., PUBLISHERS, NEW YORK.
+
+
+Copyright, 1920, by
+Cupples & Leon Company
+
+Ruth Fielding Down East
+
+Printed in U. S. A.
+
+
+
+
+CONTENTS
+
+
+ CHAPTER                                     PAGE
+      I.  THE WIND STORM                        1
+     II.  THE MYSTERY OF IT                     7
+    III.  THE DERELICT                         14
+     IV.  THE CRYING NEED                      22
+      V.  OFF AT LAST                          29
+     VI.  "THE NEVERGETOVERS"                  35
+    VII.  MOVIE STUNTS                         43
+   VIII.  THE AUCTION BLOCK                    52
+     IX.  A DISMAYING DISCOVERY                67
+      X.  A WILD AFTERNOON                     77
+     XI.  MR. PETERBY PAUL--AND "WHOSIS"       86
+    XII.  ALONGSHORE                           95
+   XIII.  THE HERMIT                          104
+    XIV.  A QUOTATION                         113
+     XV.  AN AMAZING SITUATION                122
+    XVI.  RUTH SOLVES ONE PROBLEM             129
+   XVII.  JOHN, THE HERMIT'S, CONTRIBUTION    136
+  XVIII.  UNCERTAINTIES                       144
+    XIX.  COUNTERCLAIMS                       152
+     XX.  THE GRILL                           159
+    XXI.  A HERMIT FOR REVENUE ONLY           171
+   XXII.  AN ARRIVAL                          180
+  XXIII.  TROUBLE--PLENTY                     186
+   XXIV.  ABOUT "PLAIN MARY"                  193
+    XXV.  LIFTING THE CURTAIN                 199
+
+
+
+
+RUTH FIELDING DOWN EAST
+
+CHAPTER I
+
+THE WIND STORM
+
+
+Across the now placidly flowing Lumano where it widened into almost the
+proportions of a lake just below the picturesque Red Mill, a bank of
+tempestuous clouds was shouldering into view above the sky line of the
+rugged and wooded hills. These slate-colored clouds, edged with pallid
+light, foredoomed the continuance of the peaceful summer afternoon.
+
+Not a breath of air stirred on the near side of the river. The huge old
+elms shading the Red Mill and the farmhouse connected with it belonging to
+Mr. Jabez Potter, the miller, were like painted trees, so still were they.
+The brooding heat of midday, however, had presaged the coming storm, and
+it had been prepared for at mill and farmhouse. The tempest was due soon.
+
+The backyard of the farmhouse--a beautiful lawn of short grass--sloped
+down to the river. On the bank and over the stream itself was set a
+summer-house of fair proportions, covered with vines--a cool and shady
+retreat on the very hottest day of midsummer.
+
+A big robin redbreast had been calling his raucous weather warning from
+the top of one of the trees near the house; but, with her back to the
+river and the coming storm, the girl in the pavilion gave little heed to
+this good-intentioned weather prophet.
+
+She did raise her eyes, however, at the querulous whistle of a striped
+creeper that was wriggling through the intertwined branches of the
+trumpet-vine in search of insects. Ruth Fielding was always interested in
+those busy, helpful little songsters.
+
+"You cute little thing!" she murmured, at last catching sight of the
+flashing bird between the stems of the old vine. "I wish I could put _you_
+into my scenario."
+
+On the table at which she was sitting was a packet of typewritten sheets
+which she had been annotating, and two fat note books. She laid down her
+gold-mounted fountain pen as she uttered these words, and then sighed and
+pushed her chair back from the table.
+
+Then she stood up suddenly. A sound had startled her. She looked all about
+the summer-house--a sharp, suspicious glance. Then she tiptoed to the door
+and peered out.
+
+The creeper fluttered away. The robin continued to shout his warning. Had
+it really been a rustling in the vines she had heard? Was there somebody
+lurking about the summer-house?
+
+She stepped out and looked on both sides. It was then she saw how
+threatening the aspect of the clouds on the other side of the river were.
+The sight drove from her thoughts for the moment the strange sound she had
+heard. She did not take pains to look beneath the summer-house on the
+water side.
+
+Instead, another sound assailed her ears. This time one that she could not
+mistake for anything but just what it was--the musical horn of Tom
+Cameron's automobile. Ruth turned swiftly to look up the road. A dark
+maroon car, long and low-hung like a racer, was coming along the road,
+leaving a funnel of dust behind it. There were two people in the car.
+
+The girl beside the driver--black-haired and petite--fluttered her
+handkerchief in greeting when she saw Ruth standing by the summer-house.
+At once the latter ran across the yard, over the gentle rise, and down to
+the front gate of the Potter farmhouse. She ran splendidly with a free
+stride of untrammeled limbs, but she held one shoulder rather stiffly.
+
+"Oh, Ruth!"
+
+"Oh, Helen!"
+
+The car was at the gate, and Tom brought it to a prompt stop. Helen, his
+twin sister, was out of it instantly and almost leaped into the bigger
+girl's arms.
+
+"Oh! Oh! Oh!" sobbed Helen. "You _are_ alive after all that horrible
+experience coming home from Europe."
+
+"And you are alive and safe, dear Helen," responded Ruth Fielding, quite
+as deeply moved.
+
+It was the first time they had met since separating in Paris a month
+before. And in these times of war, with peace still an uncertainty, there
+were many perils to fear between the port of Brest and that of New York.
+
+Tom, in uniform and with a ribbon and medal on his breast, grinned
+teasingly at the two girls.
+
+"Come, come! Break away! Only twenty seconds allowed in a clinch. Don't
+Helen look fine, Ruth? How's the shoulder?"
+
+"Just a bit stiff yet," replied the girl of the Red Mill, kissing her chum
+again.
+
+At this moment the first sudden swoop of the tempest arrived. The tall
+elms writhed as though taken with St. Vitus's dance. The hens began to
+screech and run to cover. Thunder muttered in the distance.
+
+"Oh, dear me!" gasped Ruth, paling unwontedly, for she was not by nature
+a nervous girl. "Come right into the house, Helen. You could not get to
+Cheslow or back home before this storm breaks. Put your car under the
+shed, Tom."
+
+She dragged her friend into the yard and up the warped flag stones to the
+side door of the cottage. A little old woman who had been sitting on the
+porch in a low rocking chair arose with difficulty, leaning on a cane.
+
+"Oh, my back, and oh, my bones!" murmured Aunt Alvirah Boggs, who was not
+long out of a sick bed herself and would never again be as "spry" as she
+once had been. "Do come in, dearies. It is a wind storm."
+
+Ruth stopped to help the little old woman. She continued pale, but her
+thought for Aunt Alvirah's comfort caused her to put aside her own fear.
+The trio entered the house and closed the door.
+
+In a moment there was a sharp patter against the house. The rain had begun
+in big drops. The rear door was opened, and Tom, laughing and shaking the
+water from his cap, dashed into the living room. He wore the insignia of a
+captain under his dust-coat and the distinguishing marks of a very famous
+division of the A. E. F.
+
+"It's a buster!" he declared. "There's a paper sailing like a kite over
+the roof of the old mill----"
+
+Ruth sprang up with a shriek. She ran to the back door by which Tom had
+just entered and tore it open.
+
+"Oh, do shut the door, deary!" begged Aunt Alvirah. "That wind is 'nough
+to lift the roof."
+
+"What _is_ the matter, Ruth?" demanded Helen.
+
+But Tom ran out after her. He saw the girl leap from the porch and run
+madly down the path toward the summer-house. Back on the wind came a
+broken word or two of explanation:
+
+"My papers! My scenario! The best thing I ever did, Tom!"
+
+He had almost caught up to her when she reached the little pavilion. The
+wind from across the river was tearing through the summer-house at a
+sixty-mile-an-hour speed.
+
+"Oh! It's gone!" Ruth cried, and had Tom not caught her she would have
+dropped to the ground.
+
+There was not a scrap of paper left upon the table, nor anywhere in
+the place. Even the two fat notebooks had disappeared, and, too, the
+gold-mounted pen the girl of the Red Mill had been using. All, all seemed
+to have been swept out of the summer-house.
+
+
+
+
+CHAPTER II
+
+THE MYSTERY OF IT
+
+
+For half a minute Tom Cameron did not know just what to do for Ruth. Then
+the water spilled out of the angry clouds overhead and bade fair to drench
+them.
+
+He half carried Ruth into the summer-house and let her rest upon a bench,
+sitting beside her with his arm tenderly supporting her shoulders. Ruth
+had begun to sob tempestuously.
+
+Ruth Fielding weeping! She might have cried many times in the past, but
+almost always in secret. Tom, who knew her so well, had seen her in
+dangerous and fear-compelling situations, and she had not wept.
+
+"What is it?" he demanded. "What have you lost?"
+
+"My scenario! All my work gone!"
+
+"The new story? My goodness, Ruth, it couldn't have blown away!"
+
+"But it has!" she wailed. "Not a scrap of it left. My notebooks--my pen!
+Why!" and she suddenly controlled her sobs, for she was, after all, an
+eminently practical girl. "Could that fountain pen have been carried away
+by the windstorm, too?"
+
+"There goes a barrel through the air," shouted Tom. "That's heavier than a
+fountain pen. Say, this is some wind!"
+
+The sound of the dashing rain now almost drowned their voices. It sprayed
+them through the porous shelter of the vines and latticework so that they
+could not sit on the bench.
+
+Ruth huddled upon the table with Tom Cameron standing between her and the
+drifting mist of the storm. She looked across the rain-drenched yard to
+the low-roofed house. She had first seen it with a home-hungry heart when
+a little girl and an orphan.
+
+How many, many strange experiences she had had since that time, which
+seemed so long ago! Nor had she then dreamed, as "Ruth Fielding of the Red
+Mill," as the first volume of this series is called, that she would lead
+the eventful life she had since that hour.
+
+Under the niggard care of miserly old Jabez Potter, the miller, her great
+uncle, tempered by the loving kindness of Aunt Alvirah Boggs, the miller's
+housekeeper, Ruth's prospects had been poor indeed. But Providence moves
+in mysterious ways. Seemingly unexpected chances had broadened Ruth's
+outlook on life and given her advantages that few girls in her sphere
+secure.
+
+First she was enabled to go to a famous boarding school, Briarwood Hall,
+with her dearest chum, Helen Cameron. There she began to make friends and
+widen her experience by travel. With Helen, Tom, and other young friends,
+Ruth had adventures, as the titles of the series of books run, at Snow
+Camp, at Lighthouse Point, at Silver Ranch, on Cliff Island, at Sunrise
+Farm, with the Gypsies, in Moving Pictures, and Down in Dixie.
+
+With the eleventh volume of the series Ruth and her chums, Helen Cameron
+and Jennie Stone, begin their life at Ardmore College. As freshmen their
+experiences are related in "Ruth Fielding at College; Or, The Missing
+Examination Papers." This volume is followed by "Ruth Fielding in the
+Saddle; Or, College Girls in the Land of Gold," wherein Ruth's first big
+scenario is produced by the Alectrion Film Corporation.
+
+As was the fact with so many of our college boys and girls, the World War
+interfered most abruptly and terribly with Ruth's peaceful current of
+life. America went into the war and Ruth into Red Cross work almost
+simultaneously.
+
+In "Ruth Fielding in the Red Cross; Or, Doing Her Bit for Uncle Sam," the
+Girl of the Red Mill gained a very practical experience in the work of the
+great peace organization which does so much to smooth the ravages of war.
+Then, in "Ruth Fielding at the War Front; Or, The Hunt for the Lost
+Soldier," the Red Cross worker was thrown into the very heart of the
+tremendous struggle, and in northern France achieved a name for courage
+that her college mates greatly envied.
+
+Wounded and nerve-racked because of her experiences, Ruth was sent home,
+only to meet, as related in the fifteenth volume of the series, "Ruth
+Fielding Homeward Bound; Or, A Red Cross Worker's Ocean Perils," an
+experience which seemed at first to be disastrous. In the end, however,
+the girl reached the Red Mill in a physical and mental state which made
+any undue excitement almost a tragedy for her.
+
+The mysterious disappearance of the moving picture scenario, which had
+been on her heart and mind for months and which she had finally brought,
+she believed, to a successful termination, actually shocked Ruth Fielding.
+She could not control herself for the moment.
+
+Against Tom Cameron's uniformed shoulder she sobbed frankly. His arm stole
+around her.
+
+"Don't take on so, Ruthie," he urged. "Of course we'll find it all. Wait
+till this rain stops----"
+
+"It never blew away, Tom," she said.
+
+"Why, of course it did!"
+
+"No. The sheets of typewritten manuscript were fastened together with a
+big brass clip. Had they been lose and the wind taken them, we should have
+seen at least some of them flying about. And the notebooks!"
+
+"And the pen?" murmured Tom, seeing the catastrophe now as she did. "Why,
+Ruthie! Could somebody have taken them all?"
+
+"Somebody must!"
+
+"But who?" demanded the young fellow. "You have no enemies."
+
+"Not here, I hope," she sighed. "I left them all behind."
+
+He chuckled, although he was by no means unappreciative of the seriousness
+of her loss. "Surely that German aviator who dropped the bomb on you
+hasn't followed you here."
+
+"Don't talk foolishly, Tom!" exclaimed the girl, getting back some of her
+usual good sense. "Of course, I have no enemy. But a thief is every honest
+person's enemy."
+
+"Granted. But where is the thief around the Red Mill?"
+
+"I do not know."
+
+"Can it be possible that your uncle or Ben saw the things here and rescued
+them just before the storm burst?"
+
+"We will ask," she said, with a sigh. "But I can imagine no reason for
+either Uncle Jabez or Ben to come down here to the shore of the river.
+Oh, Tom! it is letting up."
+
+"Good! I'll look around first of all. If there has been a skulker
+near----"
+
+"Now, don't be rash," she cried.
+
+"We're not behind the German lines now, Fraulein Mina von Brenner," and he
+laughed as he went out of the summer-house.
+
+He did not smile when he was searching under the house and beating the
+brush clumps near by. He realized that this loss was a very serious matter
+for Ruth.
+
+She was now independent of Uncle Jabez, but her income was partly derived
+from her moving picture royalties. During her war activities she had been
+unable to do much work, and Tom knew that Ruth had spent of her own means
+a great deal in the Red Cross work.
+
+Ruth had refused to tell her friends the first thing about this new story
+for the screen. She believed it to be the very best thing she had ever
+originated, and she said she wished to surprise them all.
+
+He even knew that all her notes and "before-the-finish" writing was in the
+notebooks that had now gone with the completed manuscript. It looked more
+than mysterious. It was suspicious.
+
+Tom looked all around the summer-house. Of course, after this hard
+downpour it was impossible to mark any footsteps. Nor, indeed, did the
+raider need to leave such a trail in getting to and departing from the
+little vine-covered pavilion. The sward was heavy all about it save on the
+river side.
+
+The young man found not a trace. Nor did he see a piece of paper anywhere.
+He was confident that Ruth's papers and notebooks and pen had been removed
+by some human agency. And it could not have been a friend who had done
+this thing.
+
+
+
+
+CHAPTER III
+
+THE DERELICT
+
+
+"Didn't you find anything, Tom?" Ruth Fielding asked, as Helen's twin
+re-entered the summer-house.
+
+His long automobile coat glistened with wet and his face was wind-blown.
+Tom Cameron's face, too, looked much older than it had--well, say a year
+before. He, like Ruth herself, had been through much in the war zone
+calculated to make him more sedate and serious than a college
+undergraduate is supposed to be.
+
+"I did not see even a piece of paper blowing about," he told her.
+
+"But before we came down from the house you said you saw a paper blow over
+the roof like a kite."
+
+"That was an outspread newspaper. It was not a sheet of your manuscript."
+
+"Then it all must have been stolen!" she cried.
+
+"At least, human agency must have removed the things you left on this
+table," he said.
+
+"Oh, Tom!"
+
+"Now, now, Ruth! It's tough, I know----"
+
+But she recovered a measure of her composure almost immediately. Unnerved
+as she had first been by the disaster, she realized that to give way to
+her trouble would not do the least bit of good.
+
+"An ordinary thief," Tom suggested after a moment, "would not consider
+your notes and the play of much value."
+
+"I suppose not," she replied.
+
+"If they are stolen it must be by somebody who understands--or thinks he
+does--the value of the work. Somebody who thinks he can sell a moving
+picture scenario."
+
+"Oh, Tom!"
+
+"A gold mounted fountain pen would attract any petty thief," he went on to
+say. "But surely the itching fingers of such a person would not be tempted
+by that scenario."
+
+"Then, which breed of thief stole my scenario, Tom?" she demanded. "You
+are no detective. Your deductions suggest two thieves."
+
+"Humph! So they do. Maybe they run in pairs. But I can't really imagine
+two light-fingered people around the Red Mill at once. Seen any tramps
+lately?"
+
+"We seldom see the usual tramp around here," said Ruth, shaking her head.
+"We are too far off the railroad line. And the Cheslow constables keep
+them moving if they land _there_."
+
+"Could anybody have done it for a joke?" asked Tom suddenly.
+
+"If they have," Ruth said, wiping her eyes, "it is the least like a joke
+of anything that ever happened to me. Why, Tom! I couldn't lay out that
+scenario again, and think of all the details, and get it just so, in a
+year!"
+
+"Oh, Ruth!"
+
+"I mean it! And even my notes are gone. Oh, dear! I'd never have the heart
+to write that scenario again. I don't know that I shall ever write
+another, anyway. I'm discouraged," sobbed the girl suddenly.
+
+"Oh, Ruth! don't give way like this," he urged, with rather a boyish fear
+of a girl's tears.
+
+"I've given way already," she choked. "I just feel that I'll never be able
+to put that scenario into shape again. And I'd written Mr. Hammond so
+enthusiastically about it."
+
+"Oh! Then he knows all about it!" said Tom. "That is more than any of us
+do. You wouldn't tell us a thing."
+
+"And I didn't tell him. He doesn't know the subject, or the title, or
+anything about it. I tell you, Tom, I had _such_ a good idea----"
+
+"And you've got the idea yet, haven't you? Cheer up! Of course you can do
+it over."
+
+"Suppose," demanded Ruth quickly, "this thief that has got my manuscript
+should offer it to some producer? Why! if I tried to rewrite it and bring
+it out, I might be accused of plagiarizing my own work."
+
+"Jimminy!"
+
+"I wouldn't dare," said Ruth, shaking her head. "As long as I do not know
+what has become of the scenario and my notes, I will not dare use the idea
+at all. It is dreadful!"
+
+The rain was now falling less torrentially. The tempest was passing. Soon
+there was even a rift in the clouds in the northwest where a patch of blue
+sky shone through "big enough to make a Scotchman a pair of breeches," as
+Aunt Alvirah would say.
+
+"We'd better go up to the house," sighed Ruth.
+
+"I'll go right around to the neighbors and see if anybody has noticed a
+stranger in the vicinity," Tom suggested.
+
+"There's Ben! Do you suppose he has seen anybody?"
+
+A lanky young man, his clothing gray with flour dust, came from the back
+door of the mill and hastened under the dripping trees to reach the porch
+of the farmhouse. He stood there, smiling broadly at them, as Ruth and Tom
+hurriedly crossed the yard.
+
+"Good day, Mr. Tom," said Ben, the miller's helper. Then he saw Ruth's
+troubled countenance. "Wha--what's the matter, Ruthie?"
+
+"Ben, I've lost something."
+
+"Bless us an' save us, no!"
+
+"Yes, I have. Something very valuable. It's been stolen."
+
+"You don't mean it!"
+
+"But I do! Some manuscript out of the summer-house yonder."
+
+"And her gold-mounted fountain pen," added Tom. "That would tempt
+somebody."
+
+"My goodness!"
+
+Ben could express his simple wonderment in a variety of phrases. But he
+seemed unable to go beyond these explosive expressions.
+
+"Ben, wake up!" exclaimed Ruth. "Have you any idea who would have taken
+it?"
+
+"That gold pen, Ruthie? Why--why---- A thief!"
+
+"Old man," said Tom with suppressed disgust, "you're a wonder. How did you
+guess it?"
+
+"Hush, Tom," Ruth said. Then: "Now, Ben, just think. Who has been around
+here to-day? Any stranger, I mean."
+
+"Why--I dunno," said the mill hand, puckering his brows.
+
+"Think!" she commanded again.
+
+"Why--why----old Jep Parloe drove up for a grinding."
+
+"He's not a stranger."
+
+"Oh, yes he is, Ruthie. Me nor Mr. Potter ain't seen him before for nigh
+three months. Your uncle up and said to him, 'Why, you're a stranger, Mr.
+Parloe.'"
+
+"I mean," said Ruth, with patience, "anybody whom you have never seen
+before--or anybody whom you might suspect would steal."
+
+"Well," drawled Ben stubbornly, "your uncle, Ruthie, says old Jep ain't
+any too honest."
+
+"I know all about that," Ruth said. "But Parloe did not leave his team and
+go down to the summer-house, did he?"
+
+"Oh, no!"
+
+"Did you see anybody go down that way?"
+
+"Don't believe I did--savin' you yourself, Ruthie."
+
+"I left a manuscript and my pen on the table there. I ran out to meet Tom
+and Helen when they came."
+
+"I seen you," said Ben.
+
+"Then it was just about that time that somebody sneaked into that
+summer-house and stole those things."
+
+"I didn't see anybody snuck in there," declared Ben, with more confidence
+than good English.
+
+"Say!" ejaculated Tom, impatiently, "haven't you seen any tramp, or
+straggler, or Gypsy--or anybody like that?"
+
+"Hi gorry!" suddenly said Ben, "I do remember. There was a man along here
+this morning--a preacher, or something like that. Had a black frock coat
+on and wore his hair long and sort o' wavy. He was shabby enough to be a
+tramp, that's a fact. But he was a real knowledgeable feller--he was that.
+Stood at the mill door and recited po'try for us."
+
+"Poetry!" exclaimed Tom.
+
+"To you and Uncle Jabez?" asked Ruth.
+
+"Uh-huh. All about 'to be or not to be a bean--that is the question.' And
+something about his having suffered from the slung shots and bow arrers of
+outrageous fortune--whatever that might be. I guess he got it all out of
+the Scriptures. Your uncle said he was bugs; but I reckoned he was a
+preacher."
+
+"Jimminy!" muttered Tom. "A derelict actor, I bet. Sounds like a
+Shakespearean ham."
+
+"Goodness!" said Ruth. "Between the two of you boys I get a very strange
+idea of this person."
+
+"Where did he go, Ben?" Tom asked.
+
+"I didn't watch him. He only hung around a little while. I think he axed
+your uncle for some money, or mebbe something to eat. You see, he didn't
+know Mr. Potter."
+
+"Not if he struck him for a hand-out," muttered the slangy Tom.
+
+"Oh, Ben! don't you know whether he went toward Cheslow--or where?" cried
+Ruth.
+
+"Does it look probable to you," Tom asked, "that a derelict
+actor---- Oh, Jimminy! Of course! _He_ would be just the person to
+see the value of that play script at a glance!"
+
+"Oh, Tom!"
+
+"Have you no idea where he went, Ben?" Tom again demanded of the puzzled
+mill hand.
+
+"No, Mister Tom. I didn't watch him."
+
+"I'll get out the car at once and hunt all about for him," Tom said
+quickly. "You go in to Helen and Aunt Alvirah, Ruth. You'll be sick if
+you let this get the best of you. I'll find that miserable thief of a ham
+actor--if he's to be found." He added this last under his breath as he ran
+for the shed where he had sheltered his automobile.
+
+
+
+
+CHAPTER IV
+
+THE CRYING NEED
+
+
+Tom Cameron chased about the neighborhood for more than two hours in
+his fast car hunting the trail of the man who he had decided must be a
+wandering theatrical performer. Of course, this was a "long shot," Tom
+said; but the trampish individual of whom Ben had told was much more
+likely to be an actor than a preacher.
+
+Tom, however, was able to find no trace of the fellow until he got to the
+outskirts of Cheslow, the nearest town. Here he found a man who had seen a
+long-haired fellow in a shabby frock coat and black hat riding toward the
+railroad station beside one of the farmers who lived beyond the Red Mill.
+This was following the tempest which had burst over the neighborhood at
+mid-afternoon.
+
+Trailing this information farther, Tom learned that the shabby man had
+been seen about the railroad yards. Mr. Curtis, the railroad station
+master, had observed him. But suddenly the tramp had disappeared. Whether
+he had hopped Number 10, bound north, or Number 43, bound south, both of
+which trains had pulled out of Cheslow within the hour, nobody could be
+sure.
+
+Tom returned to the Red Mill at dusk, forced to report utter failure.
+
+"If that bum actor stole your play, Ruth, he's got clear way with it," Tom
+said bluntly. "I'm awfully sorry----"
+
+"Does that help?" demanded his sister snappishly, as though it were
+somewhat Tom's fault. "You go home, Tom. I'm going to stay with Ruthie
+to-night," and she followed her chum into the bedroom to which she had
+fled at Tom's announcement of failure.
+
+"Jimminy!" murmured Tom to the old miller who was still at the supper
+table. "And we aren't even sure that that fellow did steal the scenario."
+
+"Humph!" rejoined Uncle Jabez. "You'll find, if you live to be old enough,
+young feller, that women folks is kittle cattle. No knowing how they'll
+take anything. That pen cost five dollars, I allow; but them papers only
+had writing on 'em, and it does seem to me that what you have writ once
+you ought to be able to write again. That's the woman of it. She don't say
+a thing about that pen, Ruthie don't."
+
+However, Tom Cameron saw farther into the mystery than Uncle Jabez
+appeared to. And after a day or two, with Ruth still "moping about like a
+moulting hen," as the miller expressed it, the young officer felt that he
+must do something to change the atmosphere of the Red Mill farmhouse.
+
+"Our morale has gone stale, girls," he declared to his sister and Ruth.
+"Worrying never did any good yet."
+
+"That's a true word, Sonny," said Aunt Alvirah, from her chair. "'Care
+killed the cat.' my old mother always said, and she had ten children to
+bring up and a drunken husband who was a trial. He warn't my father. He
+was her second, an' she took him, I guess, 'cause he was ornamental. He
+was a sign painter when he worked. But he mostly advertised King Alcohol
+by painting his nose red.
+
+"We children sartain sure despised that man. But mother was faithful to
+her vows, and she made quite a decent member of the community of that man
+before she left off. And, le's see! We was talkin' about cats, warn't we?"
+
+"You were, Aunty dear," said Ruth, laughing for the first time in several
+days.
+
+"Hurrah!" said Tom, plunging head-first into his idea. "That's just what I
+wanted to hear."
+
+"What?" demanded Helen.
+
+"I have wanted to hear Ruth laugh. And we all need to laugh. Why, we are
+becoming a trio of old fogies!"
+
+"Speak for yourself, Master Tom," pouted his sister.
+
+"I do. And for you. And certainly Ruth is about as cheerful as a funeral
+mute. What we all need is some fun."
+
+"Oh, Tom, I don't feel at all like 'funning,'" sighed Ruth.
+
+"You be right, Sonny," interjected Aunt Alvirah, who sometimes forgot that
+Tom, as well as the girls, was grown up. She rose from her chair with her
+usual, "Oh, my back! and oh, my bones! You young folks should be dancing
+and frolicking----"
+
+"But the war, Auntie!" murmured Ruth.
+
+"You'll neither make peace nor mar it by worriting. No, no, my pretty! And
+'tis a bad thing when young folks grow old before their time."
+
+"You're always saying that, Aunt Alvirah," Ruth complained. "But how can
+one be jolly if one does not feel jolly?"
+
+"My goodness!" cried Tom, "you were notoriously the jolliest girl in that
+French hospital. Didn't the _poilus_ call you the jolly American? And
+listen to Grandmother Grunt now!"
+
+"I suppose it is so," sighed Ruth. "But I must have used up all my fund of
+cheerfulness for those poor _blessés_. It does seem as though the font of
+my jollity had quite dried up."
+
+"I wish Heavy Stone were here," said Helen suddenly. "_She'd_ make us
+laugh."
+
+"She and her French colonel are spooning down there at Lighthouse Point,"
+scoffed Ruth--and not at all as Ruth Fielding was wont to speak.
+
+"Say!" Tom interjected, "I bet Heavy is funny even when she is in love."
+
+"_That's_ a reputation!" murmured Ruth.
+
+"They are not at Lighthouse Point. The Stones did not go there this
+summer, I understand," Helen observed.
+
+"I am sorry for Jennie and Colonel Marchand if they are at the Stones'
+city house at this time of the year," the girl of the Red Mill said.
+
+"Bully!" cried Tom, with sudden animation. "That's just what we will do!"
+
+"What will we do, crazy?" demanded his twin.
+
+"We'll get Jennie Stone and Henri Marchand--he's a good sport, too, as I
+very well know--and we'll all go for a motor trip. Jimminy Christmas! that
+will be just the thing, Sis. We'll go all over New England, if you like.
+We'll go Down East and introduce Colonel Marchand to some of our
+hard-headed and tight-fisted Yankees that have done their share towards
+injecting America into the war. We will----"
+
+"Oh!" cried Ruth, breaking in with some small enthusiasm, "let's go to
+Beach Plum Point."
+
+"Where is that?" asked Helen.
+
+"It is down in Maine. Beyond Portland. And Mr. Hammond and his company are
+there making my 'Seaside Idyl.'"
+
+"Oh, bully!" cried Helen, repeating one of her brother's favorite phrases,
+and now quite as excited over the idea as he. "I do so love to act in
+movies. Is there a part in that 'Idyl' story for me?"
+
+"I cannot promise that," Ruth said. "It would be up to the director. I
+wasn't taking much interest in this particular picture. I wrote the
+scenario, you know, before I went to France. I have been giving all my
+thought to----
+
+"Oh, dear! If we could only find my lost story!"
+
+"Come on!" interrupted Tom. "Let's not talk about that. Will you write to
+Jennie Stone?"
+
+"I will. At once," his sister declared.
+
+"Do. I'll take it to the post office and send it special delivery. Tell
+her to wire her answer, and let it be 'yes.' We'll take both cars. Father
+won't mind."
+
+"Oh, _but_!" cried Helen. "How about a chaperon?"
+
+"Oh, shucks! I wish you'd marry some nice fellow, Sis, so that we'd always
+have a chaperon on tap and handy."
+
+She made a little face at him. "I am going to be old-maid aunt to your
+many children, Tommy-boy. I am sure you will have a full quiver. We will
+have to look for a chaperon."
+
+"Aunt Kate!" exclaimed Ruth. "Heavy's Aunt Kate. She is just what Helen
+declares she wants to be--an old-maid aunt."
+
+"And a lovely lady," cried Helen.
+
+"Sure. Ask her. Beg her," agreed Tom. "Tell her it is the crying need. We
+have positively got to have some fun."
+
+"Well, I suppose we may as well," Ruth sighed, in agreement.
+
+"Yes. We have always pampered the boy," declared Helen, her eyes
+twinkling. "I know just what I'll wear, Ruthie."
+
+"Oh, we've clothes enough," admitted the girl of the Red Mill rather
+listlessly.
+
+"Shucks!" said Tom again. "Never mind the fashions. Get that letter
+written, Sis."
+
+So it was agreed. Helen wrote, the letter was sent. With Jennie Stone's
+usual impulsiveness she accepted for herself and "_mon Henri_" and Aunt
+Kate, promising to be at Cheslow within three days, and all within the
+limits of a ten-word telegram!
+
+
+
+
+CHAPTER V
+
+OFF AT LAST
+
+
+"The ancients," stated Jennie Stone solemnly, "burned incense upon any and
+all occasions--red letter days, labor days, celebrating Columbus Day and
+the morning after, I presume. But we moderns burn gasoline. And, phew! I
+believe I should prefer the stale smoke of incense in the unventilated
+pyramids of Egypt to this odor of gas. O-o-o-o, Tommy, do let us get
+started!"
+
+"You've started already--in your usual way," he laughed.
+
+This was at Cheslow Station on the arrival of the afternoon up train that
+had brought Miss Stone, her Aunt Kate, and the smiling Colonel Henri
+Marchand to join the automobile touring party which Jennie soon dubbed
+"the later Pilgrims."
+
+"And that big machine looks much as the _Mayflower_ must have looked
+steering across Cape Cod Bay on that special occasion we read of in sacred
+and profane history, hung about with four-poster beds and whatnots. In our
+neighborhood," the plump girl added, "there is enough decrepit furniture
+declared to have been brought over on the _Mayflower_ to have made a cargo
+for the _Leviathan_."
+
+"Oh, _ma chere_! you do but stretch the point, eh?" demanded the handsome
+Henri Marchand, amazed.
+
+"I assure you----"
+
+"Don't, Heavy," advised Helen. "You will only go farther and do worse. In
+my mind there has always been a suspicion that the _Mayflower_ was sent
+over here by some shipped knocked-down furniture factory. Miles Standish
+and Priscilla Mullins and John Alden must have hung on by their eyebrows."
+
+"Their eyebrows--_ma foi_!" gasped Marchand.
+
+"Say, old man," said Tom, laughing, "if you listen to these crazy college
+girls you will have a fine idea of our historical monuments, and so forth.
+Take everything with a grain of salt--do."
+
+"_Oui, Monsieur!_ But I must have a little pepper, too. I am 'strong,' as
+you Americans say, for plentiful seasoning."
+
+"Isn't he cute?" demanded Jenny Stone. "He takes to American slang like a
+bird to the air."
+
+"Poetry barred!" declared Helen.
+
+"Say," Tom remarked aside to the colonel, "you've got all the pep
+necessary, sure enough, in Jennie."
+
+"She is one dear!" sighed the Frenchman.
+
+"And she just said you were a bird. You'll have a regular zoo about you
+yet. Come on. Let's see if we can get this baggage aboard the good ship.
+It does look a good deal of an ark, doesn't it?"
+
+Although Ruth and Aunt Kate had not joined in this repartee, the girl of
+the Red Mill, as well as their lovely chaperon, enjoyed the fun immensely.
+Ruth had revived in spirits on meeting her friends. Jennie had flown to
+her arms at the first greeting, and hugged the girl of the Red Mill with
+due regard to the mending shoulder.
+
+"My dear! My dear!" she had cried. "I _dream_ of you lying all so pale and
+bloody under that window-sill stone. And what I hear of your and Tom's
+experiences coming over----"
+
+"But worse has happened to me since I arrived home," Ruth said woefully.
+
+"No? Impossible!"
+
+"Yes. I have had an irreparable loss," sighed Ruth. "I'll tell you about
+it later."
+
+But for the most part the greetings of the two parties was made up as Tom
+said of "Ohs and Ahs."
+
+"Take it from me," the naughty Tom declared to Marchand, "two girls
+separated for over-night can find more to tell each other about the next
+morning than we could think of if we should meet at the Resurrection!"
+
+The two Cameron cars stood in the station yard, and as the other waiting
+cars, taxicabs and "flivvers" departed, "the sacred odor of gasoline,"
+which Jennie had remarked upon, was soon dissipated.
+
+The big touring car was expertly packed with baggage, and had a big hamper
+on either running-board as well. There was room remaining, however, for
+the ladies if they would sit there. But as Tom was to drive the big car he
+insisted that Ruth sit with him in the front seat for company. As for his
+racing car, he had turned that over to Marchand. It, too, was well laden;
+but at the start Jennie squeezed in beside her colonel, and the maroon
+speeder was at once whisperingly dubbed by the others "the honeymoon car."
+
+"Poor children!" said Aunt Kate in private to the two other girls. "They
+cannot marry until the war is over. _That_ my brother is firm upon,
+although he thinks well of Colonel Henri. And who could help liking him?
+He is a most lovable boy."
+
+"'Boy!'" repeated Ruth. "And he is one of the most famous spies France has
+produced in this war! And a great actor!"
+
+"But we believe he is not acting when he tells us he loves Jennie," Aunt
+Kate said.
+
+"Surely not!" cried Helen.
+
+"He is the soul of honor," Ruth declared. "I trust him as I do--well, Tom.
+I never had a brother."
+
+"I've always shared Tom with you," pouted Helen.
+
+"So you have, dear," admitted Ruth. "But a girl who has had no
+really-truly brother really has missed something. Perhaps good, perhaps
+bad. But, at least, if you have brothers you understand men better."
+
+"Listen to the wisdom of the owl!" scoffed Helen. "Why, Tommy is only a
+girl turned inside out. A girl keeps all her best and softest attributes
+to the fore, while a boy thinks it is more manly to show a prickly
+surface--like the burr of a chestnut."
+
+"Listen to them!" exclaimed Aunt Kate, with laughter. "All the wise
+sayings of the ancient world must be crammed under those pretty caps you
+wear, along with your hair."
+
+"That is what we get at college," said Helen seriously. "Dear old Ardmore!
+Ruth! won't you be glad to get back to the grind again?"
+
+"I--don't--know," said her chum slowly. "We have seen so much greater
+things than college. It's going to be rather tame, isn't it?"
+
+But this conversation was all before they were distributed into their
+seats and had started. Colonel Marchand was an excellent driver, and he
+soon understood clearly the mechanism of the smaller car. Tom gave him the
+directions for the first few miles and they pulled out of the yard with
+Mr. Curtis, the station master, and his lame daughter, who now acted as
+telegraph operator, waving the party good-bye.
+
+They would not go by the way of the Red Mill, for that would take them out
+of the way they had chosen. The inn they had in mind to stop at on this
+first night was a long four hours' ride.
+
+"Eastward, Ho!" shouted Tom. "This is to be a voyage of discovery, but
+don't discover any punctures or blow-outs this evening."
+
+Then he glanced at Ruth's rather serious face beside him and muttered to
+himself:
+
+"And we want to discover principally the smile that Ruth Fielding seems to
+have permanently lost!"
+
+
+
+
+CHAPTER VI
+
+"THE NEVERGETOVERS"
+
+
+After crossing the Cheslow Hills and the Lumano by the Long Bridge about
+twenty miles below the Red Mill, the touring party debouched upon one of
+the very best State roads. They left much of the dust from which they had
+first suffered behind them, and Tom could now lead the way with the big
+car without smothering the occupants of the honeymoon car in the rear.
+
+The highway wound along a pretty ridge for some miles, with farms dotting
+the landscape and lush meadows or fruit-growing farms dipping to the edge
+of the distant river.
+
+"Ah," sighed Henri Marchand. "Like _la belle_ France before the war. Such
+peace and quietude we knew, too. Fortunate you are, my friends, that _le
+Boche_ has not trampled these fields into bloody mire."
+
+This comment he made when they halted the cars at a certain overlook to
+view the landscape. But they could not stop often. Their first objective
+inn was still a long way ahead.
+
+They did not, however, reach the inn, which was a resort well known to
+motorists. Five miles away Tom noticed that the car was acting strangely.
+
+"What is it, Tom?" demanded Ruth quickly.
+
+"Steering gear, I am afraid. Something is loose."
+
+It did not take him long to make an examination, and in the meantime the
+second car came alongside.
+
+"It might hold out until we get to the hotel ahead; but I think we had
+better stop before that time if we can," was Tom's comment. "I do not want
+the thing to break and send us flying over a stone wall or up a tree."
+
+"But you can fix it, Tom?" questioned Ruth.
+
+"Sure! But it will take half an hour or more."
+
+After that they ran along slowly and presently came in sight of a place
+called the Drovers' Tavern.
+
+"Not a very inviting place, but I guess it will do," was Ruth's
+announcement after they had looked the inn over.
+
+The girls and Aunt Kate alighted at the steps while the young men wheeled
+the cars around to the sheds.
+
+The housekeeper, who immediately announced herself as Susan Timmins, was
+fussily determined to see that all was as it should be in the ladies'
+chambers.
+
+"I can't trust this gal I got to do the upstairs work," she declared,
+saying it through her nose and with emphasis. "Just as sure as kin be,
+if ye go for to help a poor relation you air always sorry for it."
+
+She led the way up the main flight of stairs as she talked.
+
+"This here gal will give me the nevergitovers, I know! She's my own
+sister's child that married a good-for-nothing and is jest like her
+father."
+
+"Bella! You Bella! Turn on the light in these rooms. Is the pitchers
+filled? And the beds turned down? If I find a speck of dust on this
+furniture I'll nigh 'bout have the nevergitovers! That gal will drive me
+to my grave, she will. Bella!"
+
+Bella appeared--a rather good looking child of fourteen or so, slim as a
+lath and with hungry eyes. She was dark--almost Gypsy-like. She stared at
+Ruth, Helen and Jennie with all the amazement of the usual yokel. But it
+was their dress, not themselves, Ruth saw, engaged Bella's interest.
+
+"When you ladies want any help, you call for Bella," announced Miss Susan
+Timmins. "And if she don't come running, you let me know, and I'll give
+her her nevergitovers, now I tell ye!"
+
+"No wonder this hotel is called 'Drovers' Tavern,'" said Jennie Stone.
+"That woman certainly is a driver--a slave driver."
+
+Ruth, meanwhile, was trying to make a friend of Bella.
+
+"What is your name, my dear?" she asked the lathlike girl.
+
+"You heard it," was the ungracious reply.
+
+"Oh! Yes. 'Bella.' But your other name?"
+
+"Arabella Montague Fitzmaurice Pike. My father is Montague Fitzmaurice."
+
+She said it proudly, with a lift of her tousled head and a straightening
+of her thin shoulders.
+
+"Oh!" fairly gasped Ruth Fielding. "It--it sounds quite impressive, I must
+say. I guess you think a good deal of your father?"
+
+"Aunt Suse don't," said the girl ungraciously. "My mother's dead. And pa
+is resting this season. So I hafter stay here with Aunt Suse. I hate it!"
+
+"Your father is--er--what is his business?" Ruth asked.
+
+"He's one of the profession."
+
+"A doctor?"
+
+"Lands, no! He's a heavy."
+
+"A _what_?"
+
+"A heavy lead--and a good one. But these moving pictures knock out all
+the really good people. There are no chances now for him to play
+Shakespearean roles----"
+
+"Your father is an actor!" cried Ruth.
+
+"Of course. Montague Fitzmaurice. Surely you have heard the name?" said
+the lathlike girl, tossing her head.
+
+"Why--why----of course!" declared Ruth warmly. It was true. She had heard
+the name. Bella had just pronounced it!
+
+"Then you know what kind of an actor my pa is," said the proud child. "He
+did not have a very good season last winter. He rehearsed with four
+companies and was only out three weeks altogether. And one of the managers
+did not pay at all."
+
+"That is too bad."
+
+"Yes. It's tough," admitted Bella. "But I liked it."
+
+"You liked it when he was so unsuccessful?" repeated Ruth.
+
+"Pa wasn't unsuccessful. He never is. He can play any part," declared the
+girl proudly. "But the plays were punk. He says there are no good plays
+written nowadays. That is why so many companies fail."
+
+"But you said you liked it?"
+
+"In New York," explained Bella. "While he was rehearsing pa could get
+credit at Mother Grubson's boarding house on West Forty-fourth Street. I
+helped her around the house. She said I was worth my keep. But Aunt Suse
+says I don't earn my salt here."
+
+"I am sure you do your best, Bella," Ruth observed.
+
+"No, I don't. Nor you wouldn't if you worked for Aunt Suse. She says I'll
+give her her nevergitovers--an' I hope I do!" with which final observation
+she ran to unlace Aunt Kate's shoes.
+
+"Poor little thing," said Ruth to Helen. "She is worse off than an orphan.
+Her Aunt Susan is worse than Uncle Jabez ever was to me. And she has no
+Aunt Alvirah to help her to bear it. We ought to do something for her."
+
+"There! You've begun. Every waif and stray on our journey must be aided, I
+suppose," pouted Helen, half exasperated.
+
+But Tom was glad to see that Ruth had found a new interest. Bella waited
+on the supper table, was snapped at by Miss Timmins, and driven from
+pillar to post by that crotchety individual.
+
+"Jimminy Christmas!" remarked Tom, "that Timmins woman must be a
+reincarnation of one of the ancient Egyptians who was overseer in the
+brickyard where Moses learned his trade. If they were all like her, no
+wonder the Israelites went on a strike and marched out of Egypt."
+
+They were all very careful, however, not to let Miss Susan Timmins hear
+their comments. She had the true dictatorial spirit of the old-fashioned
+New England school teacher. The guests of Drovers' Tavern were treated by
+her much as she might have treated a class in the little red schoolhouse
+up the road had she presided there.
+
+She drove the guests to their chambers by the method of turning off the
+electric light in the general sitting room at a quarter past ten. Each
+room was furnished with a bayberry candle, and she announced that the
+electricity all over the house would be switched off at eleven o'clock.
+
+"That is late enough for any decent body to be up," she announced in her
+decisive manner. "That's when I go to bed myself. I couldn't do so in
+peace if I knew folks was burning them electric lights to all hours.
+'Tain't safe in a thunder storm.
+
+"Why, when we first got 'em, Jed Parraday from Wachuset come to town to do
+his buyin' and stayed all night with us. He'd never seed a 'lectric bulb
+before, and he didn't know how to blow it out. And he couldn't sleep in a
+room with a light.
+
+"So, what does the tarnal old fool do but unhook the cord so't the bulb
+could be carried as far as the winder. And he hung it outside, shut the
+winder down on it, drawed the shade and went to bed in the dark.
+
+"Elnathan Spear, the constable, seen the light a-shining outside the
+winder in the middle of the night and he thought 'twas burglars. He
+_dreams_ of burglars, Elnathan does. But he ain't never caught none yet.
+
+"On that occasion, howsomever, he was sure he'd got a whole gang of 'em,
+and he waked up the whole hotel trying to find out what was going on. I
+charged Parraday ha'f a dollar for burning extry 'lectricity, and he got
+so mad he ain't stopped at the hotel since.
+
+"He'd give one the nevergitovers, that man would!" she concluded.
+
+
+
+
+CHAPTER VII
+
+MOVIE STUNTS
+
+
+Jennie Stone slept in Ruth's bed that night because, having been parted
+since they were both in France, they had a great deal to say to each
+other--thus proving true one of Tom Cameron's statements regarding women.
+
+Jennie was just as sympathetic--and as sleepy--as she could be and she
+"oh, dear, me'd" and yawned alternately all through the tale of the lost
+scenario and notebooks, appreciating fully how Ruth felt about it, but
+unable to smother the expression of her desire for sleep.
+
+"Maybe we ought not to have come on this automobile trip," said Jennie.
+"If the thief just did it to be mean and is somebody who lives around the
+Red Mill, perhaps you might have discovered something by mingling with the
+neighbors."
+
+"Oh! Tom did all that," sighed Ruth. "And without avail. He searched the
+neighborhood thoroughly, although he is confident that a tramp carried it
+off. And that seems reasonable. I am almost sure, Heavy, that my scenario
+will appear under the trademark of some other producing manager than Mr.
+Hammond."
+
+"Oh! How mean!"
+
+"Well, a thief is almost the meanest person there is in the world, don't
+you think so? Except a backbiter. And anybody mean enough to steal my
+scenario must be mean enough to try to make use of it."
+
+"Oh, dear! Ow-oo-ooo! Scuse me, Ruth. Yes, I guess you are right. But
+can't you stop the production of the picture?"
+
+"How can I do that?"
+
+"I don't----ow-oo!----know. Scuse me, dear."
+
+"Most pictures are made in secret, anyway. The public knows nothing about
+them until the producer is ready to make their release."
+
+"I--ow-oo!--I see," yawned Jennie.
+
+"Even the picture play magazines do not announce them until the first
+runs. Then, sometimes, there is a synopsis of the story published. But it
+will be too late, then. Especially when I have no notes of my work, nor
+any witnesses. I told no living soul about the scenario--what it was
+about, or----"
+
+"Sh-sh-sh----"
+
+"Why, Heavy!" murmured the scandalized Ruth.
+
+"Sh-sh-sh--whoo!" breathed the plump girl, with complete abandon.
+
+"My goodness!" exclaimed Ruth, tempted to shake her, "if you snore like
+that when you are married, Henri will have to sleep at the other end of
+the house."
+
+But this was completely lost on the tired Jennie Stone, who continued to
+breathe heavily until Ruth herself fell asleep. It seemed as though the
+latter had only closed her eyes when the sun shining into her face awoke
+the girl of the Red Mill. The shades of the east window had been left up,
+and it was sunrise.
+
+Plenty of farm noises outside the Drovers' Tavern, as well as a stir in
+the kitchen, assured Ruth that there were early risers here. Jennie,
+rolled in more than her share of the bedclothes, continued to breathe as
+heavily as she had the night before.
+
+But suddenly Ruth was aware that there was somebody besides herself awake
+in the room. She sat up abruptly in bed and reached to seize Jennie's
+plump shoulder. Ruth had to confess she was much excited, if not
+frightened.
+
+Then, before she touched the still sleeping Jennie Stone, Ruth saw the
+intruder. The door from the anteroom was ajar. A steaming agateware can
+of water stood on the floor just inside this door. Before the bureau which
+boasted a rather large mirror for a country hotel bedroom, pivoted the
+thin figure of Arabella Montague Fitzmaurice Pike!
+
+From the neatly arranged outer clothing of the two girls supposedly asleep
+in the big four-poster, Bella had selected a skirt of Ruth's and a
+shirt-waist of Jennie's, arraying herself in both of these borrowed
+garments. She was now putting the finishing touch to her costume by
+setting Ruth's cap on top of her black, fly-away mop of hair.
+
+Turning about and about before the glass, Bella was so much engaged in
+admiring herself that she forgot the hot water she was supposed to carry
+to the various rooms. Nor did she see Ruth sitting up in bed looking at
+her in dawning amusement. Nor did she, as she pirouetted there, hear her
+Nemesis outside in the hall.
+
+The door suddenly creaked farther open. The grim face of Miss Susan
+Timmins appeared at the aperture.
+
+"Oh!" gasped Ruth Fielding aloud.
+
+Bella turned to glance in startled surprise at the girl in bed. And at
+that moment Miss Timmins bore down upon the child like a shrike on a
+chippy-bird.
+
+"Ow-ouch!" shrieked Bella.
+
+"Oh, don't!" begged Ruth.
+
+"What is it? Goodness! _Fire!_" cried Jennie Stone, who, when awakened
+suddenly, always remembered the dormitory fire at Briarwood Hall.
+
+"You little pest! I'll larrup ye good! I'll give ye your nevergitovers!"
+sputtered the hotel housekeeper.
+
+But the affrighted Bella wriggled away from her aunt's bony grasp. She
+dodged Miss Timmins about the marble-topped table, retreated behind the
+hair-cloth sofa, and finally made a headlong dash for the door, while
+Jennie continued to shriek for the fire department.
+
+Ruth leaped out of bed. In her silk pajamas and slippers, and without any
+wrap, she hurried to reach, and try to separate, the struggling couple
+near the door.
+
+Miss Timmins delivered several hearty slaps upon Bella's face and ears.
+The child shrieked. She got away again and plunged into the can of hot
+water.
+
+Over this went, flooding the rag-carpet for yards around.
+
+"Fire! Fire!" Jennie continued to shriek.
+
+Helen dashed in from the next room, dressed quite as lightly as Ruth, and
+just in time to see the can spilled.
+
+"Oh! Water! Water!"
+
+"Drat that young one!" barked Miss Timmins, ignoring the flood and
+everything else save her niece--even the conventions.
+
+She dashed after Bella. The latter had disappeared into the hall through
+the anteroom.
+
+"Oh, the poor child!" cried sympathetic Ruth, and followed in the wake of
+the angry housekeeper.
+
+"Fire! Fire!" moaned Jennie Stone.
+
+"Cat's foot!" snapped Helen Cameron. "It's water--and it is flooding the
+whole room."
+
+She ran to set the can upright--after the water was all out of it. Without
+thinking of her costume, Ruth Fielding ran to avert Bella's punishment if
+she could. She knew the aunt was beside herself with rage, and Ruth feared
+that the woman would, indeed, give Bella her "nevergetovers."
+
+The corridor of the hotel was long, running from front to rear of the main
+building. The window at the rear end of it overlooked the roof of the back
+kitchen. This window was open, and when Ruth reached the corridor Bella
+was going head-first through the open window, like a circus clown diving
+through a hoop.
+
+She had discarded Jennie's shirt-waist between the bedroom and the window.
+But Ruth's skirt still flapped about the child's thin shanks.
+
+Miss Timmins, breathing threatenings and slaughter, raced down the hall in
+pursuit. Ruth followed, begging for quarter for the terrified child.
+
+But the housekeeper went through the open window after Bella, although in
+a more conventional manner, paying no heed to Ruth's plea. The frightened
+girl, however, escaped her aunt's clutch by slipping off the borrowed
+skirt and descending the trumpet-vine trellis by the kitchen door.
+
+"Do let her go, Miss Timmins!" begged Ruth, as the panting woman, carrying
+Ruth's skirt, returned to the window where the girl of the Red Mill stood.
+"She is scared to death. She was doing no harm."
+
+"I'll thank you to mind your own business, Miss," snapped Miss Timmins
+hotly. "I declare! A girl growed like you running 'round in men's
+overalls--or, what be them things you got on?"
+
+At this criticism Ruth Fielding fled, taking the skirt and Jennie's
+shirt-waist with her. But Aunt Kate was aroused now and the four women of
+the automobile party swiftly slipped into their negligees and appeared in
+the hall again, to meet Tom and Colonel Marchand who came from their room
+only partly dressed.
+
+The critical Miss Timmins had darted downstairs, evidently in pursuit of
+her unfortunate niece. The guests crowded to the back window.
+
+"Where did she go?" demanded Tom, who had heard some explanation of the
+early morning excitement. "Is she running away?"
+
+"What a child!" gasped Aunt Kate.
+
+"My waist!" moaned Jennie.
+
+"Look at Ruth's skirt!" exclaimed Helen.
+
+"I do not care for the skirt," the girl of the Red Mill declared. "It is
+Bella."
+
+"Her aunt will about give her those 'nevergetovers' she spoke of,"
+chuckled Tom.
+
+"_Ma foi!_ look you there," exclaimed Colonel Marchand, pointing through
+the window that overlooked the rear premises of the hotel.
+
+At top speed Miss Timmins was crossing the yard toward the big hay barn.
+Bella had taken refuge in that structure, and the housekeeper's evident
+intention was to harry her out. The woman grasped a clothes-stick with
+which she proposed to castigate her niece.
+
+"The cruel thing!" exclaimed Helen, the waters of her sympathy rising for
+Bella Pike now.
+
+"There's the poor kid!" said Tom.
+
+Bella appeared at an open door far up in the peak of the haymow. The hay
+was packed solidly under the roof; but there was an air space left at
+either end.
+
+"She has put herself into the so-tight corner--no?" suggested the young
+Frenchman.
+
+"You've said it!" agreed Tom. "Why! it's regular movie stunts. She's come
+up the ladders to the top of the mow. If auntie follows her, I don't see
+that the kid can do anything but jump!"
+
+"Tom! Never!" cried Ruth.
+
+"He is fooling," said Jennie.
+
+"Tell me how she can dodge that woman, then," demanded Tom.
+
+"Ah!" murmured Henri Marchand. "She have arrive'."
+
+Miss Timmins appeared at the door behind Bella. The spectators heard the
+girl's shriek. The housekeeper struck at her with the clothes stick. And
+then----
+
+"Talk about movie stunts!" shouted Tom Cameron, for the frightened Bella
+leaped like a cat upon the haymow door and swung outward with nothing more
+stable than air between her and the ground, more than thirty feet below!
+
+
+
+
+CHAPTER VIII
+
+THE AUCTION BLOCK
+
+
+Helen Cameron and Jennie Stone shrieked in unison when Miss Susan Timmins'
+niece cast herself out of the haymow upon the plank door and swung as far
+as the door would go upon its creaking hinges. Ruth seized Tom's wrist in
+a nervous grip, but did not utter a word. Aunt Kate turned away and
+covered her eyes with her hands that she might not see the reckless child
+fall--if she did fall.
+
+"Name of a name!" murmured Henri Marchand. "_Au secours!_ Come, Tom, _mon
+ami_--to the rescue!"
+
+He turned and ran lightly along the hall and down the stairs. But Tom went
+through the window, almost as precipitately as had Bella Pike herself, and
+so over the roof of the kitchen ell and down the trumpet-vine trellis.
+
+Tom was in the yard and running to the barn before Marchand got out of the
+kitchen. Several other people, early as the hour was, appeared running
+toward the rear premises of Drovers' Tavern.
+
+"See that crazy young one!" some woman shrieked. "I know she'll kill
+herself yet."
+
+"Stop that!" commanded Tom, looking up and shaking a threatening hand at
+Miss Timmins.
+
+For in her rage the woman was trying to strike her niece with the stick,
+as Bella clung to the door.
+
+"Mind your own business, young man!" snapped the virago. "And go back and
+put the rest of your clothes on. You ain't decent."
+
+Tom was scarcely embarrassed by this verbal attack. The case was too
+serious for that. Miss Timmins struck at the girl again, and only missed
+the screaming Bella by an inch or so.
+
+Helen and Jennie screamed in unison, and Ruth herself had difficulty in
+keeping her lips closed. The cruel rage of the hotel housekeeper made her
+quite unfit to manage such a child as Bella, and Ruth determined to
+interfere in Bella's behalf at the proper time.
+
+"I wish she would pitch out of that door herself!" cried Helen recklessly.
+
+Tom had run into the barn and was climbing the ladders as rapidly as
+possible to the highest loft. Scolding and striking at her victim, Miss
+Susan Timmins continued to act like the mad woman she was. And Bella, made
+desperate at last by fear, reached for the curling edges of the shingles
+on the eaves above her head.
+
+"Don't do that, child!" shrieked Jennie Stone.
+
+But Bella scrambled up off the swinging door and pulled herself by her
+thin arms on to the roof of the barn. There she was completely out of her
+aunt's reach.
+
+"Oh, the plucky little sprite!" cried Helen, in delight.
+
+"But--but she can't get down again," murmured Aunt Kate. "There is no
+scuttle in that roof."
+
+"Tom will find a way," declared Ruth Fielding with confidence.
+
+"And my Henri," put in Jennie. "That horrid old creature!"
+
+"She should be punished for this," agreed Ruth. "I wonder where the
+child's father is."
+
+"Didn't you find out last night?" Helen asked.
+
+"Only that he is 'resting'."
+
+"Some poor, miserable loafer, is he?" demanded Aunt Kate, with acrimony.
+
+"No. It seems that he is an actor," Ruth explained. "He is out of work."
+
+"But he can't think anything of his daughter to see her treated like
+this," concluded Aunt Kate.
+
+"She is very proud of him. His professional name is Montague Fitzmaurice."
+
+"Some name!" murmured Jennie.
+
+"Their family name is Pike," said Ruth, still seriously. "I do not think
+the man can know how this aunt treats little Bella. There's Tom!"
+
+The young captain appeared behind the enraged housekeeper at the open door
+of the loft. One glance told him what Bella had done. He placed a firm
+hand on Miss Timmins' shoulder.
+
+"If you had made that girl fall you would go to jail," Tom said sternly.
+"You may go, yet. I will try to put you there. And in any case you shall
+not have the management of the child any longer. Go back to the house!"
+
+For once the housekeeper was awed. Especially when Henri Marchand, too,
+appeared in the loft.
+
+"Madame will return to the house. We shall see what can be done for the
+child. _Gare!_"
+
+Perhaps the woman was a little frightened at last by what she had done--or
+what she might have done. At least, she descended the ladders to the
+ground floor without argument.
+
+The two young men planned swiftly how to rescue the sobbing child. But
+when Tom first spoke to Bella, proposing to help her down, she looked over
+the edge of the roof at him and shook her head.
+
+"No! I ain't coming down," she announced emphatically. "Aunt Suse will
+near about skin me alive."
+
+"She shall not touch you," Tom promised.
+
+"She'll give me my nevergitovers, just as she says. You can't stay here
+and watch her."
+
+"But we'll find a way to keep her from beating you when we are gone," Tom
+promised. "Don't you fear her at all."
+
+"I don't care where you put me, Aunt Suse will find me out. She'll send
+Elnathan Spear after me."
+
+"I don't know who Spear is----"
+
+"He's the constable," sobbed Bella.
+
+"Well, he sha'n't spear you," declared Tom. "Come on, kid. Don't be
+scared, and we'll get you down all right."
+
+He found the clothes-stick Miss Timmins had abandoned and used it for a
+brace. With a rope tied to the handle of the plank door and drawn taut, it
+was held half open. Tom then climbed out upon and straddled the door and
+raised his arms to receive the girl when she lowered herself over the
+eaves.
+
+She was light enough--little more than skin and bone, Tom declared--and
+the latter lowered her without much effort into Henri's arms.
+
+When the three girls and Aunt Kate at the tavern window saw this safely
+accomplished they hurried back to their rooms to dress.
+
+"Something must be done for that poor child," Ruth Fielding said with
+decision.
+
+"Are you going to adopt her?" Helen asked.
+
+"And send her to Briarwood?" put in Jennie.
+
+"That might be the very best thing that could happen to her," Ruth
+rejoined soberly. "She has lived at times in a theatrical boarding house
+and has likewise traveled with her father when he was with a more or less
+prosperous company.
+
+"These experiences have made her, after a fashion, grown-up in her ways
+and words. But in most things she is just as ignorant as she can be. Her
+future is not the most important thing just now. It is her present."
+
+Helen heard the last word from the other room where she was dressing, and
+she cried:
+
+"That's it, Ruthie. Give her a present and tell her to run away from her
+aunt. She's a spiteful old thing!"
+
+"You do not mean that!" exclaimed her chum. "You are only lazy and hate
+responsibility of any kind. We must do something practical for Bella
+Pike."
+
+"How easily she says 'we'," Helen scoffed.
+
+"I mean it. I could not sleep to-night if I knew this child was in her
+aunt's control."
+
+A knock on the door interrupted the discussion. Ruth, who was quite
+dressed now, responded. A lout of a boy, who evidently worked about the
+stables, stood grinning at the door.
+
+"Miz Timmins says you folks kin all get out. She won't have you served no
+breakfast. She don't want none of you here."
+
+"My goodness!" wailed Jennie. "Dispossessed--and without breakfast!"
+
+"Where is the proprietor of this hotel, boy?" Ruth asked.
+
+"You mean Mr. Drovers? He ain't here. Gone to Boston. But that wouldn't
+make no dif'rence. Suse Timmins is boss."
+
+"Oh, me! Oh, my!" groaned Jennie, to whom the prospect was tragic.
+Jennie's appetite was never-failing.
+
+The boy slouched away just as Tom and Henri Marchand appeared with Bella
+between them.
+
+"You poor, dear child!" cried Ruth, running along the hall to meet them.
+
+Bella struggled to escape from the boys. But Tom and Colonel Marchand held
+her by either hand.
+
+"Easy, young one!" advised Captain Cameron.
+
+"I never meant to do no harm, Miss!" cried Bella. "I--I just wanted to see
+how I'd look in them clothes. I never do have anything decent to wear."
+
+"Why, my dear, don't mind about that," said Ruth, taking the lathlike girl
+in her arms. "If you had asked us we would have let you try on the things,
+I am sure."
+
+"Aunt Suse would near 'bout give me my nevergitovers--and she will yet!"
+
+"No she won't," Ruth reassured her. "Don't be afraid of your aunt any
+longer."
+
+"That is what I tell her," Tom said warmly.
+
+"Say! You won't put me in no home, will you?" asked Bella, with sudden
+anxiety.
+
+"A 'home'?" repeated Ruth, puzzled.
+
+"She means a charitable institution, poor dear," said Aunt Kate.
+
+"That's it, Missus," Bella said. "I knew a girl that was out of one of
+them homes. She worked for Mrs. Grubson. She said all the girls wore brown
+denim uniforms and had their hair slicked back and wasn't allowed even to
+whisper at table or after they got to bed at night."
+
+"Nothing like that shall happen to you," Ruth declared.
+
+"Where is your father, Bella?" Tom asked.
+
+"I don't know. Last I saw of him he came through here with a medicine
+show. I didn't tell Aunt Suse, but I ran away at night and went to Broxton
+to see him. But he said business was poor. He got paid so much a bottle
+commission on the sales of Chief Henry Red-dog's Bitters. He didn't think
+the show would keep going much longer."
+
+"Oh!"
+
+"You know, they didn't know he was Montague Fitzmaurice, the great
+Shakespearean actor. Pa often takes such jobs. He ain't lazy like Aunt
+Suse says. Why, once he took a job as a ballyhoo at a show on the Bowery
+in Coney Island. But his voice ain't never been what it was since."
+
+"Do you expect him to return here for you?" Ruth asked, while the other
+listeners exchanged glances and with difficulty kept their faces straight.
+
+"Oh, yes, Miss. Just as soon as he is in funds. Or he'll send for me. He
+always does. He knows I hate it here."
+
+"Does he know how your aunt treats you?" Aunt Kate interrupted.
+
+"N--not exactly," stammered Bella. "I haven't told him all. I don't want
+to bother him. It--it ain't always so bad."
+
+"I tell you it's got to stop!" Tom said, with warmth.
+
+"Of course she shall not remain in this woman's care any longer," Aunt
+Kate agreed.
+
+"But we must not take Bella away from this locality," Ruth observed. "When
+her father comes back for her she must be here--somewhere."
+
+"Oh, lady!" exclaimed Bella. "Send me to New York to Mrs. Grubson's. I bet
+she'd keep me till pa opens somewhere in a good show."
+
+But Ruth shook her head. She had her doubts about the wisdom of the
+child's being in such a place as Mrs. Grubson's boarding house, no matter
+how kindly disposed that woman might be.
+
+"Bella should stay near here," Ruth said firmly, "as long as we cannot
+communicate with Mr. Pike at once."
+
+"Let's write a notice for one of the theatrical papers," suggested Helen
+eagerly. "You know--'Montague Fitzmaurice please answer.' All the actors
+do it."
+
+"But pa don't always have the money to buy the papers," said Bella, taking
+the suggestion quite seriously.
+
+"At least, if Bella is in this neighborhood he will know where to find
+her," went on Ruth. "Is there nobody you know here, child, whom you would
+like to stay with till your father returns?"
+
+Bella's face instantly brightened. Her black eyes flashed.
+
+"Oh, I'd like to stay at the minister's," she said.
+
+"At the minister's?" repeated Ruth. "Why, if he would take you that would
+be fine. Who is he?"
+
+"The Reverend Driggs," said Bella.
+
+"Do you suppose the clergyman would take the child?" murmured Aunt Kate.
+
+"Why do you want to go to live with the minister?" asked Tom with
+curiosity.
+
+"'Cause he reads the Bible so beautifully," declared Bella. "Why! it
+sounds just like pa reading a play. The Reverend Driggs is an educated man
+like pa. But he's got an awful raft of young ones."
+
+"A poor minister," said Aunt Kate briskly. "I am afraid that would not
+suit."
+
+"If the Driggs family is already a large one," began Ruth doubtfully, when
+Bella declared:
+
+"Miz Driggs had two pairs of twins, and one ever so many times. There's a
+raft of 'em."
+
+Helen and Jennie burst out laughing at this statement and the others were
+amused. But to Ruth Fielding this was a serious matter. The placing of
+Bella Pike in a pleasant home until her father could be communicated with,
+or until he appeared on the scene ready and able to care for the child,
+was even more serious than the matter of going without breakfast, although
+Jennie Stone said "No!" to this.
+
+"We'd better set up an auction block before the door of the hotel and
+auction her off to the highest bidder, hadn't we?" suggested Helen, who
+had been rummaging in her bag. "Here, Bella! If you want a shirt-waist to
+take the place of that calico blouse you have on, here is one. One of
+mine. And I guarantee it will fit you better than Heavy's did. She wears
+an extra size."
+
+"I don't either," flashed the plump girl, as the boys retreated from the
+room. "I may not be a perfect thirty-six----"
+
+"Is there any doubt of it?" cried Helen, the tease.
+
+"Well!"
+
+"Never mind," Ruth said. "Jennie is going to be thinner."
+
+"And it seems she will begin to diet this very morning," Aunt Kate put
+in.
+
+"Ow-wow!" moaned Jennie at this reminder that they had been refused
+breakfast.
+
+Captain Tom, however, had handled too many serious situations in France to
+be browbeaten by a termagant like Miss Susan Timmins. He went down to the
+kitchen, ordered a good breakfast for all of his party, and threatened to
+have recourse to the law if the meal was not well and properly served.
+
+"For you keep a public tavern," he told the sputtering Miss Timmins, "and
+you cannot refuse to serve travelers who are willing and able to pay. We
+are on a pleasure trip, and I assure you, Madam, it will be a pleasure to
+get you into court for any cause."
+
+On coming back to the front of the house he found two of the neighbors
+just entering. One proved to be the local doctor's wife and the other was
+a kindly looking farmer.
+
+"I knowed that girl warn't being treated right, right along," said the
+man. "And I told Mirandy that I was going to put a stop to it."
+
+"It is a disgrace," said the doctor's wife, "that we should have allowed
+it to go on so long. I will take the child myself----"
+
+"And so'll Mirandy," declared the farmer.
+
+"It is an auction," whispered Helen, overhearing this from the top of the
+stairs.
+
+The party of guests came down with their bags now, bringing Bella in
+their midst--and in the new shirt-waist.
+
+"Let her choose which of these kind people she will stay with," Tom
+advised. "And," he added, in a low voice to Ruth, "we will pay for her
+support until we can find her father."
+
+"Like fun you will, young feller!" snorted the farmer, overhearing Tom.
+
+"I could not hear of such a thing," said the doctor's wife.
+
+"I'd like to know what you people think you're doing?" demanded Miss
+Timmins, popping out at them suddenly.
+
+"Now, Suse Timmins, we're a-goin' to do what we neighbors ought to have
+done long ago. We're goin' to take this gal----"
+
+"You start anything like that--taking that young one away from her lawful
+guardeen--an' I'll get Elnathan Spear after you in a hurry, now I tell ye.
+I'll give you your nevergitovers!"
+
+"If Nate Spear comes to my house, I'll ask him to pay me for that corn he
+bought off'n me as long ago as last fall," chuckled the farmer. "Just
+because you're own cousin to Nate don't put _all_ the law an' the gospel
+on your side, Suse Timmins. I'll take good care of this girl."
+
+"And so will I, if Bella wants to live with me," said the doctor's wife.
+
+"Mirandy will be glad to have her."
+
+"And she'd be company for me," rejoined the other neighbor. "I haven't any
+children."
+
+"Bella must choose for herself," said Ruth kindly.
+
+"I guess I'll go with Mr. Perkins," said the actor's daughter. "Miz Holmes
+is real nice; but Doctor Holmes gives awful tastin' medicine. I might be
+sick there and have to take some of it. So I'll go to Miz Perkins. She has
+a doctor from Maybridge and he gives candy-covered pellets. I ate some
+once. Besides, Miz Perkins is lame and can't get around so spry, and I can
+do more for her."
+
+"Now listen to that!" exclaimed the farmer. "Ain't she a noticing child?"
+
+"Well, Mrs. Perkins will be good to her, no doubt," agreed the doctor's
+wife.
+
+"I'd like to know what you fresh city folks butted into this thing for!"
+demanded Miss Timmins. "If there's any law in the land----"
+
+"_You'll_ get it!" promised Tom Cameron.
+
+"Go get anything you own that you want to take with you, Bella," Ruth
+advised the shrinking child.
+
+With another fearful glance at her aunt, Bella ran upstairs.
+
+Miss Timmins might have started after her, but Tom planted himself before
+that door. The lout of a boy began bringing in the breakfast for the
+automobile party. Ruth talked privately with the doctor's wife and Mr.
+Perkins, and forced some money on the woman to be expended for a very
+necessary outfit of clothing for Bella.
+
+Miss Timmins finally flounced back into the kitchen where they heard her
+venting her anger and chagrin on the kitchen help. Bella returned bearing
+an ancient extension bag crammed full of odds and ends. She kissed Ruth
+and shook hands with the rest of the company before departing with Mr.
+Perkins.
+
+The doctor's wife promised to write to Ruth as soon as anything was heard
+of Mr. Pike, and the automobile party turned their attention to ham and
+eggs, stewed potatoes, and griddle cakes.
+
+"Only," said Jennie, sepulchrally, "I hope the viands are not poisoned.
+That Miss Timmins would certainly like to give us all our
+'nevergetovers'."
+
+
+
+
+CHAPTER IX
+
+A DISMAYING DISCOVERY
+
+
+"'The Later Pilgrims' are well out of that trouble," announced Helen, when
+the cars were underway, the honeymoon car ahead and the other members of
+the party packed into the bigger automobile.
+
+"And I hope," she added, "that Ruth will find no more waifs and strays."
+
+"Don't be knocking Ruthie all the time," said Tom, glancing back over his
+shoulder. "She's all right."
+
+"And you keep your eyes straight ahead, young man," advised Aunt Kate, "or
+you will have this heavy car in the ditch."
+
+"Watch out for Henri and Heavy, too," advised Helen. "They do not quite
+know what they are about and you may run them down. There! See his
+horizon-blue sleeve steal about her? He's got only one hand left to steer
+with. Talk about a perfect thirty-six! It's lucky Henri's arm is
+phenomenally long, or he could never surround _that_ baby!"
+
+"I declare, Helen," laughed Ruth. "I believe you are covetous."
+
+"Well, Henri is an awfully nice fellow--for a Frenchman."
+
+"And you are the damsel who declared you proposed to remain an old maid
+forever and ever and the year after."
+
+"I can be an old maid and still like the boys, can't I? All the more, in
+fact. I sha'n't have to be true to just one man, which, I believe, would
+be tedious."
+
+"You should live in that part of New York called Greenwich Village and
+wear a Russian blouse and your hair bobbed. Those are the kind of bon mots
+those people throw off in conversation. Light and airy persiflage, it is
+called," said Tom from the front seat.
+
+"What do you know about such people, Tommy?" demanded his sister.
+
+"There were some co-eds of that breed I met at Cambridge. They were
+exponents of the 'new freedom,' whatever that is. Bolshevism, I guess.
+Freedom from both law and morals."
+
+"Those are not the kind of girls who are helping in France," said Ruth
+soberly.
+
+"You said it!" agreed Tom. "That sort are so busy riding hobbies over here
+that they have no interest in what is going on in Europe unless it may be
+in Russia. Well, thank heaven, there are comparatively few nuts compared
+with us sane folks."
+
+Such thoughts as these, however, did not occupy their minds for long. Just
+as Tom had declared, they were out for fun, and the fun could be found
+almost anywhere by these blithe young folk.
+
+Ruth's face actually changed as they journeyed on. She was both "pink and
+pretty," Helen declared, before they camped at the wayside for luncheon.
+
+The hampers on the big car were crammed with all the necessities of food
+and service for several meals. There were, too, twin alcohol lamps, a
+coffee boiler and a teapot.
+
+Altogether they were making a very satisfactory meal and were having a
+jolly time at the edge of a piece of wood when a big, black wood-ant
+dropped down Jennie Stone's back.
+
+At first they did not know what the matter was with her. Her mouth was
+full, the food in that state of mastication that she could not immediately
+swallow it.
+
+"Ow! Ow! Ow!" choked the plump girl, trying to get both hands at once down
+the neck of her shirt-waist.
+
+"What _is_ the matter, Heavy?" gasped Helen.
+
+"Jennie, dear!" murmured Ruth. "Don't!"
+
+"_Ma chere!_" gasped Henri Marchand. "Is she ill?"
+
+"Jennie, behave yourself!" cried her aunt.
+
+"I saw a toad swallow a hornet once," Tom declared. "She acts just the
+same way."
+
+"As the hornet?" demanded his sister, beginning to giggle.
+
+"As the toad," answered Tom, gravely.
+
+But Henri had got to his feet and now reached the wriggling girl. "Let me
+try to help!" he cried.
+
+"If you even begin wiggling that way, Colonel Marchand," declared Helen,
+"you will be in danger of arrest. There is a law against _that_ dance."
+
+"Ow! Ow! Ow!" burst out Jennie once more, actually in danger of choking.
+
+"What _is_ it?" Ruth demanded, likewise reaching the writhing girl.
+
+"Oh, he bit me!" finally exploded Jennie.
+
+Ruth guessed what must be the trouble then, and she forced Jennie's hands
+out of the neck of her waist and ran her hand down the plump girl's back.
+Between them they killed the ant, for Ruth finally recovered a part of the
+unfortunate creature.
+
+"But just think," consoled Helen, "how much more awful it would have been
+if you had swallowed him, Heavy, instead of his wriggling down your spinal
+column."
+
+"Oh, don't! I can feel him wriggling now," sighed Jennie.
+
+"That can be nothing more than his ghost," said Tom soberly, "for Ruth
+retrieved at least half of the ant's bodily presence."
+
+"You'll give us all the fidgets if you keep on wriggling, Jennie,"
+declared Aunt Kate.
+
+"Well, I don't want to sit on the grass in a woodsy place again while we
+are on this journey," sighed Jennie. "Ugh! I always did hate creepy
+things."
+
+"Including spiders, snakes, beetles and babies, I suppose?" laughed Helen.
+"Come on now. Let us clear up the wreck. Where do we camp to-night,
+Tommy?"
+
+"No more camping, I pray!" squealed Jennie. "I am no Gypsy."
+
+"The hotel at Hampton is recommended as the real thing. They have a horse
+show every year at Hampton, you know. It is in the midst of a summer
+colony of wealthy people. It is the real thing," Tom repeated.
+
+They made a pleasant and long run that afternoon and arrived at the
+Hampton hotel in good season to dress for dinner. Jennie and her aunt met
+some people they knew, and naturally Jennie's fiancé and her friends were
+warmly welcomed by the gay little colony.
+
+Men at the pleasure resorts were very scarce that year, and here were two
+perfectly good dancers. So it was very late when the automobile party got
+away from the dance at the Casino.
+
+They were late the next morning in starting on the road to Boston.
+Besides, there was thunder early, and Helen, having heard it rumbling,
+quoted:
+
+    "'Thunder in the morning,
+     Sailors take warning!'"
+
+and rolled over for another nap.
+
+Ruth, however, at last had to get up. She was no "lie-abed" in any case,
+and in her present nervous state she had to be up and doing.
+
+"But it's going to ra-a-ain!" whined Jennie Stone when Ruth went into her
+room.
+
+"You're neither sugar nor salt," said Ruth.
+
+"Henri says I'm as sweet as sugar," yawned Jennie.
+
+"He is not responsible for what he says about you," said her aunt briskly.
+"When I think of what that really nice young man is taking on his
+shoulders when he marries you----"
+
+"But, Auntie!" cried Jennie, "he's not going to try to carry me pickaback,
+you know."
+
+"Just the same, it is wrong for us to encourage him to become responsible
+for you, Jennie," said her aunt. "He really should be warned."
+
+"Oh!" gasped the plump girl. "Let anybody dare try to get between me and
+my Henri----"
+
+"Nobody can--no fear--when you are sitting with him in the front seat of
+that roadster of Tom's," said Ruth. "You fill every atom of space, Heavy."
+
+She went to the window and looked out again. Heavy rolled out of bed--a
+good deal like a barrel, her aunt said tartly.
+
+"What is it doing outside?" yawned the plump girl.
+
+"Well, it's not raining. And it is a long run to Boston. We should be on
+our way now. The road through the hills is winding. There will be no time
+to stop for a Gypsy picnic."
+
+"Thank goodness for that!" grumbled Jennie, sitting on the floor,
+schoolgirl fashion, to draw on her stockings. "I'll eat enough at
+breakfast hereafter to keep me alive until we reach a hotel, if you folks
+insist on inviting wood ants and other savage creatures of the forest to
+our luncheon table."
+
+When the party finally gathered for breakfast in the hotel dining room on
+this morning, it was disgracefully late. Tom had been over both cars and
+pronounced them fit. He had ordered the tanks filled with gasoline and had
+tipped one of the garage men liberally to see that this was properly done.
+
+Afterward Captain Tom declared he would never trust a garage workman
+again.
+
+"The only way to get a thing done well is to do it yourself--and a tip
+never bought any special service yet," declared the angry Tom. "It is
+merely a form of highway robbery."
+
+But this was afterward. The party started off from Hampton in high fettle
+and with a childlike trust in the honesty of a garage attendant.
+
+There were banks of clouds shrouding the horizon both to the west and
+north--the two directions from which thunder showers usually rise in this
+part of New England in which they were traveling. And yet the shower held
+off.
+
+It was some time past noon before the thunder began to mutter again. The
+automobile party was then in the hilly country. Heretofore farms had been
+plentiful, although hamlets were few and far between.
+
+"If it rains," said Ruth cheerfully, "of course we can take refuge in some
+farmhouse."
+
+"Ho, for adventure among the savage natives!" cried Helen.
+
+"I hope we shall meet nobody quite as savage as Miss Susan Timmins," was
+Aunt Kate's comment.
+
+They ran into a deep cut between two wooded hills and there was not a
+house in sight. Indeed, they had not passed a farmstead on the road for
+the last five miles. Over the top of the wooded crest to the north curled
+a slate colored storm cloud, its upper edge trembling with livid
+lightnings. The veriest tyro of a weather prophet could see that a storm
+was about to break. But nobody had foretold the sudden stopping of the
+honeymoon car in the lead!
+
+"What is the matter with you?" cried Helen, standing up in the tonneau of
+the big car, when Tom pulled up suddenly to keep from running the maroon
+roadster down. "Don't you see it is going to rain? We want to get
+somewhere."
+
+"I guess we have got somewhere," responded Jennie Stone. "As far as we are
+concerned, this seems to be our stopping place. The old car won't go."
+
+Tom jumped out and hurried forward to join Henri in an examination of the
+car's mechanism.
+
+"What happened, Colonel?" he asked the Frenchman, worriedly.
+
+"I have no idea, _mon ami_," responded Marchand. "This is a puzzle, eh?"
+
+"First of all, let's put up the tops. That rain is already beating the
+woods on the summit of the hill."
+
+The two young men hurried to do this, first sheltering Jennie and then
+together dragging the heavy top over the big car, covering the baggage and
+passengers. Helen and Ruth could fasten the curtains, and soon the women
+of the party were snug enough. The drivers, however, had to get into rain
+garments and begin the work of hunting the trouble with the roadster.
+
+The thunder grew louder and louder. Flashes of lightning streaked across
+the sky overhead. The electric explosions were soon so frequent and
+furious that the girls cowered together in real terror. Jennie had slipped
+out of the small car and crowded in with her chums and Aunt Kate.
+
+"I don't care!" she wailed, "Henri and Tom are bound to take that car all
+to pieces to find what has happened."
+
+But they did not have to go as far as that. In fact, before the rain
+really began to fall in earnest, Tom made the tragic discovery. There was
+scarcely a drop of gasoline in the tank of the small machine. Tom hurried
+back to the big car. He glanced at the dial of the gasoline tank. There
+was not enough of the fluid to take them a mile! And the emergency tank
+was turned on!
+
+It was at this point that he stated his opinion of the trustworthiness of
+garage workmen.
+
+
+
+
+CHAPTER X
+
+A WILD AFTERNOON
+
+
+This was a serious situation. Five miles behind the automobile party was
+the nearest dwelling on this road, and Tom was sure that the nearest
+gasoline sign was all of five miles further back!
+
+Ahead lay more or less mystery. As the rain began to drum upon the roofs
+of the two cars, harder and harder and faster and faster, Tom got out the
+road map and tried to figure out their location. Ridgeton was ahead
+somewhere--not nearer than six miles, he was sure. And the map showed no
+gas sign this side of Ridgeton.
+
+Of course there might be some wayside dwelling only a short distance ahead
+at which enough gasoline could be secured to drive the smaller car to
+Ridgeton for a proper supply for both machines. But if all the gasoline
+was drained from the tank of the big car into that of the roadster, the
+latter would be scarcely able to travel another mile. And without being
+sure that such a supply of gas could be found within that distance, why
+separate the two cars?
+
+This was the sensible way Tom put it to Henri; and it was finally decided
+that Tom should start out on foot with an empty can and hunt for gasoline,
+while Colonel Marchand remained with the girls and Aunt Kate.
+
+When the two young men ran back through the pouring rain to the big car
+and announced this decision, they had to shout to make the girls hear. The
+turmoil of the rain and thunder was terrific.
+
+"I really wish you'd wait, Tom, till the tempest is over," Ruth anxiously
+said. "Suppose something happened to you on the road?"
+
+"Suppose something happened to _us_ here in the auto?" shrieked Helen.
+
+"But Henri Marchand will be with you," said her brother, preparing to
+depart. "And if I delay we may not reach Boston to-night."
+
+"Oh!" gasped Jennie. "Do please find some gas, Tom. I'd be scared to death
+to stay out here in these woods."
+
+"One of the autos may bite her," scoffed Helen, ready to scorn her own
+fears when her friend was even more fearful. "These cars are the wildest
+thing in these woods, I warrant."
+
+"Of course you must do what you think is best, Tom," said Ruth, gravely.
+"I hope you will not have to go far."
+
+"No matter how long I am gone, Ruth, don't be alarmed," he told her. "You
+know, nothing serious ever happens to me."
+
+"Oh, no!" cried his sister. "Of course not! Only you get carried away on a
+Zeppelin, or are captured by the Germans and Ruth has to go to your
+rescue. We know all about how immune you are from trouble, young man."
+
+"Thanks be! there are no Boches here in peaceful New England," exclaimed
+Jennie, after Tom had started off with the gasoline can. "Oh!"
+
+A sharp clap of thunder seemingly just overhead followed the flash that
+had made the plump girl shriek. The explosion reverberated between the
+hills in slowly passing cadence.
+
+Jennie finally removed her fingers from her ears with a groan. Aunt Kate
+had covered her eyes. With Helen they cowered together in the tonneau.
+Ruth had been sitting beside Tom in the front seat when the cars were
+stalled, and now Henri Marchand was her companion.
+
+"I heard something then, Colonel," Ruth said in a low tone, when the salvo
+of thunder was passed.
+
+"You are fortunate, Mademoiselle," he returned. "Me, I am deafened
+complete'."
+
+"I heard a cry."
+
+"Not from Captain Cameron?"
+
+"It was not his voice. Listen!" said the girl of the Red Mill, in some
+excitement.
+
+Despite the driving rain she put her head out beyond the curtain and
+listened. Her face was sheltered from the beating rain. It would have
+taken her breath had she faced it. Again the lightning flashed and the
+thunder crashed on its trail.
+
+Ruth did not draw in her head. She wore her raincoat and a rubber cap, and
+on her feet heavy shoes. The storm did not frighten her. She might be
+anxious for Tom's safety, but the ordinary chances of such a disturbance
+of the elements as this never bothered Ruth Fielding at all.
+
+As the rolling of thunder died away in the distance again, the splashing
+sound of the rain seemed to grow lighter, too; or Ruth's hearing became
+attuned to the sounds about her.
+
+There it was again! A human cry! Or was it? It came from up the hillside
+to the north of the road on which the automobiles were stalled.
+
+Was there somebody up there in the wet woods--some human creature lost in
+the storm?
+
+For a third time Ruth heard the wailing, long-drawn cry. Henri had his
+hands full soothing Jennie. Helen and Aunt Kate were clinging together in
+the depths of the tonneau. Possibly their eyes were covered against the
+glare of the lightning.
+
+Ruth slipped out under the curtain on the leeward side. The rain swept
+down the hillside in solid platoons that marched one after another from
+northwest to southeast. Dashing against the southern hillside, these
+marching columns dissolved in torrents that Ruth could hear roaring down
+from the tree-tops and rushing in miniature floods through the forest.
+
+The road was all awash. The cars stood almost hub-deep in a yellow,
+foaming flood. The roadside ditches were not deep here, and the sudden
+freshet was badly guttering the highway.
+
+Sheltered at first by the top of the big car, Ruth strained her ears again
+to catch that cry which had come down the wind from the thickly wooded
+hillside.
+
+There it was! A high, piercing scream, as though the one who uttered it
+was in great fear or agony. Nor did the cry seem to be far away.
+
+Ruth went around to the other side of the automobile. The rain was letting
+up--or seemed to be. She crossed to the higher ground and pushed through
+the fringe of bushes that bordered the road.
+
+Already her feet and ankles were saturated, for she had waded through
+water more than a foot in depth. Here on the steep hillside the flowing
+water followed the beds of small rivulets which carried it away on either
+side of her.
+
+The thick branches of the trees made an almost impervious umbrella above
+her head. She could see up the hill through the drifting mist for a long
+distance. The aisles between the rows of trees seemed filled with a sort
+of pallid light.
+
+Across the line of her vision and through one of these aisles passed a
+figure--whether that of an animal or the stooping body of a human being
+Ruth Fielding could not at first be sure.
+
+She had no fear of there being any savage creature in this wood. At least
+there could be nothing here that would attack her in broad daylight. In a
+lull in the echoing thunder she cried aloud:
+
+"Hoo-hoo! Hoo-hoo! Where are you?"
+
+She was sure her voice drove some distance up the hillside against the
+wind. She saw the flitting figure again, and with a desire to make sure of
+its identity, Ruth started in pursuit.
+
+Had Tom been present the girl of the Red Mill would have called his
+attention to the mystery and left it to him to decide whether to
+investigate or not. But Ruth was quite an independent person when she was
+alone; and under the circumstances, with Henri Marchand so busy comforting
+Jennie, Ruth did not consider for a moment calling the Frenchman to advise
+with her.
+
+As for Helen and Aunt Kate, they were quite overcome by their fears. Ruth
+was not really afraid of thunder and lightning, as many people are. She
+had long since learned that "thunder does not bite, and the bolt of
+lightning that hits you, you will never see!"
+
+Heavy as the going was, and interfering with her progress through her wet
+garments did, Ruth ran up the hill underneath the dripping trees. She saw
+the flitting, shadowy figure once more. Again she called as loudly as she
+could shout:
+
+"Wait! Wait! I won't hurt you."
+
+Whoever or whatever it was, the figure did not stay. It flitted on about
+two hundred yards ahead of the pursuing girl.
+
+At times it disappeared altogether; but Ruth kept on up the hill and her
+quarry always reappeared. She was quite positive this was the creature
+that had shrieked, for the mournful cry was not repeated after she caught
+sight of the figure.
+
+"It is somebody who has been frightened by the storm," she thought. "Or it
+is a lost child. This is a wild hillside, and one might easily be lost up
+here."
+
+Then she called again. She thought the strange figure turned and
+hesitated. Then, of a sudden, it darted into a clump of brush. When Ruth
+came panting to the spot she could see no trace of the creature, or the
+path which it had followed.
+
+But directly before Ruth was an opening in the hillside--the mouth of a
+deep ravine which had not been visible from the road below.
+
+Down this ravine ran a noisy torrent which had cut itself a wider and
+deeper bed since the cloudburst on the heights. Small trees, brush, and
+rocks had been uprooted by the force of the stream, but its current was
+now receding. One might walk along the edge of the brook into this
+hillside fastness.
+
+Determined to solve the mystery of the strange creature's disappearance,
+and quite convinced that it was a lost child or woman, Ruth Fielding
+ventured through the brush clump and passed along the ragged bank of the
+tumbling brook.
+
+Suddenly, in the muddy ground at her feet, the girl spied a shoe. It was a
+black oxford of good quality, and it had been, of course, wrenched from
+the foot of the person she pursued. This girl, or woman, must be running
+from Ruth in fear.
+
+Ruth picked up the shoe. It was for a small foot, but might belong to
+either a girl of fourteen or so or to a small woman. She could see the
+print of the other shoe--yes! and there was the impress of the stockinged
+foot in the mud.
+
+"Whoever she may be," thought Ruth Fielding, "she is so frightened that
+she abandoned this shoe. Poor thing! What can be the matter with her?"
+
+Ruth shouted again, and yet again. She went on up the side of the
+turbulent brook, staring all about for the hiding place of her quarry.
+
+The rain ceased entirely and abruptly. But the whole forest was a-drip.
+Far up through the trees she saw a sudden lightening of the sky. The
+clouds were breaking.
+
+But the smoke of the torrential downpour still rose from the saturated
+earth. When Ruth jarred a bush in passing a perfect deluge fell from the
+trembling leaves. The girl began to feel that she had come far enough in
+what appeared to be a wild-goose chase.
+
+Then suddenly, quite amazingly, she was halted. She plunged around a sharp
+turn in the ravine, trying to step on the dryer places, and found herself
+confronted by a man standing under the shelter of a wide-armed spruce.
+
+"Oh!" gasped Ruth, starting back.
+
+He was a heavy-set, bewhiskered man with gleaming eyes and rather a grim
+look. Worst of all, he carried a gun with the lock sheltered under his
+arm-pit from the rain.
+
+At Ruth's appearance he seemed startled, too, and he advanced the muzzle
+of the gun and took a stride forward at the same moment.
+
+"Hello!" he growled. "Be you crazy, too? What in all git out be you
+traipsing through these woods for in the rain?"
+
+
+
+
+CHAPTER XI
+
+MR. PETERBY PAUL AND "WHOSIS"
+
+
+Ruth Fielding was more than a little startled, for the appearance of this
+bearded and gruff-spoken man was much against him.
+
+She had become familiar, however, during the past months with all sorts
+and conditions of men--many of them much more dangerous looking than this
+stranger.
+
+Her experiences at the battlefront in France had taught her many things.
+Among them, that very often the roughest men are the most tender with and
+considerate of women. Ruth knew that the girls and women working in the
+Red Cross and the "Y" and the Salvation Army might venture among the
+roughest _poilus_, Tommies and our own Yanks without fearing insult or
+injury.
+
+After that first startled "Oh!" Ruth Fielding gave no sign of fearing the
+bearded man with the gun under his arm. She stood her ground as he
+approached her.
+
+"How many air there of ye, Sissy?" he wanted to know. "And air ye all
+loose from some bat factory? That other one's crazy as all git out."
+
+"Oh, did you see her?"
+
+"If ye mean that Whosis that's wanderin' around yellin' like a
+cat-o'-mountain----"
+
+"Oh, dear! It was she that was screaming so!"
+
+"I should say it was. I tried to cotch her----"
+
+"And that scared her more, I suppose."
+
+"Huh! Be I so scareful to look at?" the stranger demanded. "Or, mebbe
+_you_ ain't loony, lady?"
+
+"I should hope not," rejoined Ruth, beginning to laugh.
+
+"Then how in tarnation," demanded the bearded man, "do you explain your
+wanderin' about these woods in this storm?"
+
+"Why," said Ruth, "I was trying to catch that poor creature, too."
+
+"That Whosis?" he exclaimed.
+
+"Whatever and whoever she is. See! Here's one of her shoes."
+
+"Do tell! She's lost it, ain't she? Don't you reckon she's loony?"
+
+"It may be that she is out of her mind. But she couldn't hurt you--a big,
+strong man like you."
+
+"That's as may be. I misdoubted me she was some kind of a Whosis," said
+the woodsman. "I seen her a couple of times and heard her holler ev'ry
+time the lightning was real sharp."
+
+"The poor creature has been frightened half to death by the tempest," said
+Ruth.
+
+"Mebbe. But where did she come from? And where did you come from, if I may
+ask? This yere ain't a neighborhood that many city folks finds their way
+into, let me tell ye."
+
+Ruth told him her name and related the mishap that had happened to the two
+cars at the bottom of the hill.
+
+"Wal, I want to know!" he responded. "Out o' gasoline, heh? Wal, that can
+be mended."
+
+"Tom Cameron has gone on foot for some."
+
+"Which way did he go, Ma'am?"
+
+"East," she said, pointing.
+
+"Towards Ridgeton? Wal, he'll have a fine walk."
+
+"But we have not seen any gasoline sign for ever so far back on the road."
+
+"That's right. Ain't no reg'lar place. But I guess I might be able to
+scare up enough gas to help you folks out. Ye see, we got a saw mill right
+up this gully and we got a gasoline engine to run her. I'm a-watchin' the
+place till the gang come in to work next month. That there Whosis got me
+out in the rain----"
+
+"Oh! Where do you suppose the poor thing has gone?" interrupted Ruth. "We
+should do something for her."
+
+"Wal, if she don't belong to you folks----"
+
+"She doesn't. But she should not be allowed to wander about in this awful
+way. Is she a woman grown, or a child?"
+
+"I couldn't tell ye. I ain't been close enough to her. By the way, my name
+is Peterby Paul, and I'm well and fav'rably knowed about this mounting. I
+did have my thoughts about you, same as that Whosis, I must say. But you
+'pear to be all right. Wait, and I'll bring ye down a couple of cans of
+gasoline, and you can go on and pick up the feller that's started to walk
+to Ridgeton."
+
+"But that poor creature I followed up here, Mr. Paul? We _must_ find her."
+
+"You say she ain't nothin' to you folks?"
+
+"But she is alone, and frightened."
+
+"Wal, I expect so. She did give me a start for fair. I don't know where
+she could have come from 'nless she belongs over toward Ridgeton at old
+Miz Abby Drake's. She's got some city folks stopping with her--"
+
+"There she is!" cried Ruth, under her breath.
+
+A hobbling figure appeared for a moment on the side of the ravine. The
+rain had ceased now, but it still dripped plentifully from the trees.
+
+"I'm going after her!" exclaimed Ruth.
+
+"All right, Ma'am," said Mr. Peterby Paul. "I guess she ain't no Whosis,
+after all."
+
+Ruth could run much faster than the strange person who had so startled
+both the woodsman and herself. And running lightly, the girl of the Red
+Mill was almost at her quarry's elbow before her presence was suspected by
+the latter.
+
+The woman turned her face toward Ruth and screeched in evident alarm. She
+looked wild enough to be called a "Whosis," whatever kind of supernatural
+apparition that might be. Her silk dress was in rags; her hair floated
+down her back in a tangled mane; altogether she was a sorry sight, indeed.
+
+She was a woman of middle age, dark, slight of build, and of a most
+pitiful appearance.
+
+"Don't be frightened! Don't be afraid of me," begged Ruth. "Where are your
+friends? I will take you to them."
+
+"It is the voice of God," said the woman solemnly. "I am wicked. He will
+punish me. Do you know how wicked I am?" she added in a tense whisper.
+
+"I have no idea," Ruth replied calmly. "But I think that when we are
+nervous and distraught as you are, we magnify our sins as well as our
+troubles."
+
+Really, Ruth Fielding felt that she might take this philosophy to
+herself. She had been of late magnifying her troubles, without doubt.
+
+"I have been a great sinner," said the woman. "Do you know, I used to
+steal my little sister's bread and jam. And now she is dead. I can never
+make it up to her."
+
+Plainly this was a serious matter to the excited mind of the poor woman.
+
+"Come on down the hill with me. I have got an automobile there and we can
+ride to Mrs. Drake's in it. Isn't that where you are stopping?"
+
+"Yes, yes. Abby Drake," said the lost woman weakly. "We--we all started
+out for huckleberries. And I never thought before how wicked I was to my
+little sister. But the storm burst--such a terrible storm!" and the poor
+creature cowered close to Ruth as the thunder muttered again in the
+distance.
+
+"It is the voice of God----"
+
+"Come along!" urged Ruth. "Lots of people have made the same mistake. So
+Aunt Alvirah says. They mistake some other noise for the voice of God!"
+
+The woman was now so weak that the strong girl could easily lead her. Mr.
+Peterby Paul looked at the forlorn figure askance, however.
+
+"You can't blame me for thinkin' she was a Whosis," he said to Ruth. "Poor
+critter! It's lucky you came after her. She give me such a start I might
+o' run sort o' wild myself."
+
+"Perhaps if you had tried to catch her it would only have made her worse,"
+Ruth replied, gently patting the excited woman's hand.
+
+"The voice of God!" muttered the victim of her own nervousness.
+
+"And she traipsing through these woods in a silk dress!" exclaimed Mr.
+Paul. "I tell 'em all, city folks ain't got right good sense."
+
+"Maybe you are right, Mr. Paul," sighed Ruth. "We are all a little queer,
+I guess. I will take her down to the car."
+
+"And I'll be right along with a couple of cans of gasoline, Ma'am,"
+rejoined Peterby Paul. "Ain't no use you and your friends bein' stranded
+no longer."
+
+"If you will be so kind," Ruth said.
+
+He turned back up the ravine and Ruth urged the lost woman down the hill.
+The poor creature was scarcely able to walk, even after she had put on her
+lost shoe. Her fears which had driven her into this quite irresponsible
+state, were the result of ungoverned nervousness. Ruth thought seriously
+of this fact as she aided her charge down the hillside.
+
+She must steady her own nerves, or the result might be quite as serious.
+She had allowed the loss of her scenario to shake her usual calm. She
+knew she had not been acting like herself during this automobile journey
+and that she had given her friends cause for alarm.
+
+Then and there Ruth determined to talk no more about her loss or her fears
+regarding the missing scenario. If it was gone, it was gone. That was all
+there was to it. She would no longer worry her friends and disturb her own
+mental poise by ruminating upon her misfortune.
+
+When she and the lost woman got out of the ravine, Ruth could hear the
+girls calling her. And there was Colonel Marchand's horizon-blue uniform
+in sight as he toiled up the ascent, looking for her.
+
+"Don't be frightened, dear," Ruth said to the startled woman. "These are
+my friends."
+
+Then she called to Helen that she was coming. Colonel Marchand hurried
+forward with an amazed question.
+
+"Never mind! Don't bother her," Ruth said. "The poor creature has been
+through enough--out in all this storm, alone. We must get her to where she
+is stopping as soon as possible. See the condition her clothes are in!"
+
+"But, Mademoiselle Ruth!" gasped the Frenchman. "We are stalled until
+Captain Tom comes back with the gasoline--is it not?"
+
+"We are going to have gas in a very few minutes," returned Ruth gaily. "I
+did more than find this poor woman up on the hill. Wait!"
+
+Helen and Jennie sprang at Ruth like a pair of terriers after a cat,
+demanding information and explanation all in a breath. But when they
+realized the state of mind of the strange woman, they calmed down.
+
+They wrapped her in a dry raincoat and put her in the back of the big car.
+She remained quietly there with Jennie's Aunt Kate while Ruth related her
+adventure with Mr. Peterby Paul and the "Whosis."
+
+"Goodness!" gasped Helen, "I guess he named her rightly. There must be
+something altogether wrong with the poor creature to make her wander about
+these wet woods, screeching like a loon."
+
+"I'd screech, too," said Jennie Stone, "if I'd torn a perfectly good silk
+dress to tatters as she has."
+
+"Think of going huckleberrying in a frock like that," murmured Ruth. "I
+guess you are both right. And Mr. Peterby Paul did have good reason for
+calling her a 'Whosis'."
+
+
+
+
+CHAPTER XII
+
+ALONGSHORE
+
+
+Mr. Peterby Paul appeared after a short time striding down the wooded
+hillside balancing a five-gallon gasoline can in either hand.
+
+"I reckon you can get to Ridgeton on this here," he said jovially. "Guess
+I'd better set up a sign down here so's other of you autermobile folks kin
+take heart if ye git stuck."
+
+"You are just as welcome as the flowers in spring, tra-la!" cried Helen,
+fairly dancing with delight.
+
+"You are an angel visitor, Mr. Paul," said the plump girl.
+
+"I been called a lot o' things besides an angel," the bearded woodsman
+said, his eyes twinkling. "My wife, 'fore she died, had an almighty tart
+tongue."
+
+"And _now_?" queried Helen wickedly.
+
+"Wal, wherever the poor critter's gone, I reckon she's l'arned to bridle
+her tongue," said Mr. Peterby Paul cheerfully. "Howsomever, as the feller
+said, that's another day's job. Mr. Frenchy, let's pour this gasoline
+into them tanks."
+
+Ruth insisted upon paying for the gasoline, and paying well. Then Peterby
+Paul gave them careful directions as to the situation of Abby Drake's
+house, at which it seemed the lost woman must belong.
+
+"Abby always has her house full of city folks in the summer," the woodsman
+said. "She is pretty near a Whosis herself, Abby Drake is."
+
+With which rather unfavorable intimation regarding the despised "city
+folks," Mr. Peterby Paul saw them start on over the now badly rutted road.
+
+Helen drove the smaller car with Ruth sitting beside her. Henri Marchand
+took the wheel of the touring car, and the run to Boston was resumed.
+
+"But we must not over-run Tom," said Ruth to her chum. "No knowing what
+by-path he might have tried in search of the elusive gasoline."
+
+"I'll keep the horn blowing," Helen said, suiting action to her speech and
+sounding a musical blast through the wooded country that lay all about.
+"He ought to know his own auto-horn."
+
+The tone of the horn was peculiar. Ruth could always distinguish it from
+any other as Tom speeded along the Cheslow road toward the Red Mill. But
+then, she was perhaps subconsciously listening for its mellow note.
+
+She tacitly agreed with Helen, however, that it might be a good thing to
+toot the horn frequently. And the signal brought to the roadside an
+anxious group of women at a sprawling farmhouse not a mile beyond the spot
+where the two cars had been stalled.
+
+"That is the Drake place. It must be!" Ruth exclaimed, putting out a hand
+to warn Colonel Marchand that they were about to halt.
+
+A fleshy woman with a very ruddy face under her sunbonnet came eagerly out
+into the road, leading the group of evidently much worried women.
+
+"Have you folks seen anything of----"
+
+"_Abby!_" shrieked the woman Ruth had found, and she struggled to get out
+of the car.
+
+"Well, I declare, Mary Marsden!" gasped the sunbonneted woman, who was
+plainly Abby Drake. "If you ain't a sight!"
+
+"I--I'm so scared!" quavered the unforunate victim of her own nerves, as
+Ruth ran back to help her out of the touring car. "God is going to punish
+me, Abby."
+
+"I certainly hope He will," declared her friend, in rather a hard-hearted
+way. "I told you, you ought to be punished for wearing that dress up there
+into the berry pasture, and---- Land's sakes alive! Look at her
+dress!"
+
+Afterward, when Ruth had been thanked by Mrs. Drake and the other women,
+and the cars were rolling along the highway again, the girl of the Red
+Mill said to Helen Cameron:
+
+"I guess Tom is more than half right. Altogether, the most serious topic
+of conversation for all kinds and conditions of female humans is the
+matter of dress--in one way or another."
+
+"How dare you slur your own sex so?" demanded Helen.
+
+"Well, look at this case," her chum observed. "This Mary Marsden had been
+lost in the storm and killed for all they knew, yet Abby Drake's first
+thought was for the woman's dress."
+
+"Well, it was a pity about the dress," Helen remarked, proving that she
+agreed with Abby Drake and the bulk of womankind--as her twin brother oft
+and again acclaimed.
+
+Ruth laughed. "And now if we could see poor dear Tommy----"
+
+The car rounded a sharp turn in the highway. The Drake house was perhaps a
+mile behind. Ahead was a long stretch of rain-drenched road, and Helen
+instantly cried:
+
+"There he is!"
+
+The figure of Tom Cameron with the empty gasoline can in his hand could
+scarcely be mistaken, although he was at least a mile in advance. Helen
+began to punch the horn madly.
+
+"He'll know that," Ruth cried. "Yes, he looks back! Won't he be
+astonished?"
+
+Tom certainly was amazed. He proceeded to sit down on the can and wait for
+the cars to overtake him.
+
+"What are you traveling on?" he shouted, when Helen stopped with the
+engine running just in front of him. "Fairy gasoline?"
+
+"Why, Tommy, you're not so smart!" laughed his sister. "It takes Ruth to
+find gas stations. We were stalled right in front of one, and you did not
+know it. Hop in here and take my place and I'll run back to the other car.
+Ruth will tell you all about it."
+
+"Perhaps we had better let Colonel Marchand and Jennie have this honeymoon
+car," Ruth said doubtfully.
+
+"Humph!" her chum observed, "I begin to believe it will be just as much a
+honeymoon car with you and Tom in it as with that other couple. 'Bless
+you, my children!'"
+
+She ran back to the big car with this saucy statement. Tom grinned,
+slipped behind the wheel, and started the roadster slowly.
+
+"It must be," he observed in his inimitable drawl, "that Sis has noticed
+that I'm fond of you, Ruthie."
+
+"Quite remarkable," she rejoined cheerfully. "But the war isn't over yet,
+Tommy-boy. And if our lives are spared we've got to finish our educations
+and all that. Why, Tommy, you are scarcely out of short pants, and I've
+only begun to put my hair up."
+
+"Jimminy!" he grumbled, "you do take all the starch out of a fellow. Now
+tell me how you got gas. What happened?"
+
+Everybody has been to Boston, or expects to go there some time, so it is
+quite immaterial what happened to the party while at the Hub. They only
+remained two days, anyway, then they started off alongshore through the
+pleasant old towns that dot the coast as far as Cape Ann.
+
+They saw the ancient fishing ports of Marblehead, Salem, Gloucester and
+Rockport, and then came back into the interior and did not see salt water
+again until they reached Newburyport at the mouth of the Merrimac.
+
+The weather remained delightfully cool and sunshiny after that heavy
+tempest they had suffered in the hills, and they reached Portsmouth and
+remained at a hotel for three days when it rained again. The young folks
+chafed at this delay, but Aunt Kate declared that a hotel room was restful
+after jouncing over all sorts of roads for so long.
+
+"They never will build a car easy enough for auntie," Jennie Stone
+declared. "I tell pa he must buy some sort of airship for us----"
+
+"Never!" cried Aunt Kate in quick denial. "Whenever I go up in the air it
+will be because wings have sprouted on my shoulder blades. And I should
+not call an aeroplane easy riding, in any case."
+
+"At least," grumbled Tom, "you can spin along without any trouble with
+country constables, and _that's_ a blessing."
+
+For on several occasions they had had arguments with members of the police
+force, in one case helping to support a justice and a constable by paying
+a fine.
+
+They did not travel on Sunday, however, when the constables reap most of
+their harvest, so they really had little to complain of in that direction.
+Nor did they travel fast in any case.
+
+After the rainy days at Portsmouth, the automobile party ran on with only
+minor incidents and no adventures until they reached Portland. There Ruth
+telegraphed to Mr. Hammond that they were coming, as in her letter,
+written before they left Cheslow, she had promised him she would.
+
+Herringport, the nearest town to the moving picture camp at Beach Plum
+Point, was at the head of a beautiful harbor, dotted with islands, and
+with water as blue as that of the Bay of Naples. When the two cars rolled
+into this old seaport the party was welcomed in person by Mr. Hammond,
+the president and producing manager of the Alectrion Film Corporation.
+
+"I have engaged rooms for you at the hotel here, if you want them," he
+told Ruth, after being introduced to Aunt Kate and Colonel Marchand, the
+only members of the party whom he had not previously met.
+
+"But I can give you all comfortable bunks with some degree of luxury at
+the camp. At least, we think it luxurious after our gold mining experience
+in the West. You will get better cooking at the Point, too."
+
+"But a camp!" sighed Aunt Kate. "We have roughed it so much coming down
+here, Mr. Hammond."
+
+"There won't be any black ants at this camp," said her niece cheerfully.
+
+"Only sand fleas," suggested the wicked Tom.
+
+"You can't scare me with fleas," said Jennie. "They only hop; they don't
+wriggle and creep."
+
+"My star in the 'Seaside Idyl,' Miss Loder, demanded hotel accommodations
+at first. But she soon changed her mind," Mr. Hammond said. "She is now
+glad to be on the lot with the rest of the company."
+
+"It sounds like a circus," Aunt Kate murmured doubtfully.
+
+"It is more than that, my dear Madam," replied the manager, laughing.
+"But these young people----"
+
+"If Aunt Kate won't mind," said Ruth, "let us try it, while she remains at
+the Herringport Inn."
+
+"I'll run her back and forth every day for the 'eats'," Tom promptly
+proposed.
+
+"My duty as a chaperon----" began the good woman, when her niece broke in
+with:
+
+"In numbers there is perfect safety, Auntie. There are a whole lot of
+girls down there at the Point."
+
+"And we have chaperons of our own, I assure you," interposed Mr. Hammond,
+treating Aunt Kate's objection seriously. "Miss Loder has a cousin who
+always travels with her. Our own Mother Paisley, who plays character
+parts, has daughters of her own and is a lovely lady. You need not fear,
+Madam, that the conventions will be broken."
+
+"We won't even crack 'em, Aunt Kate," declared Helen rouguishly. "I will
+watch Jen like a cat would a mouse."
+
+"Humph!" observed the plump girl, scornfully. "_This_ mouse, in that case,
+is likely to swallow the cat!"
+
+
+
+
+CHAPTER XIII
+
+THE HERMIT
+
+
+"Now, tell me, Miss Ruth," said Mr. Hammond, having taken the girl of the
+Red Mill into his own car for the short run to Beach Plum Point, "what is
+this trouble about your new scenario? You have excited my curiosity during
+all these months about the wonderful script, and now you say it is not
+ready for me."
+
+"Oh, Mr. Hammond!" exclaimed Ruth, "I fear it will never be ready for
+you."
+
+"Nonsense! Don't lose heart. You have merely come to one of those
+thank-you-ma'ams in story writing that all authors suffer. Wait. It will
+come to you."
+
+"No, no!" sighed Ruth. "It is nothing like that. I had finished the
+scenario. I had it all just about as I wanted it, and then----"
+
+"Then what?" he asked in wonder at her emotion.
+
+"It--it was stolen!"
+
+"Stolen?"
+
+"Yes. And all my notes--everything! I--I can't talk about it. And I never
+could write it again," sobbed Ruth. "It is the best thing I ever did, Mr.
+Hammond."
+
+"If it is better than 'The Heart of a Schoolgirl', or 'The Forty-Niners',
+or 'The Boys of the Draft', then it must be some scenario, Miss Ruth. The
+last two are still going strong, you know. And I have hopes of the
+'Seaside Idyl' catching the public fancy just when we are all getting
+rather weary of war dramas.
+
+"If you can only rewrite this new story----"
+
+"But Mr. Hammond! I am sure it has been stolen by somebody who will make
+use of it. Some other producer may put it on the screen, and then my
+version would fall flat--if no worse."
+
+"Humph! And you have been so secret about it!"
+
+"I took your advice, Mr. Hammond. I have told nobody about it--not a
+thing!"
+
+"And somebody unknown stole it?"
+
+"We think it was a vagrant actor. A tramp. Just the sort of person,
+though, who would know how to make use of the script."
+
+"Humph! All actors were considered 'vagrants' under the old English
+law--in Shakespeare's younger days, for instance," remarked Mr. Hammond.
+
+"You see how unwise it would be for me to try to rewrite the story--even
+if I could--and try to screen it."
+
+"I presume you are right. Yes. But I hoped you would bring a story with
+you that we could be working on at odd times. I have a good all-around
+company here on the lot."
+
+"I had most of your principals in mind when I wrote my scenario," sighed
+Ruth. "But I could not put my mind to that same subject now. I am
+discouraged, Mr. Hammond."
+
+"I would not feel that way if I were you, Miss Ruth," he advised, trying,
+as everybody else did, to cheer her. "You will get another good idea, and
+like all other born writers, you will just _have_ to give expression to
+it. Meantime, of course, if I get hold of a promising scenario, I shall
+try to produce it."
+
+"I hope you will find a good one, Mr. Hammond."
+
+He smiled rather ruefully. "Of course, there is scarcely anybody on the
+lot who hasn't a picture play in his or her pocket. I was possibly unwise
+last week to offer five hundred dollars spot cash for a play I could make
+use of, for now I suppose there will be fifty to read. Everybody, from
+Jacks, the property man, to the old hermit, believes he can write a
+scenario."
+
+"Who is the hermit?" asked Ruth, with some curiosity.
+
+"I don't know. Nobody seems to know who he is about Herringport. He was
+living in an old fish-house down on the Point when we came here last week
+with the full strength of the company. And I have made use of the old
+fellow in your 'Seaside Idyl'.
+
+"He seems to be a queer duck. But he has some idea of the art of acting,
+it seems. Director Jim Hooley is delighted with him. But they tell me the
+old fellow is scribbling all night in his hut. The scenario bug has
+certainly bit that old codger. He's out for my five hundred dollars," and
+the producing manager laughed again.
+
+"I hope you get a good script," said Ruth earnestly. "But don't ask me to
+read any of them, Mr. Hammond. It does seem as though I never wanted to
+look at a scenario again!"
+
+"Then you are going to miss some amusement in this case," he chuckled.
+
+"Why so?"
+
+"I tell you frankly I do not expect much from even those professional
+actors. It was my experience even before I went into the motion picture
+business that plays submitted by actors were always full of all the old
+stuff--all the old theatrical tricks and the like. Actors are the most
+insular people in existence, I believe. They know how plays should be
+written to fulfill the tenets of the profession; but invention is
+'something else again'."
+
+The young people who had motored so far were welcomed by many of Mr.
+Hammond's company who had acted in "The Forty-Niners" and had met Ruth and
+her friends in the West, as related in "Ruth Fielding in the Saddle."
+
+The shacks that had been built especially for the company's use were
+comfortable, even if they did smell of new pine boards. The men of the
+company lived in khaki tents. There were several old fish-houses that were
+likewise being utilized by the members of the company.
+
+Beach Plum Point was the easterly barrier of sand and rock that defended
+the beautiful harbor from the Atlantic breakers. It was a wind-blown
+place, and the moan of the surf on the outer reef was continually in the
+ears of the campers on the Point.
+
+The tang of salt in the air could always be tasted on the lips when one
+was out of doors. And the younger folks were out on the sands most of the
+time when they were not working, sleeping, or eating.
+
+"We are going to have some fun here," promised Tom Cameron to Ruth, after
+their party had got established with its baggage. "See that hard strip of
+beach? That's no clamflat. I am going to race my car on that sand. Palm
+Beach has nothing on this. Jackman, the property man (you remember Jacks,
+don't you, Ruth?), says the blackfish and bass are biting off the Point.
+You girls can act in movies if you like, but _I_ am going fishing."
+
+"Don't talk movies to me," sighed the girl. "I almost wish we had not
+come, Tom."
+
+"Nonsense! You shall go fishing with me. Put on your oldest duds
+and--well, maybe you will have to strip off your shoes and stockings. It
+is both wet and slippery on the rocks."
+
+"Pooh! I'll put on my bathing suit and a sweater. I never was afraid of
+water yet," Ruth declared.
+
+This was the morning after their arrival. Tom had been up to the port and
+brought down Aunt Kate for the day. Aunt Kate sat under an umbrella near
+where the company was working on location, and she scribbled all day in a
+notebook. Jennie whispered that she, too, was bitten by the scenario bug!
+
+"I feel it coming over me," announced Helen. "I've got what I think is a
+dandy idea."
+
+"Oh, there's too much to do," Jennie Stone said. "I couldn't find time to
+dabble in literature."
+
+"My, oh, my!" gasped Helen, with scorn. "How busy we are! You and Henri
+spend all your time making eyes at each other."
+
+"But just think, Nell!" cried the plump girl. "He's got to go back to
+France and fight----"
+
+"And so has my Tom."
+
+"But Tom is only your brother."
+
+"And Henri is nothing at all to you," rejoined Helen cruelly. "A fiancé is
+only an expectation. You may change your mind about Henri."
+
+"Never!" cried Jennie, with horror.
+
+"Well, he keeps you busy, I grant. And there go Tom and Ruth mooning off
+together with fish lines. Lots of fishing _they_ will do! They are almost
+as bad as you and Henri. Why!" ejaculated Helen in some heat, "I am just
+driven to writing scenarios to keep from dying of loneliness."
+
+"I notice that 'juvenile lead,' Mr. Simmons, is keeping you quite busy,"
+remarked Jennie slyly, as she turned away.
+
+It was a fact that Ruth and Tom enjoyed each others' company. But Helen
+need not have been even a wee bit jealous. To tell the truth, she did not
+like to "get all mussed up," as she expressed it, by going fishing. To
+Ruth the adventure was a glad relief from worriment. Much as she tried,
+she could not throw off all thought of her lost scenario.
+
+She welcomed every incident that promised amusement and mental relaxation.
+Some of the troupe of actors--the men, mostly--were bathing off the
+Point.
+
+"And see that man in the old skiff!" cried Ruth. "'The Lone Fisherman'."
+
+The individual in question sat upon a common kitchen chair in the skiff
+with a big, patched umbrella to keep the sun off, and was fishing with a
+pole that he had evidently cut in the woods along the shore.
+
+"That is that hermit fellow," said Tom. "He's a queer duck. And the boys
+bother him a good deal."
+
+He was angrily driving some of the swimmers away from his fishing location
+at that moment. It was plain the members of the moving picture company
+used the hermit as a butt for their jokes.
+
+While one fellow was taking up the hermit's attention in front, another
+bather rose silently behind him and reached into the bottom of the skiff.
+What this second fellow did Tom and Ruth could not see.
+
+"The old chap can't swim a stroke," explained one of the laughing bathers
+to the visitors. "He's as afraid of water as a cat. Now you watch."
+
+But Tom and Ruth saw nothing to watch. They went on to the tip of the
+Point and Tom prepared the fishing tackle and baited the hooks. Just as
+Ruth made her first cast there sounded a scream from the direction of the
+lone fisherman.
+
+"What is it?" she gasped, dropping her pole.
+
+The bathers had deserted the old man in the skiff, and were now at some
+distance. He was anchored in probably twenty feet of water.
+
+To the amazement of Ruth and her companion, the skiff had sunk until its
+gunwales were scarcely visible. The hermit had wrenched away his umbrella
+and was now balanced upon the chair on his feet, in danger of sinking. His
+fear of this catastrophe was being expressed in unstinted terms.
+
+
+
+
+CHAPTER XIV
+
+A QUOTATION
+
+
+"Do help him, Tom!" cried Ruth Fielding, and she started for the spot
+where the man and the skiff were sinking.
+
+Tom cast aside his sweater, kicked his sneakers off, and plunged into the
+tide. Ruth was quite as lightly dressed as Tom; but she saw that he could
+do all that was necessary.
+
+That was, to bring the frightened man ashore. This "hermit" as they called
+him, was certainly very much afraid of the water.
+
+He splashed a good deal, and Tom had to speak sharply to keep him from
+getting a strangle-hold about his own neck.
+
+"Jimminy! but that was a mean trick," panted Tom, when he got ashore with
+the fisherman. "Somebody pulled the plug out of the bottom of the skiff
+and first he knew, he was going down."
+
+"It is a shame," agreed Ruth, looking at the victim of the joke curiously.
+
+He was a thin-featured, austere looking man, scrupulously shaven, but with
+rather long hair that had quite evidently been dyed. Now that it was
+plastered to his crown by the salt water (for he had been completely
+immersed more than once in his struggle with Tom Cameron) his hair was
+shown to be quite thin and of a greenish tinge at the roots.
+
+The shock of being dipped in the sea so unexpectedly was plainly no small
+one for the hermit. He stood quite unsteadily on the strand, panting and
+sputtering.
+
+"Young dogs! No respect for age and ability in this generation. I might
+have been drowned."
+
+"Well, it's all over now," said Tom comfortingly. "Where do you live?"
+
+"Over yonder, young man," replied the hermit, pointing to the ocean side
+of the point.
+
+"We will take you home. You lie down for a while and you will feel
+better," Ruth said soothingly. "We will come back here afterward and get
+your skiff ashore."
+
+"Thank you, Miss," said the man courteously.
+
+"I'll make those fellows who played the trick on you get the boat ashore,"
+promised Tom, running for his shoes and sweater.
+
+The hermit proved to be a very uncommunicative person. Ruth tried to get
+him to talk about himself as they crossed the rocky spit, but all that he
+said of a personal nature was that his name was "John."
+
+His shack was certainly a lonely looking hovel. It faced the tumbling
+Atlantic and it seemed rather an odd thing to Ruth that a man who was so
+afraid of the sea should have selected such a spot for his home.
+
+The hermit did not invite them to enter his abode. He promised Ruth that
+he would make a hot drink for himself and remove his wet garments and lie
+down. But he only seemed moderately grateful for their assistance, and
+shut the door of the shack promptly in their faces when he got inside.
+
+"Just as friendly as a sore-headed dog," remarked Tom, as they went back
+to the bay side of the Point.
+
+"Perhaps the others have played so many tricks on him that he is
+suspicious of even our assistance," Ruth said.
+
+Thus speaking, she stooped to pick up a bit of paper in the path. It had
+been half covered by the sand and might have lain there a long time, or
+only a day.
+
+Just why this bit of brown wrapping paper had caught her attention, it
+would be hard to say. Ruth might have passed it a dozen times without
+noticing it.
+
+But now she must needs turn the paper over and over in her hands as she
+watched Tom, with the help of the rather abashed practical jokers, haul
+the water-logged skiff ashore.
+
+She had forgotten the fishing poles they had abandoned on the rocks, and
+sat down upon a boulder. Suddenly she discovered that there was writing on
+the bit of paper she had picked up. It was then that her attention really
+became fixed upon her find.
+
+The characters had been written with an indelible pencil. The dampness had
+only blurred the writing instead of erasing it. Her attention thus
+engaged, she idly scrutinized more than the blurred lines. Her attitude as
+she sat there on the boulder slowly stiffened; her gaze focused upon the
+paper.
+
+"Why! what is it?" she murmured at last.
+
+The blurred lines became clearer to her vision. It was the wording of the
+phrase rather than the handwriting that enthralled her. This that follows
+was all that was written on the paper:
+
+     "Flash:--
+
+     "As in the beginning, is now, and ever shall be----"
+
+To the ordinary observer, with no knowledge of what went before or
+followed this quotation, the phrase must seem idle. But the word "flash"
+is used by scenario writers and motion picture makers, indicating an
+explanatory phrase thrown on the screen.
+
+And this quoted phrase struck poignantly to Ruth Fielding's mind. For it
+was one she had used in that last scenario--the one that had so strangely
+disappeared from the summer-house back at the Red Mill!
+
+Amazed--almost stunned--by this discovery, she sat on the boulder scarcely
+seeing what Tom and the others were doing toward salvaging the old
+hermit's skiff and other property.
+
+Thoughts regarding the quotation shuttled back and forth in the girl's
+mind in a most bewildering way. The practical side of her character
+pointed out that there really could be no significance in this discovery.
+It could not possibly have anything to do with her stolen script.
+
+Yet the odd phrase, used in just this way, had been one of the few
+"flashes" indicated in her scenario. Was it likely that anybody else,
+writing a picture, would use just that phrase?
+
+She balanced the improbability of this find meaning anything at all to her
+against the coincidence of another author using the quotation in writing a
+scenario. She did not know what to think. Which supposition was the more
+improbable?
+
+The thought was preposterous that the paper should mean anything to her.
+Ruth was about to throw it away; and then, failing to convince herself
+that the quotation was but idly written, she tucked the piece of paper
+into the belt of her bathing suit.
+
+When Tom was ready to go back to their fishing station, Ruth went with him
+and said nothing about the find she had made.
+
+They had fair luck, all told, and the chef at the camp produced their
+catch in a dish of boiled tautog with egg sauce at dinner that evening.
+The company ate together at a long table, like a logging camp crew, only
+with many more of the refinements of life than the usual logging crew
+enjoys. It was, however, on a picnic plane of existence, and there was
+much hilarity.
+
+These actor folk were very pleasant people. Even the star, Miss Loder, was
+quite unspoiled by her success.
+
+"You know," she confessed to Ruth (everybody confided in Ruth), "I never
+would have been anything more than a stock actress in some jerkwater town,
+as we say in the West, if the movies hadn't become so popular. I have what
+they call the 'appealing face' and I can squeeze out real tears at the
+proper juncture. Those are two very necessary attributes for a girl who
+wishes to gain film success."
+
+"But you can really act," Ruth said honestly. "I watched you to-day."
+
+"I should be able to act. I come of a family who have been actors for
+generations. Acting is like breathing to me. But, of course, it is another
+art to 'register' emotion in the face, and very different from displaying
+one's feelings by action and audible expression. You know, one of our most
+popular present-day stage actresses got her start by an ability to scream
+off-stage. Nothing like that in the movies."
+
+"You should hear Jennie Stone with a black ant down her back," put in
+Helen, with serious face. "I am sure Heavy could go the actress you speak
+of one better, and become even more popular."
+
+"I am not to be blamed if I squeal at crawly things," sniffed the plump
+girl, hearing this. "See how brave I am in most other respects."
+
+But that night Jennie exhibited what Tom called her "scarefulness" in most
+unmistakable fashion, and never again could she claim to be brave. She
+gave her chums in addition such a fright that they were not soon over
+talking about it.
+
+The three college girls had cots in a small shack that Mr. Hammond had
+given up to their use. It was one of the shacks nearest the shore of the
+harbor. Several boat-docks near by ran out into the deep water.
+
+It was past midnight when Jennie was for some reason aroused. Usually she
+slept straight through the night, and had to be awakened by violent means
+in time for breakfast.
+
+She was not startled, but awoke naturally, and found herself broad awake.
+She sat up in her cot, almost convinced that it must be daylight. But it
+was the moon shining through a haze of clouds that lighted the interior of
+the shack. The other two girls were breathing deeply. The noises she heard
+did not at first alarm Jennie.
+
+There was the whisper of the tide as it rolled the tiny pebbles and shells
+up the strand and, receding, swept them down again. It chuckled, too,
+among the small piers of the near-by docks.
+
+Then the listening girl heard footsteps--or what she took to be that
+sound. They approached the shack, then receded. She began to be curious,
+then felt a tremor of alarm. Who could be wandering about the camp at this
+grim hour of the night?
+
+She was unwise enough to allow her imagination to wake up, too. She stole
+from her bed and peered out of the screened window that faced the water.
+Almost at once a moving object met her frightened gaze.
+
+It was a figure all in white which seemed to float down the lane between
+the tents and out upon the nearest boat-dock.
+
+Afterward Jennie declared she could have suffered one of these
+spirit-looking manifestations in silence. She crammed the strings of her
+frilled nightcap between her teeth as a stopper!
+
+This spectral figure was going away from the shack, anyway. It appeared to
+be bearing something in its arms. But then came a second ghost, likewise
+burdened. Gasping, Jennie waited, clinging to the window-sill for support.
+
+A third spectre appeared, rising like Banquo's spirit at Macbeth's feast.
+This was too much for the plump girl's self-control. She opened her mouth,
+and her half-strangled shriek, the partially masticated cap-strings all
+but choking her, aroused Ruth and Helen to palpitating fright.
+
+"Oh! What is it?" demanded Helen, bounding out of bed.
+
+"Ghosts! Oh! Waw!" gurgled Jennie, and sank back into her friend's arms.
+
+Helen was literally as well as mentally overcome. Jennie's weight carried
+her to the straw matting with a bump that shook the shack and brought
+Ruth, too, out of bed.
+
+
+
+
+CHAPTER XV
+
+AN AMAZING SITUATION
+
+
+"'Ghost'?" cried Ruth Fielding. "Let me see it! Remember the campus ghost
+back at old Briarwood, Helen? I haven't seen a ghost since that time."
+
+"Ugh! Get this big elephant off of me!" grunted her chum, impolitely as
+well as angrily. "_She's_ no ghost, I do assure you. She's of the earth,
+earthy, and no mistake! Ouch! Get off, Heavy!"
+
+"Oh! Oh! Oh!" groaned the plump girl. "I--I saw them. Three of them!"
+
+"Sounds like a three-ring circus," snapped Helen.
+
+But Ruth was peering through the window. She saw nothing, and complained
+thereof:
+
+"Jen has had a nightmare. I don't see a thing."
+
+"Nightmare, your granny!" sputtered the plump girl, finally rolling off
+her half crushed friend. "I saw it--them--_those_!"
+
+"Your grammar is so mixed I wouldn't believe you on oath," declared Helen,
+getting to her own bare feet and paddling back to her cot for slippers
+and a negligee.
+
+"O-o-oh, it is chilly," agreed Ruth, grabbing a wrap, too.
+
+"Do tell us about it, Jennie," she begged. "Did you see your ghost through
+the window here?"
+
+"It isn't my ghost!" denied the plump girl. "I'm alive, ain't I?"
+
+"But you're not conscious," grumbled Helen.
+
+"I can see!" wailed Jennie. "I haven't lost my eyesight."
+
+"Stop!" Ruth urged. "Let us get at the foundation of this trouble. You say
+you saw----"
+
+"I saw what I saw!"
+
+"Oh, see-saw!" cried Helen. "We're all loony, now."
+
+Ruth was about to ask another question, but she was again looking through
+the window. She suddenly bit off a cry of her own. She had to confess that
+the sight she saw was startling.
+
+"Is--is that the ghost, Jennie?" she breathed, seizing the plump girl by
+her arm and dragging her forward.
+
+Jennie gave one frightened look through the window and immediately clapped
+her palms over her eyes.
+
+"Ow!" she wailed in muffled tones. "They're coming back."
+
+They were, indeed! Three white figures in Indian file came stalking up
+the long dock. They approached the camp in a spectral procession and had
+she been awakened to see them first of all, Ruth might have been startled
+herself.
+
+Helen peered over her chum's shoulder and in teeth-chattering monotone
+breathed in Ruth's ear the query:
+
+"What is it?"
+
+"It--it's Heavy's ghost."
+
+"Not mine! Not mine!" denied the plump girl.
+
+"Oh!" gasped Helen, spying the stalking white figures.
+
+It was the moonlight made them appear so ghostly. Ruth knew that, of
+course, at once. And then----
+
+"Who ever saw ghosts carrying garbage cans before?" ejaculated the girl of
+the Red Mill. "Mercy me, Heavy! do stop your wailing. It is the chef and
+his two assistants who have got up to dump the garbage on the out-going
+tide. What a perfect scare-cat you are!"
+
+"You don't mean it, Ruth?" whimpered the plump girl. "Is that _all_ they
+were?"
+
+Helen began to giggle. And it covered her own fright. Ruth was rather
+annoyed.
+
+"If you had remained in bed and minded your own business," she said to
+Jennie, "you would not have seen ghosts, or got us up to see them. Now go
+back to sleep and behave yourself."
+
+"Yes, ma'am," murmured the abashed Jennie Stone. "How silly of me! I was
+never afraid of a cook before--no, indeed."
+
+Helen continued to giggle spasmodically; but she fell asleep soon. As for
+Jennie, she began to breathe heavily almost as soon as her head touched
+the pillow. But Ruth must needs lie awake for hours, and naturally the
+teeth of her mind began to knaw at the problem of that bit of paper she
+had found in the sand.
+
+The more she thought of it the less easy it was to discard the idea that
+the writing on the paper was a quotation from her own scenario script. It
+seemed utterly improbable that two people should use that same expression
+as a "flash" in a scenario.
+
+Yet, if this paper was a connecting link between her stolen manuscript and
+the thief, _who was the thief_?
+
+It would seem, of course, if this supposition were granted, that some
+member of the company of film actors Mr. Hammond had there at Beach Plum
+Point had stolen the scenario. At least, the stolen scenario must be in
+the possession of some member of the company.
+
+Who could it be? Naturally Ruth considered this unknown must be one of the
+company who wished Mr. Hammond to accept and produce a scenario.
+
+Ruth finally fell into a troubled sleep with the determination in her mind
+to take more interest in the proposed scenario-writing contest than she
+had at first intended.
+
+She could not imagine how anybody could take her work and change it so
+that she would not recognize it! The plot of the story was too well
+wrought and the working out of it too direct.
+
+She did not think that she had it perfect. Only that she had perfected the
+idea as well as she was able. But changing it would not hide from her the
+recognition of her own brain-child.
+
+So after breakfast she went to Mr. Hammond to make inquiry about the
+scenario contest.
+
+"Ha, ha! So you are coming to yourself, Miss Ruth!" he chuckled. "I told
+you you would feel different. I only wish _you_ would get a real smart
+idea for a picture."
+
+"Nothing like that!" she told him, shaking her head. "I could not think of
+writing a new scenario. You don't know what it means to me--the loss of
+that picture I had struggled so long with and thought so much about. I----
+
+"But let us not talk of it," she hastened to add. "I am curious regarding
+the stories that have been offered to you."
+
+"You need not fear competition," he replied. "Just as I told you, all
+these perfectly good acting people base their scenarios on dramas they
+have played or seen played. They haven't got the idea of writing for the
+screen at all, although they work before the camera."
+
+"And that is no wonder!" exclaimed Ruth. "The way the directors take
+scenes, the actors never get much of an idea of the continuity of the
+story they are making. But these stories?"
+
+"So far, I haven't found a possible scenario. And I have looked at more
+than a score."
+
+"You don't mean it!"
+
+"I most certainly do," he assured her. "Want to look at them?"
+
+"Why--yes," confessed Ruth. "I am curious, as I tell you."
+
+"Go to it!" exclaimed Mr. Hammond, opening a drawer of his desk and
+pointing to the pile of manuscripts within. "Consider yourself at home
+here. I am going over to the port with Director Hooley and most of the
+members of the company. We have found just the location for the shooting
+of that scene in your 'Seaside Idyl' where the ladies' aid society holds
+its 'gossip session' in the grove--remember?"
+
+"Oh, yes," Ruth replied, not much interested, as she took the first
+scenario out of the drawer.
+
+"And Hooley's found some splendid types, too, around the village. They
+really have a sewing circle connected with the Herringport Union Church,
+and I have agreed to help the ladies pay for having the church edifice
+painted if they will let us film a session of the society with our
+principal character actors mixed in with the local group. The sun is good
+to-day."
+
+He went away, and a little later Ruth heard the automobiles start for
+Herringport. She had the forenoon to herself, for the rest of her party
+had gone out in a motor boat fishing--a party from which she had excused
+herself.
+
+Eagerly she began to examine the scenarios submitted to Mr. Hammond. The
+possibility that she might find one of them near enough like her own lost
+story to suggest that it had been plagiarized, made Ruth's heart beat
+faster.
+
+She could not forget the quotation on the scrap of brown paper. Somebody
+on this Point--and it seemed that the "somebody" must be one of the moving
+picture company--had written that quotation from her scenario. She felt
+that this could not be denied.
+
+
+
+
+CHAPTER XVI
+
+RUTH SOLVES ONE PROBLEM
+
+
+Had Ruth Fielding been confronted with the question: "Did she expect to
+find a clue to the identity of the person who had stolen her scenario
+before she left the Red Mill?" she could have made no confident answer.
+She did not know what she would find when she sat down at Mr. Hammond's
+desk for the purpose of looking over the submitted stories.
+
+Doubt and suspicion, however, enthralled her mind. She was both curious
+and anxious.
+
+Ruth had no particular desire to read the manuscripts. In any case she did
+not presume Mr. Hammond desired her advice about selecting a script for
+filming.
+
+She skimmed through the first story. It had not a thing in it that would
+suggest in the faintest way any familiarity of the author with her own
+lost scenario.
+
+For two hours she fastened her attention upon one after another of the
+scenarios, often by main will-power, because of the utter lack of
+interest in the stories the writers had tried to put over.
+
+Without being at all egotistical, Ruth Fielding felt confident that had
+any one of these scenario writers come into possession of her lost script,
+and been dishonest enough to use it, he would have turned out a much
+better story.
+
+But not a trace of her original idea and its development was to be found
+in these manuscripts. Her suspicion had been needlessly roused.
+
+Ruth could not deny that the scrap of paper found in the sand was quite as
+mysterious as ever. The quotation on it seemed to be taken directly from
+her own scenario. But there was absolutely nothing in this pile of
+manuscripts to justify her suspicions.
+
+She was just as dissatisfied after scanning all the submitted scenarios as
+Mr. Hammond seemed to be with the day's work when the company came back
+from Herringport in the late afternoon.
+
+"I suppose it is a sanguine disposition that keeps me at this game, Miss
+Ruth," he sighed. "I always expect much more than I can possibly get out
+of a situation; and when I fail I go on hoping just the same."
+
+"I am sure that is a commendable disposition to possess," she laughed.
+"What has gone so wrong?"
+
+"It is the old story of leading the horse to water, and the inability of
+making him drink. This is a balky horse, and no mistake!"
+
+"Do tell me what you mean, Mr. Hammond?"
+
+"Why, I told you we had got what the ladies call 'perfectly lovely' types
+for that scene to-day. You ought to see them, Miss Ruth! You would be
+charmed. Just what the dear public expects a back-country sewing circle
+should look like."
+
+"Oh!"
+
+"And they all promised to be on hand at the location--and they were. I
+have had my experiences with amateurs before. I had begged the ladies to
+dress just as they would were they going to an actual meeting of their
+sewing society----"
+
+"And they all dressed up?" laughed Ruth, clasping her hands.
+
+"Well, that I expected to contend with. And most of them even in their
+best bib and tucker were not out of the picture. Not at all! That was not
+the main difficulty and the one that has spoiled our day's work."
+
+"Indeed?"
+
+"I am afraid Jim Hooley will have to fake the whole scene after all,"
+continued the manager. "Those women came all dressed up 'to have their
+pictures took,' it is true. But the worst of it is, they could not be
+natural. It was impossible. They showed in every move and every glance
+that they were sitting with a bunch of actors and were not at all sure
+that what they were doing was altogether the right thing.
+
+"We worked over them as though it were a 'mob scene' and there were five
+hundred in it instead of twenty. But twenty wooden dummies would have
+filmed no more unnaturally. You know, in your story, they are supposed to
+be discussing the bit of gossip about your heroine's elopement with the
+schoolteacher. I could not work up a mite of enthusiasm in their minds
+about such a topic."
+
+Ruth laughed. But she saw that the matter was really serious for Mr.
+Hammond and the director. She became sympathetic.
+
+"I fancy that if they had had a real scandal to discuss," she observed,
+"their faces would have registered more poignant interest."
+
+"'Poignant interest'!" scoffed the manager in disgust. "If these
+Herringport tabbies had the toothache they would register only polite
+anguish--in public. They are the most insular and self-contained and
+self-suppressed women I ever saw. These Down-Easters! They could walk over
+fiery ploughshares and only wanly smile----"
+
+Ruth went off into a gale of laughter at this. Mr. Hammond was a Westerner
+by birth, and he found the Yankee character as hard to understand as did
+Henri Marchand.
+
+"Have you quite given up hope, Mr. Hammond?" Ruth asked.
+
+"Well, we'll try again to-morrow. Oh, they promised to come again! They
+are cutting out rompers, or flannel undervests, I suppose, for the South
+Sea Island children; or something like that. They are interested in that
+job, no doubt.
+
+"I wanted them to 'let go all holts,' as these fishermen say, and be eager
+and excited. They are about as eager as they would be doing their washing,
+or cleaning house--if as much!" and Mr. Hammond's disappointment became
+too deep for further audible expression.
+
+Ruth suddenly awoke to the fact that one of her best scenes in the
+"Seaside Idyl" was likely to be spoiled. She talked with Mr. Hooley about
+it, and when the day's run was developed and run off in one of the shacks
+which was used for a try-out room, Ruth saw that the manager had not put
+the matter too strongly. The sewing circle scene lacked all that snap and
+go needed to make it a realistic piece of action.
+
+Of course, there were enough character actors in the company to use in the
+scene; but naturally an actor caricatures such parts as were called for in
+this scene. The professional would be likely to make the characters seem
+grotesque. That was not the aim of the story.
+
+"I thought you were not going to take any interest in this 'Seaside Idyl,'
+at all," suggested Helen, when Ruth was talking about the failure of the
+scene after supper that night.
+
+"I can't help it. My reputation as a scenario writer is at stake, just as
+much as is Mr. Hooley's reputation as director," Ruth said, smiling. "I
+really didn't mean to have a thing to do with the old picture. But I can
+see that somebody has got to put a breath of naturalness into those
+ladies' aid society women, or this part of the picture will be a fizzle."
+
+"And our Ruth," drawled Jennie, "is going to prescribe one of her famous
+cure-alls, is she?"
+
+"I believe I can make them look less like a lot of dummies while they are
+cutting out rompers for cannibal island pickaninnies," laughed Ruth. "Tom,
+I am going to the port with you the first thing in the morning."
+
+"By all means," said Captain Cameron. "I am yours to command."
+
+Her newly aroused interest in the scenario at present being filmed, was a
+good thing for Ruth Fielding. Having found nothing at all in the submitted
+stories that suggested her own lost story, the girl of the Red Mill tried
+to put aside again the thing that so troubled her mind. And this new
+interest helped.
+
+In the morning before breakfast she and Tom ran over to the port in the
+maroon roadster. While they were having breakfast at the inn, Ruth asked
+the waitress, who was a native of this part of the country, about the
+Union Church and some of the more intimate life-details of the members of
+its congregation.
+
+It is not hard to uncover neighborhood gossip of a kind not altogether
+unkindly in any similar community. The Union Church had a new minister,
+and he was young. He was now away on his vacation, and more than one local
+beauty and her match-making mamma would have palpitation of the heart
+before he returned for fear that the young clergyman would have his heart
+interests entangled by some designing "foreigner."
+
+Tom had no idea as to what Ruth Fielding was getting at through this
+questioning of the beaming Hebe who waited on them at breakfast. And he
+was quite as much in the dark as to his friend's motive when Ruth
+announced their first visit to be to the office of the Herringport
+_Harpoon_, the local news sheet.
+
+
+
+
+CHAPTER XVII
+
+JOHN, THE HERMIT'S, CONTRIBUTION
+
+
+A man with bushy hair, a pencil stuck over his ear, and wearing an
+ink-stained apron, met them in the office of the _Harpoon_. This was Ezra
+Payne, editor and publisher of the weekly news-sheet, and this was his
+busiest day. The _Harpoon_, Ruth had learned, usually went into the mails
+on this day.
+
+"Tut, tut! I see. Is this a joke?" Mr. Payne pursed his lips and wrinkled
+his brow in uncertainty.
+
+"A whole edition, Miss? Wall, I dunno. I do have hard work selling all the
+edition some weeks. But I have reg'lar subscribers----"
+
+"This will not interfere with your usual edition of the _Harpoon_," she
+hastened to assure him.
+
+"How's that, Miss?"
+
+"I want to buy an edition of one copy."
+
+"One copy!"
+
+"Yes, sir. I want something special printed in one paper. Then you can
+take it out and print your regular edition."
+
+"Tut, tut! I see. Is this a joke?" Mr. Payne asked, his eyes beginning to
+twinkle.
+
+"It is the biggest joke you ever heard of," declared Ruth.
+
+"And who's the joke on?"
+
+"Wait and see what I write," Ruth said, sitting down at the battered old
+desk where he labored over his editorials and proofsheets.
+
+Opening a copy of the last week's _Harpoon_ that lay there, she was able
+to see the whole face of the paper.
+
+"I've got the inside run off," said Mr. Payne, still doubtfully. "So you
+can't run anything on the second and third pages."
+
+"Oh, I want the most prominent place for my item," laughed Ruth. "Front
+page, top column---- Here it is!"
+
+He bent over her. Tom stared in wonder, too, as Ruth pointed to an item
+under a certain heading at the top of the middle column of the front page
+of the sheet.
+
+"That is just where I want my item to appear," she said briskly to the
+editor. "You run that--that department there every week?"
+
+"Oh, yes, Miss. The people expect it. You know how folks are. They look
+for those items first of all in a country paper."
+
+"Yes. It is so. One of the New York dailies is still printed with that
+human foible in mind. It caters to this very curiosity that your
+_Harpoon_ caters to."
+
+"Yes, Miss. You're right. Most folks have the same curiosity, city or
+country. Shakespeare spoke of the 'seven ages of man'; but there are only
+three of particular interest--to womankind, anyway; and they are all
+_here_."
+
+"There you go! Slurring the women," she laughed. "Or do you speak
+compliments?"
+
+"I guess the women have it right," chuckled Mr. Payne. "Now, what is it
+you want me to print in one paper for you?"
+
+Ruth drew a scratch pad to her and scribbled rapidly for a couple of
+minutes. Then she passed the page to the newspaper proprietor.
+
+Mr. Payne read it, stared at her, pursed his lips, and then read it again.
+Suddenly he burst into a cackle of laughter, slapping his thigh in high
+delight.
+
+"By gravy!" he chortled, "that's a good one on the dominie. By gravy! wait
+till I tell----"
+
+"Don't you tell anybody, Mr. Payne," interrupted Ruth, smiling, but
+firmly. "I am buying your secrecy as well as your edition of _one copy_."
+
+"I get you! I get you!" declared the old fellow. "This is to be on the
+q.t.?"
+
+"Positively."
+
+"You sit right here. The front page is all made up on the stone,
+Marriages, Births, Death Notices, and all. I'll set the paragraph and
+slip it in at the top o' the column. My boy is out, but this young man can
+help me lift the page into the press. She's all warmed up, and I was going
+to start printing when Edgar comes back from breakfast."
+
+He grabbed the piece of copy and went off into the printing room,
+chuckling. Half an hour later the first paper came from the press, and
+Ruth and Tom bent over it. The item the girl had written was plainly
+printed in the position she had chosen on the front page of the _Harpoon_.
+
+"Now, you are to keep still about this," Ruth said, threatening Mr. Payne
+with a raised finger.
+
+"I don't know a thing about it," he promised, pocketing the bill she took
+from her purse, and in high good humor over the joke.
+
+Tom helped him take the front page from the press again. The printer
+unlocked the chase, and removed and distributed the three lines he had set
+up at Ruth's direction.
+
+The crowd from Beach Plum Point came over in the cars about noontime. Aunt
+Kate had remained at the inn on this morning, and she and Ruth walked to
+the "location," which was a beautiful old shaded front yard at the far end
+of the village.
+
+Helen and Jennie had come with the real actors, and were to appear in the
+picture. The story related incidents at a Sunday-school picnic, and most
+of the comedy had already been filmed on the lot.
+
+The scene around the long sewing table under the trees, when the ladies'
+aid was at work with needle and tongue, should be the principal incident
+of this reel devoted to the picnic.
+
+The heroine, to the amazement of the village gossips, has run away with
+the schoolmaster and married him in the next county. A certain character
+in the picture runs in with this bombshell of news and explodes it in the
+midst of the group about the sewing table.
+
+The day before this point had failed to make much impression upon the
+amateur members of the company engaged in this typical scene. The
+Herringport ladies were not at all interested in such a thing happening to
+the town's schoolmaster, for to tell the truth the local schoolmaster was
+an old married man with a house full of children and nothing at all
+romantic about him.
+
+Ruth took Mr. Hooley aside and showed him the copy of the _Harpoon_ she
+had had printed, and whispered to him her idea of the change in the action
+of the scenario. He seized upon the scheme--and the paper--with gusto.
+
+"You are a jewel, Miss Fielding!" he declared. "If this doesn't make those
+old tabbies come to life and act naturally, nothing ever will!"
+
+Ruth left the matter in the director's hands and retired from the
+location. She had no intention herself of appearing in the picture. She
+found Mr. Hammond sitting in his automobile in a state of good-humor.
+
+"You seem quite sure that the work will go better to-day, Mr. Hammond,"
+Ruth observed, with curiosity as to the reason for his apparent enjoyment.
+
+"Whether it does or not, Miss Ruth," he responded. "There is something
+that I fancy is going to be more than a little amusing."
+
+He tapped a package wrapped in a soiled newspaper which lay on the seat
+beside him. "Thank goodness, I can still enjoy a joke."
+
+"What is the joke? Let me enjoy it, too," she said.
+
+"With the greatest of pleasure. I'll let you read it, if you like--as you
+did those other scenarios."
+
+"What! Is it a movie story?" she asked.
+
+"So I am assured. It is the contribution of John, the hermit. He brought
+it to me just before we started over here this morning. Poor old codger!
+Just look here, Miss Ruth."
+
+Mr. Hammond turned back the loose covering of the package on the
+automobile seat. Ruth saw a packet of papers, seemingly of roughly trimmed
+sheets of wrapping paper and of several sizes. At the top of the upper
+sheet was the title of the hermit's scenario. It was called "Plain Mary."
+She glanced down the page, noting that it was written in a large, upright,
+hand and with an indelible pencil.
+
+Ruth Fielding had not the least idea that she was to take any particular
+interest in this picture-story. She smiled more because Mr. Hammond seemed
+so amused than for any other reason. Secretly she thought that most of
+these moving picture people were rather unkind to the strange old man who
+lived alone on the seaward side of the Beach Plum Point.
+
+"Want to read it over?" Mr. Hammond asked her. "I would consider it a
+favor, for I've got to go back and try to catch up with my correspondence.
+I expect this is worse than those you skimmed through yesterday."
+
+Ruth did not hear him. Suddenly she had seen something that had not at
+first interested her. She read the first few lines of the opening, and saw
+nothing in them of importance. It was the writing itself that struck her.
+
+"Why!" she suddenly gasped.
+
+She was reminded of something that she had seen before. This writing----
+
+"Let me go back to the camp with you, Mr. Hammond," she said, slipping
+into the seat and taking the packet of written sheets into her lap. "I--I
+will look through this scenario, if you like. There is something down
+there on the Point that I want."
+
+"Sure. Be glad to have your company," he said, letting in his clutch after
+pushing the starter. "We're off."
+
+Ruth did not speak again just then. With widening eyes she began to devour
+the first pages of the hermit's manuscript.
+
+
+
+
+CHAPTER XVIII
+
+UNCERTAINTIES
+
+
+The automobile purred along the shell road, past the white-sided,
+green-blinded houses of the retired ship captains and the other well-to-do
+people of Herringport. The car ran so smoothly that Ruth might have read
+all the way.
+
+But after the first page or two--those containing the opening scenes of
+"Plain Mary"--she dared not read farther.
+
+Not yet. It was not that there was a familiar phrase in the upright
+chirography of the old hermit. The story merely suggested a familiar
+situation to Ruth's mind. Thus far it was only a suggestion.
+
+There was something else she felt she must prove or disprove first of all.
+She sat beside Mr. Hammond quite speechless until they came to the camp on
+the harbor shore of Beach Plum Point.
+
+He went off cheerfully to his letter writing, and Ruth entered the shack
+she occupied with Helen and Jennie. She opened her locked writing-case.
+Under the first flap she inserted her fingers and drew forth the wrinkled
+scrap of paper she had picked up on the sands.
+
+A glance at the blurred writing assured her that it was the same as that
+of the hermit's scenario.
+
+     "Flash:
+
+     "As in the beginning, is now, and ever shall be----"
+
+Shakingly Ruth sat down before the cheap little maple table. She spread
+open the newspaper wrapper and stared again at the title page of "Plain
+Mary."
+
+That title was nothing at all like the one she had given her lost
+scenario. But a title, after all, meant very little.
+
+The several scenes suggested in the beginning of the hermit's story did
+not conflict with the plot she had evolved, although they were not her
+own. She had read nothing so far that would make this story different from
+her own. The names of the characters were changed and the locations for
+the first scene were different from those in her script. Nevertheless the
+action and development of the story might prove to be exactly like hers.
+
+She shrank from going deeper into the hermit's script. She feared to find
+her suspicions true; yet she _must_ know.
+
+Finally she began to read. Page after page of the large and sprawling
+writing she turned over, face down upon the table. Ruth grew so absorbed
+in the story that she did not note the passing of time. She was truly
+aware of but one thing. And that seized upon her mind to wring from it
+both bitterness and anger.
+
+"Want to go back to the port, Miss Ruth?" asked Mr. Hammond. "I want to
+mail my letters."
+
+His question startled her. She sprang up, a spot of crimson in either
+cheek. Had he looked at her, the manager would certainly have noted her
+strange look.
+
+"I'll come in a minute," she called to him in a half-stifled voice.
+
+She laved her eyes and cheeks in cool water, removing such marks of her
+emotion as she could. Then she bundled up the hermit's scenario and joined
+Mr. Hammond in the car.
+
+"Did you look at this?" she asked the producer as he started the motor.
+
+"Bless you, no! What is it? As crazy as the old codger himself?"
+
+"Do you really think that man is crazy?" she asked sharply.
+
+"Why, I don't really know. Just queer perhaps. It doesn't seem as though
+a sane man would live all stark alone over on that sea-beaten point."
+
+"He is an actor," declared Ruth. "Your director says so."
+
+"At least, he does not claim to be, and they usually do, you know,"
+chuckled Mr. Hammond. "But about this thing----"
+
+"You read it! Then I will tell you something," said the girl soberly, and
+she refused to explain further.
+
+"You amaze me," said the puzzled manager. "If that old codger has
+succeeded in turning out anything worth while, I certainly shall believe
+that 'wonders never cease.'"
+
+"He has got you all fooled. He _is_ a good actor," declared Ruth bitterly.
+Then, as Mr. Hammond turned a puzzled frown upon her, she added, "Tell me
+what you think of the script, Mr. Hammond, before you speak to--er--John,
+or whatever his name may be."
+
+"I certainly am curious now," he declared.
+
+They got back to the place where the director had arranged to "shoot" the
+sewing circle scene just as everything was all set for it. Mother Paisley
+dominated the half circle of women about the long table under the trees.
+Ruth marveled at the types Mr. Hooley had found in the village. And she
+marveled further that any group of human beings could appear so wooden.
+
+"Oh, Ruth!" murmured Helen, who was not in this scene, but was an
+interested spectator, "they will surely spoil the picture again. Poor Mr.
+Hooley! He takes _such_ pains."
+
+It was like playing a child's game for most of the members of the
+Herringport Union congregation. They were selfconscious, and felt that
+they were in a silly situation. Those who were not too serious of demeanor
+were giggling like schoolgirls.
+
+Yet everything was ready for the cameras. Mr. Hooley's keen eye ran over
+all the group. He waved a hand to the camera men.
+
+"Ready camera--action--go!"
+
+The women remained speechless. They merely looked at each other in a
+helpless way. It was evident they had forgotten all the instructions the
+director had given them.
+
+But suddenly into the focus of the cameras ran a barefooted urchin waving
+a newspaper. This was the Alectrion Company's smartest "kid" actor and a
+favorite wherever his tousled head, freckled face, and wide grin appeared
+on the screen. He plunged right at Mother Paisley and thrust the paper
+into her hand, while he pointed at a certain place on the front page.
+
+"Read _that_, Ma Bassett!" cried the news vender.
+
+Mrs. Paisley gave expression first to wonder, then utter amazement, as she
+read the item Ruth had had inserted in this particular "edition" of the
+_Harpoon_. She was a fine old actress and her facial registering of
+emotion was a marvel. Mr. Hooley had seldom to advise her.
+
+Now his voice was heard above the clack of the cameras:
+
+"Pass it to the lady at your left. That's it! Cling to the paper. Get your
+heads together--three of you now!"
+
+The amateur players looked at each other and began to grin. The scene
+promised to be as big a "fizzle" as the one shot the previous day.
+
+But the woman next to Mrs. Paisley, after looking carelessly at the paper,
+of a sudden came to life. She seized the _Harpoon_ with both hands, fairly
+snatching it out of the actress' hands. She was too startled to be polite.
+
+"What under the canopy is this here?" she sputtered.
+
+She was a small, wiry, vigorous woman, and she had an expressive, if a
+vinegary, face. She rose from her seat and forgot all about her
+"play-acting."
+
+"What d'you think it says here?" she demanded of her sister-members of the
+ladies' aid.
+
+"Sh!"
+
+"Ella Painter, you're a-bustin' up the show!" admonished a motherly old
+person at the end of the table.
+
+But Mrs. Painter did not notice these hushed remarks. She read the item in
+the paper aloud--and so extravagantly did she mouth the astonishing words
+that Ruth feared they might be read on her lips when shown on the screen.
+
+"Listen!" Mrs. Painter cried. "Right at the top of the marriage notices!
+'Garside--Smythe. At Perleyvale, Maine, on August twenty-second, the
+Reverend Elton Garside, of Herringport, and Miss Amy Smythe, of
+Perleyvale.' What do you know about that?"
+
+The gasp of amazement that went up from the women of the Herringport Union
+Church was almost a chorus of anguish. The paper was snatched from hand to
+hand. Nobody could accuse the amateurs now of being "wooden."
+
+Not until Mrs. Paisley in the character of _Ma Bassett_, at the signal
+from Mr. Hooley, fell back in her chair, exclaiming: "My mercy me! Luella
+Sprague and the teacher! Who'd have thought it?" did the company in
+general suspect that something had been "put over on them."
+
+"All right! All right!" shouted Jim Hooley in high delight, stopping his
+camera men. "That's fine! It's great! Miss Fielding, your scheme worked
+like a charm."
+
+The members of the sewing circle began to ask questions.
+
+"Do you mean to say this is in the play?" demanded Mrs. Ella Painter,
+waving the newspaper and inclined to be indignant.
+
+"Yes, Mrs. Painter. That marriage notice is just a joke," the director
+told her. "It certainly gave you ladies a start and---- Well, wait
+till you see this scene on the screen!"
+
+"But ain't it _so_?" cried another. "Why, Mr. Garside---- Why! it's
+in the _Harpoon_."
+
+"But you won't find it in another _Harpoon_," laughed the director,
+recovering possession of the newspaper. "It's only a joke. But I
+positively had to give you ladies a real shock or we'd never have got this
+scene right."
+
+"Well, of all the impudence!" began Mrs. Painter.
+
+However, she joined in the laughter a minute later. At best, the women had
+won from Mr. Hammond enough money to pay for the painting of their church
+edifice, and they were willing to sacrifice their dignity for that.
+
+
+
+
+CHAPTER XIX
+
+COUNTERCLAIMS
+
+
+"I declare, Ruth! that was a ridiculous thing to do," exclaimed Helen,
+when they were on their way back to the Point. "But it certainly brought
+the sewing circle women all up standing."
+
+"I've been wondering all day what Ruth was up to," said Tom, who was
+steering the big car. "I was in on it without understanding her game."
+
+"Well, it was just what the directer needed," chuckled Jennie. "Oh, it
+takes our Ruth to do things."
+
+"I wonder?" sighed the girl of the Red Mill, in no responsive mood.
+
+She had something very unpleasant before her that she felt she must do,
+and nothing could raise her spirits. She did not speak to anybody about
+the hermit's scenario. She waited for Mr. Hammond to express his opinion
+of it.
+
+At the camp she found a letter for her from the doctor's wife who had
+promised to keep her informed regarding Arabella Montague Fitzmaurice
+Pike. That young person was doing well and getting fat at the Perkins'
+farm. But Mrs. Holmes was quite sure that she had not heard from her
+father.
+
+"You've got another half-orphan on your hands, Ruth," said Helen. She made
+it a point always to object to Ruth's charities. "I don't believe that man
+will ever show up again. If he went away with a medicine show----"
+
+"No, no," said Ruth firmly. "No child would ever respect and love her
+father as Bella does if he was not good to her. He will turn up."
+
+Just then Tom called from outside the door of the girls' shack.
+
+"What say to a moonlight dip off the Point?" he asked. "The tide is not
+very low. And I missed my splash this morning."
+
+"We're with you, Tommy," responded his sister. "Wait till we get into
+bathing suits."
+
+Even Ruth was enthusiastic--to a degree--over this. In twenty minutes they
+were running up the beach with Tom and Henri toward the end of the Point.
+
+"Let's go over and get the surf," suggested Jennie. "I do love surf
+bathing. All you have to do is to bob up and down in one place."
+
+"Heavy is lazy even in her sport," scoffed Helen. "But I'm game for the
+rough stuff."
+
+They crossed the neck of land near the hermit's hut. There was a hard
+beach almost in front of the hut, and up this the breakers rolled and
+foamed delightfully. The so-called hermit, hearing their voices, came out
+and sat on a rock to watch them. But he did not offer to speak until Ruth
+went over to him.
+
+"Mr. Hammond let me read your script, John," she said coldly.
+
+"Indeed?" he rejoined without emotion.
+
+"Where did you get the idea for that scenario?"
+
+He tapped his head with a long forefinger. "Right inside of that skull. I
+do my own thinking," he said.
+
+"You did not have any help about it? You originated the idea of 'Plain
+Mary?'"
+
+He nodded. "You ain't the only person who can write a picture," he
+observed. "And I think that this one they are filming for you is silly."
+
+Ruth stared down at him, but said nothing more. She was ready to go back
+to camp as soon as the others would, and she remained very silent. Mr.
+Hammond had been asking for her, Miss Loder said. When Ruth had got into
+something more presentable than a wet bathing suit, she went to his
+office.
+
+"What do you know about this?" he demanded in plain amazement. "This story
+the old man gave me to read is a wonder! It is one of the best ideas I
+ever saw for the screen. Of course, it needs fixing up a bit, but it's
+great! What did you think of it, Miss Ruth?"
+
+"I am glad you like it, Mr. Hammond," she said, steadying her voice with
+difficulty.
+
+"I do like it, I assure you."
+
+"It is _my_ story, Mr. Hammond!" she exclaimed. "It is the very scenario
+that was stolen from me at home. He's just changed the names of the
+characters and given it a different title, and spoiled some of the scenes.
+But a large part of it is copied word for word from my manuscript!"
+
+"Miss Fielding!" gasped the president of the Alectrion Film Corporation.
+
+"I am telling you the truth," Ruth cried, rather wildly, it must be
+confessed, and then she broke down and wept.
+
+"My goodness! It can't be possible! You--you've let your mind dwell upon
+your loss so much----"
+
+"Do you think I am crazy?" she demanded, flaring up at him, her anger
+drying her tears.
+
+"Certainly not," he returned gently; yet he looked at her oddly. "But
+mistakes have been made----"
+
+"Mistakes, indeed! It is no mistake when I recognize my own work."
+
+"But--but how could this old man have stolen your work--and away back
+there at the Red Mill? I believe he has lived here on the Point for
+years. At least, every summer."
+
+"Then somebody else stole it and he got the script from them. I tell you
+it is mine!" cried Ruth.
+
+"Miss Fielding! Let us be calm----"
+
+"You would not be calm if you discovered somebody trying to make use of
+something you had originated, and calling it theirs--no you wouldn't, Mr.
+Hammond!"
+
+"But it seems impossible," he said weakly.
+
+"That old man is an actor--an old-school actor. You can see that easily
+enough," she declared. "There was such a person about the Red Mill the day
+my script was lost. Oh, it's plain enough."
+
+"Not so plain, Miss Ruth," said Mr. Hammond firmly. "And you must not make
+wild accusations. That will do no good--and may do harm in the end. It
+does not seem probable to me that this old hermit could have actually
+stolen your story. A longshore character like him----"
+
+"He's not!" cried Ruth. "Don't you see that he is playing a part? He is no
+fisherman. No longshore character, as you call him, would be as afraid of
+the sea as he is. He is playing a part--and he plays it just as well as
+the parts Mr. Hooley gives him to play."
+
+"Jove! There may be something in that," murmured the manager.
+
+"He got my script some way, I tell you!" declared Ruth. "I am not going to
+let anybody maul my story and put it over as his own. No, sir!"
+
+"But--but, Miss Ruth!" exclaimed Mr. Hammond. "How are you going to prove
+what you say is true?"
+
+"Prove it?"
+
+"Yes. You see, the burden of proof must be on you."
+
+"But--but don't you believe me?" she murmured.
+
+"Does it matter what I believe?" he asked her gently. "Remember, this man
+has entrusted me with a manuscript that he says is original. At least it
+is written in his own hand. I cannot go back of that unless you have some
+means of proof that his story is your story. Who did you tell about your
+plot, and how you worked it out? Did you read the finished manuscript--or
+any part of it--to any person who can corroborate your statements?"
+
+"Oh, Mr. Hammond!" she cried, with sudden anguish in her voice. "Not a
+soul! Never to a single, solitary person. The girls, nor Aunt Alvirah, nor
+Tom----"
+
+She broke down again and he could not soothe her. She wept with abandon,
+and Mr. Hammond was really anxious for her. He went to the door, whistled
+for one of the boys, and sent for Mrs. Paisley.
+
+But Ruth recovered her composure--to a degree, at least--before the
+motherly old actress came.
+
+"Don't tell anybody! Don't tell anybody!" she sobbed to Mr. Hammond. "They
+will think I am crazy! I haven't a word of proof. Only my word----"
+
+"Against his," said the manager gravely. "I would accept your word, Miss
+Ruth, against the world! But we must have some proof before we
+deliberately accuse this old man of robbing you."
+
+"Yes, yes. I see. I will be patient--if I can."
+
+"The thing to do is to find out who this hermit really is," said Mr.
+Hammond. "Through discovering his private history we may put our finger on
+the thing that will aid you with proof. Good-night, my dear. Try to get
+calm again."
+
+
+
+
+CHAPTER XX
+
+THE GRILL
+
+
+Ruth did not go back to her chums until, under Mother Paisley's comforting
+influence, she had recovered a measure of her self-possession. The old
+actress asked no questions as to the cause of Ruth's state of mind. She
+had seen too many hysterical girls to feel that the cause of her patient's
+breakdown was at all important.
+
+"You just cry all you want to, deary. Right here on Mother Paisley's
+shoulder. Crying will do you good. It is the Good Lord's way of giving us
+women an outlet for all our troubles. When the last tear is squeezed out
+much of the pain goes with it."
+
+Ruth was not ordinarily a crying girl. She had wept more of late,
+beginning with that day at the Red Mill when her scenario manuscript had
+been stolen, than in all her life before.
+
+Her tears were now in part an expression of anger and indignation. She was
+as mad as she could be at this man who called himself "John, the hermit."
+For, whether he was the person who had actually stolen her manuscript, he
+very well knew that his scenario offered to Mr. Hammond was not original
+with him.
+
+The worst of it was, he had mangled her scenario. Ruth could look upon it
+in no other way. His changes had merely muddied the plot and cheapened her
+main idea. She could not forgive that!
+
+The other girls were drowsy when Ruth kissed Mother Paisley good-night and
+entered the small shack. She was glad to escape any interrogation. By
+morning she had gained control of herself, but her eyes betrayed the fact
+that she had not slept.
+
+"You certainly do not look as though you were enjoying yourself down
+here," Tom Cameron said to her at breakfast time, and with suspicion.
+"Maybe we did come to the wrong place for our vacation after all. How
+about it, Ruth? Shall we start off in the cars again and seek pastures
+new?"
+
+"Not now, Tom," she told him, hastily. "I must stay right here."
+
+"Why?"
+
+"Because----"
+
+"That is no sensible reason."
+
+"Let me finish," she said rather crossly. "Because I must see what sort of
+scenario Mr. Hammond finds--if he finds any--in this contest."
+
+"Humph! And you said you and scenarios were done forever! I fancy Mr.
+Hammond is taking advantage of your good nature."
+
+"He is not."
+
+"You are positively snappish, Ruth," complained Tom. "You've changed your
+mind----"
+
+"Isn't that a girl's privilege?"
+
+"Very well, Miladi!" he said, with a deep bow as they rose from the table.
+"However, you need not give all your attention to these prize stories,
+need you? Let's do something besides follow these sun-worshippers around
+to-day."
+
+"All right, Tommy-boy," acclaimed his sister. "What do you suggest?"
+
+"A run along the coast to Reef Harbor where there are a lot of folks we
+know," Tom promptly replied.
+
+"Not in that old _Tocsin_," cried Jennie. "She's so small I can't take off
+my sweater without tipping her over."
+
+"Oh, what a whopper!" gasped Helen.
+
+"Never mind," grinned her twin. "Let Jennie run to the superlatives if she
+likes. Anyway, I would not dream of going so far as the Harbor in that
+dinky little _Tocsin_. I've got my eye on just the craft, and I can get
+her over here in an hour by telephoning to the port. It's the _Stazy_."
+
+"Goody!" exclaimed Jennie Stone. "That big blue yacht! And she's got a
+regular crew--and everything. Aunty won't be afraid to go with us in
+her."
+
+"That's fine, Tom," said his sister with appreciation.
+
+Even Ruth seemed to take some interest. But she suggested:
+
+"Be sure there is gasoline enough, Tom. That _Stazy_ doesn't spread a foot
+of canvas, and we are not likely to find a gas station out there in the
+ocean, the way we did in the hills of Massachusetts."
+
+"Don't fear, Miss Fidget," he rejoined. "Are you all game?"
+
+They were. The girls went to "doll up," to quote the slangy Tom, for Reef
+Harbor was one of the most fashionable of Maine coast resorts and the
+knockabout clothing they had been wearing at Beach Plum Point would never
+do at the Harbor hotels.
+
+The _Stazy_ was a comfortable and fast motor-yacht. As to her
+sea-worthiness even Tom could not say, but she looked all right. And to
+the eyes of the members of Ruth Fielding's party there was no threat of
+bad weather. So why worry about the pleasure-craft's balance and her
+ability to sail the high seas?
+
+"It is only a short run, anyway," Tom said.
+
+As for Colonel Marchand, he had not the first idea about ships or sailing.
+He admitted that only continued fair weather and a smooth sea had kept
+him on deck coming over from France with Jennie and Helen.
+
+At the present time he and Jennie Stone were much too deeply engrossed in
+each other to think of anything but their own two selves. In a fortnight
+now, both the Frenchman and Tom would have to return to the battle lines.
+And they were, deep in their hearts, eager to go back; for they did not
+dream at this time that the German navy would revolt, that the High
+Command and the army had lost their morale, and that the end of the Great
+War was near.
+
+Within Tom's specified hour the party got under way, boarding the _Stazy_
+from a small boat that came to the camp dock for them. It was not until
+the yacht was gone with Ruth Fielding and her party that Mr. Hammond set
+on foot the investigation he had determined upon the night before.
+
+The president of the Alectrion Film Corporation thought a great deal of
+the girl of the Red Mill. Their friendship was based on something more
+than a business association. But he knew, too, that after her recent
+experiences in France and elsewhere, her health was in rather a precarious
+state.
+
+At least, he was quite sure that Ruth's nerves were "all out of tune," as
+he expressed it, and he believed she was not entirely responsible for
+what she had said.
+
+The girl had allowed her mind to dwell so much upon that scenario she had
+lost that it might be she was not altogether clear upon the subject. Mr.
+Hammond had talked with Tom about the robbery at the Red Mill, and it
+looked to the moving picture producer as though there might be some
+considerable doubt of Ruth's having been robbed at all.
+
+In that terrific wind and rain storm almost anything might have blown
+away. Tom admitted he had seen a barrel sailing through the air at the
+height of the storm.
+
+"Why couldn't the papers and note books have been caught up by a gust of
+wind and carried into the river?" Mr. Hammond asked himself. "The river
+was right there, and it possesses a strong current."
+
+The president of the Alectrion Film Corporation knew the Lumano, and the
+vicinity of the Red Mill as well. It seemed to him very probable that the
+scenario had been lost. And the gold-mounted fountain pen? Why, that might
+have easily rolled down a crack in the summer-house floor.
+
+The whole thing was a matter so fortuitous that Mr. Hammond could not
+accept Ruth's version of the loss without some doubt, in any case. And
+then, her suddenly finding in the only good scenario submitted to him by
+any of his company, one that she believed was plagiarized from her lost
+story, seemed to put a cap on the whole matter. Ruth might be just a
+little "off soundings," as the fishermen about Herringport would say. Mr.
+Hammond was afraid that she had been carried into a situation of mind
+where suspicion took the place of certainty.
+
+She had absolutely nothing with which to corroborate her statement. Nobody
+had seen Ruth's scenario nor had she discussed the plot with any person.
+Secrecy necessary to the successful production of anything new in the line
+of picture plays was all right. Mr. Hammond advised it. But in this case
+it seemed that the scenario writer had been altogether too secret.
+
+Had Ruth not chanced to read the hermit's script before making her
+accusation, Mr. Hammond would have felt differently. Better, had she been
+willing to relate to him in the first place the story of the plot of her
+scenario and how she had treated it, her present accusation might have
+seemed more reasonable.
+
+But, having read the really good story scrawled on the scraps of brown
+paper that John, the hermit, had put in the manager's hands, the girl had
+suddenly claimed the authorship of the story. There was nothing to prove
+her claim. It looked dubious at the best.
+
+John, the hermit, was a grim old man. No matter whether he was some old
+actor hiding away here on Beach Plum Point or not, he was not a man to
+give up easily anything that he had once said was his.
+
+The manager was far too wise to accuse the hermit openly, as Ruth had
+accused him. They would not get far with the old fellow that way, he was
+sure.
+
+First of all he called the company together and asked if there were any
+more scenarios to be submitted. "No," being the answer, he told them
+briefly that out of the twenty-odd stories he had accepted one that might
+be whipped into shape for filming--and one only.
+
+Each story submitted had been numbered and the number given to its author.
+The scripts could now be obtained by the presentation of the numbers. He
+did not tell them which number had proved successful. Nor did he let it be
+known that he proposed to try to film the hermit's production.
+
+Mr. Hooley was using old John on this day in a character part. For these
+"types" the director usually paid ten or fifteen dollars a day; but John
+was so successful in every part he was given that Mr. Hooley always paid
+him an extra five dollars for his work. Money seemed to make no difference
+in the hermit's appearance, however. He wore just as shabby clothing and
+lived just as plainly as he had when the picture company had come on to
+the lot.
+
+When work was over for the day, Hooley sent the old man to Mr. Hammond's
+office. The president of the company invited the hermit into his shack and
+gave him a seat. He scrutinized the man sharply as he thus greeted him. It
+was quite true that the hermit did not wholly fit the character he assumed
+as a longshore waif.
+
+In the first place, his skin was not tanned to the proper leathery look.
+His eyes were not those of a man used to looking off over the sea. His
+hands were too soft and unscarred for a sailor's. He had never pulled on
+ropes and handled an oar!
+
+Now that Ruth Fielding had suggested that his character was a disguise,
+Mr. Hammond saw plainly that she must be right. As he was a good actor of
+other parts before the camera, so he was a good actor in his part of
+"hermit."
+
+"How long have you lived over there on the point, John?" asked Mr. Hammond
+carelessly.
+
+"A good many years, sir, in summer."
+
+"How did you come to live there first?"
+
+"I wandered down this way, found the hut empty, turned to and fixed it up,
+and stayed on."
+
+He said it quite simply and without the first show of confusion. But this
+tale of his occupancy of the seaside hut he had repeated frequently, as
+Mr. Hammond very well knew.
+
+"Where do you go in the winter, John?" the latter asked.
+
+"To where it's a sight warmer. I don't have to ask anybody where I shall
+go," and now the man's tone was a trifle defiant.
+
+"I would like to know something more about you," Mr. Hammond said, quite
+frankly. "I may be able to do something with your story. We like to know
+about the person who submits a scenario----"
+
+"That don't go!" snapped the hermit grimly. "You offered five hundred for
+a story you could use. If you can use mine, I want the five hundred. And I
+don't aim to give you the history of my past along with the story. It's
+nobody's business what or who I am, or where I came from, or where I am
+going."
+
+"Hoity-toity!" exclaimed Mr. Hammond. "You are quite sudden, aren't you?
+Now, just calm yourself. I haven't got to take your scenario and pay you
+five hundred dollars for it----"
+
+"Then somebody else will," said the hermit, getting up.
+
+"Ah! You are quite sure you have a good story here, are you?"
+
+"I know I have."
+
+"And how do you know so much?" sharply demanded the moving picture
+magnate.
+
+"I've seen enough of this thing you are doing, now--this 'Seaside Idyl'
+stuff--to know that mine is a hundred per cent. better," sneered the
+hermit.
+
+"Whew! You've a good opinion of your story, haven't you?" asked Mr.
+Hammond. "Did you ever write a scenario before?"
+
+"What is that to you?" returned the other. "I don't get you at all, Mr.
+Hammond. All this cross-examination----"
+
+"That will do now!" snapped the manager. "I am not obliged to take your
+story. You can try it elsewhere if you like," and he shoved the
+newspaper-wrapped package toward the end of his desk and nearer the
+hermit's hand. "I tell you frankly that I won't take any story without
+knowing all about the author. There are too many comebacks in this game."
+
+"What do you mean?" demanded the other stiffly.
+
+"I don't _know_ that your story is original. Frankly, I have some doubt
+about that very point."
+
+The old man did not change color at all. His gray eyes blazed and he was
+not at all pleasant looking. But the accusation did not seem to surprise
+him.
+
+"Are you trying to get it away from me for less than you offered?" he
+demanded.
+
+"You are an old man," said Mr. Hammond hotly, "and that lets you get away
+with such a suggestion as that without punishment. I begin to believe that
+there is something dead wrong with you, John--or whatever your name is."
+
+He drew back the packet of manuscript, opened a drawer, put it within, and
+locked the drawer.
+
+"I'll think this over a little longer," he said grimly. "At least, until
+you are willing to be a little more communicative about yourself. I would
+be glad to use your story with some fixing up, if I was convinced you
+really wrote it all. But you have got to show me--or give me proper
+references."
+
+"Give me back the scenario, then!" exclaimed the old man, his eyes blazing
+hotly.
+
+"No. Not yet. I can take my time in deciding upon the manuscripts
+submitted in this contest. You will have to wait until I decide," said Mr.
+Hammond, waving the man out of his office.
+
+
+
+
+CHAPTER XXI
+
+A HERMIT FOR REVENUE ONLY
+
+
+The bays and inlets of the coast of Maine have the bluest water dotted by
+the greenest islands that one can imagine. And such wild and romantic
+looking spots as some of these islands are!
+
+Just at this time, too, a particular tang of romance was in the air. The
+Germans had threatened to devastate our Atlantic coast from Eastport to
+Key West with a flock of submersibles. There actually were a few
+submarines lurking about the pathways of our coastwise shipping; but, as
+usual, the Hun's boast came to naught.
+
+The young people on the _Stazy_ scarcely expected to see a German
+periscope during the run to Reef Harbor. Yet they did not neglect watching
+out for something of the kind. Skipper Phil Gordon, a young man with one
+arm but a full and complete knowledge of this coast and how to coax speed
+out of a gasoline engine, ordered his "crew" of one boy to remain sharply
+on the lookout, as well.
+
+The _Stazy_ did not, however, run far outside. The high and rocky headland
+that marked the entrance to Reef Harbor came into view before they had
+more than dropped the hazy outline of Beach Plum Point astern.
+
+But until they rounded the promontory and entered the narrow inlet to Reef
+Harbor the town and the summer colony was entirely invisible.
+
+"If a German sub should stick its nose in here," sighed Helen, "it would
+make everybody ashore get up and dust. Don't you think so?"
+
+"Is it the custom to do so when the enemy, he arrive?" asked Colonel
+Marchand, to whom the idiomatic speech of the Yankee was still a puzzle.
+
+"Sure!" replied Tom, grinning. "Sure, Henri! These New England women would
+clean house, no matter what catastrophe arrived."
+
+"Oh, don't suggest such horrid possibilities," cried Jennie. "And they are
+only fooling you, Henri."
+
+"Look yonder!" exclaimed Captain Tom, waving an instructive hand. "Behold!
+Let the Kaiser's underseas boat come. That little tin lizzie of the sea is
+ready for it. Depth bombs and all!"
+
+The grim looking drab submarine chaser lay at the nearest dock, the faint
+spiral of smoke rising from her stack proclaiming that she was ready for
+immediate work. There was a tower, too, on the highest point on the
+headland from which a continual watch was kept above the town.
+
+"O-o-oh!" gurgled Jennie, snuggling up to Henri. "Suppose one of those
+German subs shelled the movie camp back there on Beach Plum Point!"
+
+"They would likely spoil a perfectly good picture, then," said Helen
+practically. "Think of Ruthie's 'Seaside Idyl!'.
+
+"Oh, say!" Helen went on. "They tell me that old hermit has submitted a
+story in the contest. What do you suppose it is like, Ruth?"
+
+The girl of the Red Mill was sitting beside Aunt Kate. She flushed when
+she said:
+
+"Why shouldn't he submit one?"
+
+"But that hermit isn't quite right in his head, is he?" demanded Ruth's
+chum.
+
+"I don't know that it is his head that is wrong," murmured Ruth, shaking
+her own head doubtfully.
+
+Here Jennie broke in. "Is auntie letting you read her story, Ruth?" she
+asked slyly.
+
+"Now, Jennie Stone!" exclaimed their chaperon, blushing.
+
+"Well, you are writing one. You know you are," laughed her niece.
+
+"I--I am just trying to see if I can write such a story," stammered Aunt
+Kate.
+
+"Well, I am sure you could make up a better scenario than that old grouch
+of a hermit," Helen declared, warmly.
+
+Ruth did not add anything to this discussion. What she had discovered
+regarding the hermit's scenario was of too serious a nature to be publicly
+discussed.
+
+Her interview the evening before with Mr. Hammond regarding the matter had
+left Ruth in a most uncertain frame of mind. She did not know what to do
+about the stolen scenario. She shrank from telling even Helen or Tom of
+her discovery.
+
+To tell the truth, Mr. Hammond's seeming doubt--not of her truthfulness
+but of her wisdom--had shaken the girl's belief in herself. It was a
+strange situation, indeed. She thought of the woman she had found
+wandering about the mountain in the storm who had lost control of both her
+nerves and her mind, and Ruth wondered if it could be possible that she,
+too, was on the verge of becoming a nervous wreck.
+
+Had she deceived herself about this hermit's story? Had she allowed her
+mind to dwell on her loss until she was quite unaccountable for her mental
+decisions? To tell the truth, this thought frightened the girl of the Red
+Mill a little.
+
+Practical as Ruth Fielding ordinarily was, she must confess that the shock
+she had received when the hospital in France was partly wrecked, an
+account of which is given in "Ruth Fielding Homeward Bound," had shaken
+the very foundations of her being. She shuddered even now when she thought
+of what she had been through in France and on the voyage coming back to
+America.
+
+She realized that even Tom and Helen looked at her sometimes when she
+spoke of her lost scenario in a most peculiar way. Was it a fact that she
+had allowed her loss to unbalance--well, her judgment? Suppose she was
+quite wrong about that scenario the hermit had submitted to Mr. Hammond?
+The thought frightened her!
+
+At least, she had nothing to say upon the puzzling subject, not even to
+her best and closest friends. She was sorry indeed two hours later when
+they were at lunch on the porch of the Reef Harbor House with some of the
+Camerons' friends that Helen brought the conversation around again to the
+Beach Plum Point "hermit."
+
+"A _real_ hermit?" cried Cora Grimsby, a gay, blonde, irresponsible little
+thing, but with a heart of gold. "And is he a hermit for revenue only,
+too?"
+
+"What do you mean by that?" Helen demanded.
+
+"Why, we have a hermit here, you see. Over on Reef Island itself. If you
+give us a sail in your motor yacht after lunch I'll introduce our hermit
+to you. But you must buy something of him, or otherwise 'cross his palm
+with silver.' He told me one day that he was not playing a nut for summer
+folks to laugh at just for the good of his health."
+
+"Frank, I must say," laughed Tom Cameron.
+
+"I guess he's been in the hermit business before," said Cora, sparkling at
+Tom in his uniform. "But this is his first season at the Harbor."
+
+"I wonder if he belongs to the hermit's union and carries a union card,"
+suggested Jennie Stone soberly. "I don't think we should patronize
+non-union hermits."
+
+"Goody!" cried Cora, clapping her hands. "Let's ask him."
+
+Ruth said nothing. She rather wished she might get out of the trip to Reef
+Island without offending anybody. But that seemed impossible. She really
+had seen all the hermits she cared to see!
+
+She could not, however, be morose and absent-minded in a party of which
+Cora Grimsby and Jennie Stone were the moving spirits. It was a gay crowd
+that crossed the harbor in the _Stazy_ to land at a roughly built dock
+under the high bluff of the wooded island.
+
+"There's the hermit!" Cora cried, as they landed. "See him sitting on the
+rock before the door of his cabin?"
+
+"Right on the job," suggested Tom.
+
+"No unlucky city fly shall escape that spider's web," cried Jennie.
+
+He was a patriarchal looking man. His beard swept his breast. He wore
+shabby garments, was barefooted, and carried a staff as though he were
+lame or rheumatic.
+
+"Dresses the part much better than our hermit does," Helen said, in
+comment.
+
+The man met the party from the _Stazy_ with a broad smile that displayed a
+toothless cavity of a mouth. His red-rimmed eyes were moist looking, not
+to say bleary. Ruth smelled a distinct alcoholic odor on his breath. A
+complete drouth had evidently not struck this part of the State of Maine.
+
+"Good day to ye!" said the hermit. "Some o' you young folks I ain't never
+seed before."
+
+"They are my friends," Cora hastened to explain, "and they come from Beach
+Plum Point."
+
+"Do tell! If you air goin' back to-night, better make a good v'y'ge of it.
+We're due for a blow, I allow. You folks ain't stoppin' right on the
+p'int, be ye?"
+
+Ruth, to whom he addressed this last question, answered that they were,
+and explained that there was a large camp there this season, and why.
+
+"Wal, wal! I want to know! Somebody did say something to me about a gang
+of movin' picture folks comin' there; but I reckoned they was a-foolin'
+me."
+
+"There is a good sized party of us," acknowledged Ruth.
+
+"Wal, wal! Mebbe that fella I let my shack to will make out well, then,
+after all. Warn't no sign of ye on the beach when I left three weeks ago".
+
+"Did you live there on the point?" asked Ruth.
+
+"Allus do winters. But the pickin's is better over here at the Harbor at
+this time of year."
+
+"And the man you left in your place? Where is your house on the point?"
+
+The hermit "for revenue only" described the hut on the eastern shore in
+which the other "hermit" lived. Ruth became much interested.
+
+"Tell me," she said, while the others examined the curios the hermit had
+for sale, "what kind of man is this you left in your house? And who is
+he?"
+
+"Law bless ye!" said the old man. "I don't know him from Adam's off ox.
+Never seed him afore. But he was trampin' of it; and he didn't have much
+money. An' to tell you the truth, Miss, that hutch of mine ain't wuth much
+money."
+
+She described the man who had been playing the hermit since the Alectrion
+Film Corporation crowd had come to Beach Plum Point.
+
+"That's the fella," said the old man, nodding.
+
+Ruth stood aside while he waited on his customers and digested these
+statements regarding the man who claimed the authorship of the scenario of
+"Plain Mary."
+
+Not that Ruth would have desired to acknowledge the scenario in its
+present form. She felt angry every time she thought of how her plot had
+been mangled.
+
+But she was glad to learn all that was known about the Beach Plum Point
+hermit. And she had learned one most important fact.
+
+He was not a regular hermit. As Jennie Stone suggested, he was not a
+"union hermit" at all. And he was a stranger to the neighborhood of
+Herringport. If he had been at the Point only three weeks, as this old man
+said, "John, the hermit," might easily have come since Ruth's scenario was
+stolen back there at the Red Mill!
+
+Her thoughts began to mill again about this possibility. She wished she
+was back at the camp so as to put the strange old man through a
+cross-examination regarding himself and where he had come from. She had no
+suspicion as to how Mr. Hammond had so signally failed in this very
+matter.
+
+
+
+
+CHAPTER XXII
+
+AN ARRIVAL
+
+
+Mr. Hammond was in no placid state of mind himself after the peculiarly
+acting individual who called himself "John, the hermit," left his office.
+The very fact that the man refused to tell anything about his personal
+affairs--who he really was, or where he came from--induced the moving
+picture producer to believe there must be something wrong about him.
+
+Mr. Hammond went to the door of the shack and watched the man tramping up
+the beach toward the end of the point. What a dignified stride he had!
+Rather, it was the stride of a poseur--like nothing so much as that of the
+old-time tragedian, made famous by the Henry Irving school of actors.
+
+"An ancient 'ham' sure enough, just as the boys say," muttered the
+manager.
+
+The so-called hermit disappeared. The moving picture people were gathering
+for dinner. The sun, although still above the horizon, was dimmed by
+cloud-banks which were rising steadily to meet clouds over the sea.
+
+A wan light played upon the heaving "graybacks" outside the mouth of the
+harbor. The wind whined among the pines which grew along the ridge of
+Beach Plum Point.
+
+A storm was imminent. Just as Mr. Hammond took note of this and wished
+that Ruth Fielding and her party had returned, a snorting automobile
+rattled along the shell road and halted near the camp.
+
+"Is this the Alectrion Film Company?" asked a shrill voice.
+
+"This is the place, Miss," said the driver of the small car.
+
+The chauffeur ran his jitney from the railroad station and was known to
+Mr. Hammond. The latter went nearer.
+
+Out of the car stepped a girl--a very young girl to be traveling alone.
+She was dressed in extreme fashion, but very cheaply. Her hair was bobbed
+and she wore a Russian blouse of cheap silk. Her skirt was very narrow,
+her cloth boots very high, and the heels of them were like those of
+Jananese clogs.
+
+What with the skimpy skirt and the high heels she could scarcely walk. She
+was laden with two bags--one an ancient carpet-bag that must have been
+seventy-five years old, and the other a bright tan one of imitation
+leather with brass clasps. She wore a coal-scuttle hat pulled down over
+her eyes so that her face was quite extinguished.
+
+Altogether her get-up was rather startling. Mr. Hammond saw Jim Hooley
+come out of his tent to stare at the new arrival. She certainly was a
+"type."
+
+There was a certain kind of prettiness about the girl, and aside from her
+incongruous garments she was not unattractive--when her face was revealed.
+Mr. Hammond's interest increased. He approached the spot where the girl
+had been left by the jitney driver.
+
+"You came to see somebody?" he asked kindly. "Who is it you wish to see?"
+
+"Is this the moving picture camp, Mister?" she returned.
+
+"Yes," said the manager, smiling. "Are you acquainted with somebody who
+works here?"
+
+"Yes. I am Arabella Montague Fitzmaurice," said the girl, with an air that
+seemed to show that she expected to be recognized when she had recited her
+name.
+
+Mr. Hammond refrained from open laughter. He only said:
+
+"Why--that is nice. I am glad to meet you, my dear. Who are you looking
+for?"
+
+"I want to see my pa, of course. I guess you know who _he_ is?"
+
+"I am not sure that I do, my dear."
+
+"You don't--Say! who are you?" demanded Bella, with some sharpness.
+
+"I am only the manager of the company. Who is your father, child?"
+
+"Well, of all the---- Wouldn't that give you your nevergitovers!"
+exclaimed Bella, in broad amazement. "Say! I guess my pa is your leading
+man."
+
+"Mr. Hasbrouck? Impossible!"
+
+"Never heard of him," said Bella, promptly. "Montague Fitzmaurice, I
+mean."
+
+"And I never heard of him," declared Mr. Hammond, both puzzled and amused.
+
+"What?" gasped the girl, almost stunned by this statement. "Maybe you know
+him as Mr. Pike. That is our honest-to-goodness name--Pike."
+
+"I am sorry that you are disappointed, my dear," said the manager kindly.
+"But don't be worried. If you expected to meet your father here, perhaps
+he will come later. But really, I have no such person as that on my staff
+at the present time."
+
+"I don't know---- Why!" cried Bella, "he sent me money and said he
+was working here. I--I didn't tell him I was coming. I just got sick of
+those Perkinses, and I took the money and went to Boston and got dressed
+up, and then came on here. I--I just about spent all the money he sent me
+to get here."
+
+"Well, that was perhaps unwise," said Mr. Hammond. "But don't worry. Come
+along now to Mother Paisley. She will look out for you--and you can stay
+with us until your father appears. There is some mistake somewhere."
+
+By this speech he warded off tears. Bella hastily winked them back and
+squared her thin shoulders.
+
+"All right, sir," she said, picking up the bags again. "Pa will make it
+all right with you. He wrote in his letter as if he had a good
+engagement."
+
+Mr. Hammond might have learned something further about this surprising
+girl at the time, but just as he introduced her to Mother Paisley one of
+the men came running from the point and hailed him:
+
+"Mr. Hammond! There's a boat in trouble off the point. I think she was
+making for this harbor. Have you got a pair of glasses?"
+
+Mr. Hammond had a fine pair of opera glasses, and he produced them from
+his desk while he asked:
+
+"What kind of boat is it, Maxwell?"
+
+"Looks like that blue motor that Miss Fielding and her friends went off in
+this morning. We saw it coming along at top speed. And suddenly it
+stopped. They can't seem to manage it----"
+
+The manager hurried with Maxwell along the sands. The sky was completely
+overcast now, and the wind whipped the spray from the wave tops into their
+faces. The weather looked dubious indeed, and the manager of the film
+corporation was worried before even he focused his glasses upon the
+distant motor-boat.
+
+
+
+
+CHAPTER XXIII
+
+TROUBLE--PLENTY
+
+
+Even Ruth Fielding had paid no attention to the warning of the Reef Island
+hermit regarding a change in the weather, in spite of the fact that she
+was anxious to return to the camp near Herringport. It was not until the
+_Stazy_ was outside the inlet late in the afternoon that Skipper Phil
+Gordon noted the threatening signs in sea and sky.
+
+"That's how it goes," the one-armed mariner said. "When we aren't
+dependent on the wind to fill our canvas, we neglect watching every little
+weather change. She's going to blow by and by."
+
+"Do you think it will be a real storm?" asked Ruth, who sat beside him at
+the steering wheel and engine, watching how he managed the mechanism.
+
+"Maybe. But with good luck we will make Beach Plum Point long before it
+amounts to anything."
+
+The long graybacks were rather pleasant to ride over at first. Even Aunt
+Kate was not troubled by the prospect. It was so short a run to the
+anchorage behind the Point that nobody expressed fear.
+
+When the spray began to fly over the bows the girls merely squealed a bit,
+although they hastily found extra wraps. If the _Stazy_ plunged and
+shipped half a sea now and then, nobody was made anxious. And soon the
+Point was in plain view.
+
+To make the run easier, however, Skipper Gordon had sailed the motor-yacht
+well out to sea. When he shifted the helm to run for the entrance to the
+bay, the waves began to slap against the _Stazy's_ side. She rolled
+terrifically and the aspect of affairs was instantly changed.
+
+"Oh, dear me!" moaned Jennie Stone. "How do you feel, Henri? I did not
+bargain for this rough stuff, did you? Oh!"
+
+"'Mister Captain, stop the ship, I want to get off and walk!'" sang Helen
+gaily. "Don't lose all hope, Heavy. You'll never sink if you do go
+overboard."
+
+"Isn't she mean?" sniffed the plump girl. "And I am only afraid for
+Henri's sake."
+
+"I don't like this for my own sake," murmured Aunt Kate.
+
+"Are you cold, dear?" her niece asked, with quick sympathy. "Here! I don't
+really need this cape with my heavy sweater."
+
+She removed the heavy cloth garment from her own shoulders and with a
+flirt sought to place it around Aunt Kate. The wind swooped down just then
+with sudden force. The _Stazy_ rolled to leeward.
+
+"Oh! Stop it!"
+
+Bulging under pressure of the wind, the cape flew over the rail. Jennie
+tried to clutch it again; Henri plunged after it, too. Colliding, the two
+managed between them to miss the garment altogether. It dropped into the
+water just under the rail.
+
+"Of all the clumsy fingers!" ejaculated Helen. But she could not seize the
+wrap, although she darted for it. Nor could Ruth help, she being still
+farther forward.
+
+"Now, you've done it!" complained Aunt Kate.
+
+The boat began to rise on another roller. The cape was sucked out of sight
+under the rail. The next moment the whirling propeller was stopped--so
+abruptly that the _Stazy_ shook all over.
+
+"Oh! what has happened?" shrieked Helen.
+
+Ruth started up, and Tom seized her arm to steady her. But the girl of the
+Red Mill did not express any fear. The shock did not seem to affect her so
+much as it did the other girls. Here was a real danger, and Ruth did not
+lose her self-possession.
+
+Phil Gordon had shut off the power, and the motor-boat began to swing
+broadside to the rising seas.
+
+"The propeller is broken!" cried Tom.
+
+"She's jammed. That cape!" gasped the one-armed skipper. "Here! Tend to
+this till I see what can be done. Jack!" he shouted to his crew. "This
+way--lively, now!"
+
+But Ruth slipped into his place before Tom could do so.
+
+"I know how to steer, Tommy," she declared. "And I understand the engine.
+Give him a hand if he needs you."
+
+"Oh, we'll turn turtle!" shrieked Jennie, as the boat rolled again.
+
+"You'll never become a turtle, Jen," declared Tom, plunging aft. "Turtles
+are dumb!"
+
+The _Stazy_ was slapped by a big wave, "just abaft the starboard bow," to
+be real nautical, and half a ton of sea-water washed over the forward deck
+and spilled into the standing-room of the craft.
+
+Henri had wisely closed the door of the cabin. The water foamed about
+their feet. Ruth found herself knee deep for a moment in this flood. She
+whirled the wheel over, trying to bring up the head of the craft to meet
+the next wave.
+
+"Oh, my dear!" groaned Jennie Stone. "We are going to be drowned."
+
+"Drowned, your granny!" snapped Helen angrily. "Don't be such a silly,
+Jennie."
+
+Ruth stood at the wheel with more apparent calmness than any of them. Her
+hair had whipped out of its fastenings and streamed over her shoulders.
+Her eyes were bright and her cheeks aglow.
+
+Helen, staring at her, suddenly realized that this was the old Ruth
+Fielding. Her chum had not looked so much alive, so thoroughly competent
+and ready for anything, before for weeks.
+
+"Why--why, Ruthie!" Helen murmured, "I believe you like this."
+
+Her chum did not hear the words, but she suddenly flashed Helen a
+brilliant smile. "Keep up your pluck, child!" she shouted. "We'll come out
+all right."
+
+Again the _Stazy_ staggered under the side swipe of a big wave.
+
+"Ye-ow!" yelped Tom in the stern, almost diving overboard.
+
+"Steady!" shouted Skipper Gordon, excitedly.
+
+"Steady she is, Captain!" rejoined Ruth Fielding, and actually laughed.
+
+"How can you, Ruth?" complained Jennie, clinging to Henri Marchand. "And
+when we are about to drown."
+
+"Weeping will not save us," flung back Ruth.
+
+Her strong hands held the wheel-spokes with a grip unbreakable. She could
+force the _Stazy's_ head to the seas.
+
+"Can you start the engine on the reverse, Miss?" bawled Gordon.
+
+"I can try!" flashed Ruth. "Say when."
+
+In a moment the cry came: "Ready!"
+
+"Aye, aye!" responded Ruth, spinning the flywheel.
+
+The spark caught almost instantly. The exhaust sputtered.
+
+"Now!" yelled the skipper.
+
+Ruth threw the lever. The boat trembled like an automobile under the
+propulsion of the engine. The propeller shaft groaned.
+
+"Ye-ow!" shouted the excited Tom again.
+
+This time he sprawled back into the bottom of the boat, tearing away a
+good half of Jennie's cape in his grip. The rest of the garment floated to
+the surface. It was loose from the propeller.
+
+"Full speed ahead!" shouted the one-armed captain of the motor-boat.
+
+Ruth obeyed the command. The _Stazy_ staggered into the next wave. The
+water that came in over her bow almost drowned them, but Ruth, hanging to
+the steering wheel, brought the craft through the roller without swamping
+her.
+
+"Good for our Ruth!" shouted Helen, as soon as she could get her breath.
+
+"Oh, Ruth! you always come to our rescue," declared Jennie gratefully.
+
+"Hi! I thought you were a nervous wreck, young lady," Tom sputtered,
+scrambling forward to relieve her. "Get you into a tight corner, and you
+show what you are made of, all right."
+
+The girl of the Red Mill smiled at them. She had done something! Nor did
+she feel at all overcome by the effort. The danger through which they had
+passed had inspired rather than frightened her.
+
+"Why, I'm all right," she told Tom when he reached her. "This is great!
+We'll be behind the shelter of the Point in a few minutes. There's nothing
+to worry about."
+
+"You're all right, Ruth," Tom repeated, admiringly. "I thought you'd lost
+your grip, but I see you haven't. You are the same old Ruthie Fielding,
+after all."
+
+
+
+
+CHAPTER XXIV
+
+ABOUT "PLAIN MARY"
+
+
+Mr. Hammond and the actors with him had no idea of the nature of the
+accident that had happened to the _Stazy_. From the extreme end of Beach
+Plum Point they could merely watch proceedings aboard the craft, and
+wonder what it was all about.
+
+The manager could, however, see through his glasses that Ruth Fielding was
+at the wheel. Her face came out clear as a cameo when he focused the opera
+glasses upon her. And at the change in the girl's expression he marveled.
+
+Those ashore could do nothing to aid the party on the motor-yacht; and
+until it got under way again Mr. Hammond was acutely anxious. It rolled so
+that he expected it to turn keel up at almost any moment.
+
+Before the blasts of rain began to sweep across the sea, however, the
+_Stazy_ was once more under control. At that most of the spectators made
+for the camp and shelter. But the manager of the film corporation waited
+to see the motor-yacht inside the shelter of Beach Plum Point.
+
+The rain was falling heavily, and not merely in gusts, when Ruth and her
+friends came ashore in the small boat. The lamps were lit and dinner was
+over at the main camp. Therefore the automobile touring party failed to
+see Bella Pike or hear about her arrival. By this time the girl had gone
+off to the main dormitory with Mother Paisley, and even Mr. Hammond did
+not think of her.
+
+Nor did the manager speak that evening to Ruth about the hermit's scenario
+or his interview with the old man regarding it.
+
+The three girls and Aunt Kate changed their clothing in the little shack
+and then joined the young men in the dining room for a late supper. Aunt
+Kate was to stay this night at the camp. There was a feeling of much
+thankfulness in all their hearts over their escape from what might have
+been a serious accident.
+
+"Providence was good to us," said Aunt Kate. "I hope we are all properly
+grateful."
+
+"And properly proud of Ruthie!" exclaimed Helen, squeezing her chum's
+hand.
+
+"Don't throw too many bouquets," laughed Ruth. "It was not I that tore
+Jennie's cape out of the propeller. I merely obeyed the skipper's
+orders."
+
+"She is a regular Cheerful Grig again, isn't she?" demanded Jennie,
+beaming on Ruth.
+
+"I have been a wet blanket on this party long enough. I just begin to
+realize how very unpleasant I have been----"
+
+"Not that, Mademoiselle!" objected Henri.
+
+"But yes! Hereafter I will be cheerful. Life is worth living after all!"
+
+Tom, who sat next to her at table (he usually managed to do that) smiled
+at Ruth approvingly.
+
+"Bravo!" he whispered. "There are other scenarios to write."
+
+"Tom!" she whispered sharply, "I want to tell you something about that."
+
+"About what?"
+
+"My scenario."
+
+"You don't mean----"
+
+"I mean I know what has become of it."
+
+"Never!" gasped Tom. "Are you--are--you----"
+
+"I am not '_non compos_,' and-so-forth," laughed Ruth. "Oh, there is
+nothing foolish about this, Tom. Let me tell you."
+
+She spoke in so low a tone that the others could not have heard had they
+desired to. She and Tom put their heads together and within the next few
+minutes Ruth had told him all about the hermit's scenario and her
+conviction that he had stolen his idea and a large part of his story from
+Ruth's lost manuscript.
+
+"It seems almost impossible, Ruth," gasped her friend.
+
+"No. Not impossible or improbable. Listen to what that man on Reef Island
+told me about this hermit, so-called." And she repeated it all to the
+excited Tom. "I am convinced," pursued Ruth, "that this hermit could
+easily have been in the vicinity of the Red Mill on the day my manuscript
+disappeared."
+
+"But to prove it!" cried Tom.
+
+"We'll see about that," said Ruth confidently. "You know, Ben told us he
+had seen and spoken to a tramp-actor that day. Uncle Jabez saw him, too.
+And you, Tom, followed his trail to the Cheslow railroad yards."
+
+"So I did," admitted her friend.
+
+"I believe," went on Ruth earnestly, "that this man who came here to live
+on Beach Plum Point only three weeks ago, is that very vagrant. It is
+plain that this fellow is playing the part of a hermit, just as he plays
+the parts Mr. Hooley casts him for."
+
+"Whew!" whistled Tom. "Almost do you convince me, Ruth Fielding. But to
+prove it is another thing."
+
+"We _will_ prove it. If this man was at the Red Mill on that particular
+day, we can make sure of the fact."
+
+"How will you do it, Ruth?"
+
+"By getting one of the camera men to take a 'still' of the hermit, develop
+it for us, and send the negative to Ben. He and Uncle Jabez must remember
+how that traveling actor looked----"
+
+"Hurrah!" exclaimed Tom, jumping up to the amazement of the rest of the
+party. "That's a bully idea."
+
+"What is it?" demanded Helen. "Let us in on it, too."
+
+But Ruth shook her head and Tom calmed down.
+
+"Can't tell the secret yet," Helen's twin declared. "That would spoil it."
+
+"Oh! A surprise! I love surprises," said Jennie Stone.
+
+"I don't. Not when my chum and my brother have a secret from me and won't
+let me in on it," and Helen turned her back upon them in apparent
+indignation.
+
+After that Ruth and Tom discussed the matter with more secrecy. Ruth said
+in conclusion:
+
+"If he was there at the mill the day my story was stolen, and now submits
+this scenario to Mr. Hammond--and it is merely a re-hash of mine, Tom, I
+assure you----"
+
+"Of course I believe you, Ruth," rejoined the young fellow.
+
+"Mr. Hammond should be convinced, too," said the girl.
+
+But there was a point that Tom saw very clearly and which Ruth Fielding
+did not seem to appreciate. She still had no evidence to corroborate her
+claim that the hermit's story of "Plain Mary" was plagiarized from her
+manuscript.
+
+For, after all, nobody but Ruth herself knew what her scenario had been
+like!
+
+
+
+
+CHAPTER XXV
+
+LIFTING THE CURTAIN
+
+
+Ruth slept peacefully and awoke the next morning in a perfectly serene
+frame of mind. She was quite as convinced as ever that she had been robbed
+of her scenario; and she was, as well, sure that "John, the hermit," had
+produced his picture play from her manuscript. But Ruth no longer felt
+anxious and excited about it.
+
+She clearly saw her way to a conclusion of the matter. If the old actor
+was identified by Ben and Uncle Jabez as the tramp they had seen and
+conversed with, the girl of the Red Mill was pretty sure she would get the
+best of the thief.
+
+In the first place she considered her idea and her scenario worth much
+more than five hundred dollars. If by no other means, she would buy the
+hermit's story at the price Mr. Hammond was willing to pay for it--and a
+little more if necessary. And if possible she would force the old actor to
+hand over to her the script that she had lost.
+
+Thus was her mind made up, and she approached the matter in all
+cheerfulness. She had said nothing to anybody but Tom, and she did not see
+him early in the morning. One of the stewards brought the girls' breakfast
+to the shack; so they knew little of what went on about the camp at that
+time.
+
+The rain had ceased. The storm had passed on completely. Soon after
+breakfast Ruth saw the man who called himself "John, the hermit," making
+straight for Mr. Hammond's office.
+
+That was where Ruth wished to be. She wanted to confront the man before
+the president of the film corporation. She started over that way and ran
+into the most surprising incident!
+
+Coming out of the cook tent with a huge apron enveloping her queer, tight
+dress and tilting forward upon her high heels, appeared Bella Pike! Ruth
+Fielding might have met somebody whose presence here would have surprised
+her more, but at the moment she could not imagine who it could be.
+
+"Ara-bella!" gasped Ruth.
+
+The child turned to stare her own amazement. She changed color, too, for
+she knew she had done wrong to run away; but she smiled with both eyes and
+lips, for she was glad to see Ruth.
+
+"My mercy!" she ejaculated. "If it ain't Miss Fielding! How-do, Miss
+Fielding? Ain't it enough to give one their nevergitovers to see you
+here?"
+
+"And how do you suppose I feel to find you here at Beach Plum Point,"
+demanded Ruth, "when we all thought you were so nicely fixed with Mr. and
+Mrs. Perkins? And Mrs. Holmes wrote to me only the other day that you
+seemed contented."
+
+"That's right, Miss Fielding," sighed the actor's child. "I was. And Miz
+Perkins was always nice to me. Nothing at all like Aunt Suse Timmins. But,
+you see, they ain't like pa."
+
+"Did your father bring you here?"
+
+"No'm."
+
+"Nor send for you?"
+
+"Not exactly," confessed Bella.
+
+"Well!"
+
+"You see, he sent me money. Only on Tuesday. Forty dollars."
+
+"Forty dollars! And to a child like you?"
+
+"Well, Miss Fielding, if he had sent it to Aunt Suse I'd never have seen a
+penny of it. And pa didn't know what you'd done for me and how you'd put
+me with Miz Perkins."
+
+"I suppose that is so," admitted the surprised Ruth. "But why did you come
+here?"
+
+"'Cause pa wrote he had an engagement here. I came through Boston, an' got
+me a dress, and some shoes, and a hat--all up to date--and I thought I'd
+surprise pa----"
+
+"But, Bella! I haven't seen your father here, have I?"
+
+"No. There's a mistake somehow. But this nice Miz Paisley says for me not
+to worry. That like enough pa will come here yet."
+
+"I never!" ejaculated Ruth. "Come right along with me, Bella, and see Mr.
+Hammond. Something must be done. Of course, Mrs. Perkins and the doctor's
+wife have no idea where you have gone?"
+
+"Oh, yes'm. I left a note telling 'em I'd gone to meet pa."
+
+"But we must send them a message that you are all right. Come on, Bella!"
+and with her arm about the child's thin shoulders, Ruth urged her to Mr.
+Hammond's office--and directly into her father's arms!
+
+This was how Arabella Montague Fitzmaurice Pike came to meet her
+father--in a most amazing fashion!
+
+"Pa! I never did!" half shrieked the queer child.
+
+"Arabella! Here? How strange!" observed the man who had been acting the
+part of the Beach Plum Point hermit. "My child!"
+
+Mr. Pike could do nothing save in a dramatic way. He seized Bella and
+hugged her to his bosom in a most stagy manner. But Ruth saw that the
+man's gray eyes were moist, that his hands when he seized the girl really
+trembled, and he kissed Bella with warmth.
+
+"I declare!" exclaimed Mr. Hammond. "So your name is
+something-or-other-Fitzmaurice Pike?"
+
+"John Pike, if it please you. The other is for professional purposes
+only," said Bella's father. "If you do not mind, sir," he added, "we will
+postpone our discussion until a later time. I--I would take my daughter to
+my poor abode and learn of her experience in getting here to Beach Plum
+Point."
+
+"Go as far as you like, Mr. Pike. But remember there has got to be a
+settlement later of this matter we were discussing," said the manager
+sternly.
+
+The actor and his daughter departed, the former giving Ruth a very curious
+look indeed. Mr. Hammond turned a broad smile upon the girl of the Red
+Mill.
+
+"What do you know about _that_?" Mr. Hammond demanded. "Why, Miss Ruth,
+yours seems to have been a very good guess. That fellow is an old-timer
+and no mistake."
+
+"My guess was good in more ways than one," said Ruth. "I believe I can
+prove that this Pike was at the Red Mill on the day my scenario was
+stolen."
+
+She told the manager briefly of the discovery she had made through the
+patriarchal old fellow on Reef Island the day before, and of her intention
+of sending a photograph of Pike back home for identification.
+
+"Good idea!" declared Mr. Hammond. "I will speak to Mr. Hooley. There are
+'stills' on file of all the people he is using here on the lot at the
+present time. If you are really sure this man's story is a plagiarism on
+your own----"
+
+She smiled at him. "I can prove that, too, I think, to your satisfaction.
+I feel now that I can sit down and roughly sketch my whole scenario again.
+I must confess that in two places in this 'Plain Mary' this man Pike has
+really improved on my idea. But as a whole his manuscript does not flatter
+my story. You'll see!"
+
+"Truly, you are a different young woman this morning, Miss Ruth!"
+exclaimed her friend. "I hope this matter will be settled in a way
+satisfactory to you. I really think there is the germ of a splendid
+picture in this 'Plain Mary.'"
+
+"And believe me!" laughed Ruth, "the germ is mine. You'll see," she
+repeated.
+
+She proved her point, and Mr. Hammond did see; but the outcome was through
+quite unexpected channels. Ruth did not have to threaten the man who had
+made her all the trouble. John M. F. Pike made his confession of his own
+volition when they discussed the matter that very day.
+
+"I feel, Miss Fielding, after all that you did for my child, that I cannot
+go on with this subterfuge that, for Bella's sake, I was tempted to engage
+in. I did seize upon your manuscript in that summer-house near the mill
+where they say you live, and I was prepared to make the best use of it
+possible for Bella's sake.
+
+"We have had such bad luck! Poverty for one's self is bad enough. I have
+withstood the slings and arrows of outrageous fortune for years. But my
+child is growing up----"
+
+"Would you want her to grow up to know that her father is a thief?" Ruth
+demanded hotly.
+
+"Hunger under the belt gnaws more potently than conscience," said Pike,
+with a grandiloquent gesture. "I had sought alms and been refused at that
+mill. Lurking about I saw you leave the summer-house and spied the gold
+pen. I can give you a pawn ticket for that," said Mr. Pike sadly. "But I
+saw, too, the value of your scenario and notes. Desperately I had
+determined to try to enter this field of moving pictures. It is a terrible
+come down, Miss Fielding, for an artist--this mugging before the camera."
+
+He went on in his roundabout way to tell her that he had no idea of the
+ownership of the scenario. Her name was not on it, and he had not
+observed her face that day at the Red Mill. And in his mind all the time
+had been his own and his child's misery.
+
+"It was a bold attempt to forge success through dishonesty," he concluded
+with humility.
+
+Whether Ruth was altogether sure that Pike was quite honest in his
+confession or not, for Bella's sake she could not be harsh with the old
+actor. Nor could he, Ruth believed, be wholly bad when he loved his child
+so much.
+
+As he turned over to Ruth every scrap of manuscript, as well as the
+notebooks she had lost, she need not worry about establishing her
+ownership of the script.
+
+When Mr. Hammond had examined her material he agreed with Ruth that in two
+quite important places Bella's father had considerably improved the
+original idea of the story.
+
+This gave Ruth the lead she had been looking for. Mr. Hammond admitted
+that the story was much too fine and too important to be filmed here at
+this summer camp. He decided to make a great spectacular production of it
+at the company's main studio later in the fall.
+
+So Ruth proceeded to force Bella's father to accept two hundred dollars in
+payment for what he had done on the story. As her contract with Mr.
+Hammond called for a generous royalty, she would make much more out of
+the scenario than the sum John Pike had hoped to get by selling the stolen
+idea to Mr. Hammond.
+
+The prospects of Bella and her father were vastly improved, too. His work
+as a "type" for picture makers would gain him a much better livelihood
+than he had been able to earn in the legitimate field. And when Ruth and
+her party left Beach Plum Point camp for home in their automobiles, Bella
+herself was working in a two-reel comedy that Mr. Hooley was directing.
+
+"Well, thank goodness!" sighed Helen, "Ruth has settled affairs for two
+more of her 'waifs and strays.' Now don't, I beg, find anybody else to
+become interested in during our trip back to the Red Mill, Ruthie."
+
+Ruth was sitting beside Tom on the front seat of the big touring car. He
+looked at her sideways with a whimsical little smile.
+
+"I wish you would turn over a new leaf, Ruthie," he whispered.
+
+"And what is to be on that new leaf?" she asked brightly.
+
+"Just me. Pay a little attention to yours truly. Remember that in a week I
+shall go aboard the transport again, and then----"
+
+"Oh, Tom!" she murmured, clasping her hands, "I don't want to think of it.
+If this awful war would only end!"
+
+"It's the only war so far that hasn't ended," he said. "And I have a
+feeling, anyway, that it may not last long. Henri and I have got to hurry
+back to finish it up. Leave it to us, Ruth," and he smiled.
+
+But Ruth sighed. "I suppose I shall have to, Tommy-boy," she said. "And do
+finish it quickly! I do not feel as though I could return to college, or
+write another scenario, or do a single, solitary thing until peace is
+declared."
+
+"And _then_?" asked Tom, significantly.
+
+Ruth gave him an understanding smile.
+
+
+                                THE END
+
+
+
+                   *       *       *       *       *
+
+
+
+                      THE RUTH FIELDING SERIES
+                         By ALICE B. EMERSON
+    _12mo. Illustrated.  Price per volume, 65 cents, postpaid_
+
+            _Ruth Fielding will live in juvenile Fiction_.
+
+    RUTH FIELDING OF THE RED MILL
+        _or Jasper Parloe's Secret_
+
+    RUTH FIELDING AT BRIARWOOD HALL
+        _or Solving the Campus Mystery_
+
+    RUTH FIELDING AT SNOW CAMP
+        _or Lost in the Backwoods_
+
+    RUTH FIELDING AT LIGHTHOUSE POINT
+        _or Nita, the Girl Castaway_
+
+    RUTH FIELDING AT SILVER RANCH
+        _or Schoolgirls Among the Cowboys_
+
+    RUTH FIELDING ON CLIFF ISLAND
+        _or The Old Hunter's Treasure Box_
+
+    RUTH FIELDING AT SUNRISE FARM
+        _or What Became of the Raby Orphans_
+
+    RUTH FIELDING AND THE GYPSIES
+        _or The Missing Pearl Necklace_
+
+    RUTH FIELDING IN MOVING PICTURES
+        _or Helping the Dormitory Fund_
+
+    RUTH FIELDING DOWN IN DIXIE
+        _or Great Days in the Land of Cotton_
+
+    RUTH FIELDING AT COLLEGE
+        _or The Missing Examination Papers_
+
+    RUTH FIELDING IN THE SADDLE
+        _or College Girls in the Land of Gold_
+
+    RUTH FIELDING IN THE RED CROSS
+        _or Doing Her Bit for Uncle Sam_
+
+    RUTH FIELDING AT THE WAR FRONT
+        _or The Hunt for a Lost Soldier_
+
+    RUTH FIELDING HOMEWARD BOUND
+        _or A Red Cross Worker's Ocean Perils_
+
+    RUTH FIELDING DOWN EAST
+        _or The Hermit of Beach Plum Point_
+
+    RUTH FIELDING IN THE GREAT NORTHWEST
+        _or The Indian Girl Star of the Movies_
+
+    RUTH FIELDING ON THE ST. LAWRENCE
+        _or The Queer Old Man of the Thousand Islands_
+
+    RUTH FIELDING TREASURE HUNTING
+        _or A Moving Picture that Became Real_
+
+
+          CUPPLES & LEON COMPANY, Publishers     New York
+
+
+
+
+                     THE BETTY GORDON SERIES
+                        BY ALICE B. EMERSON
+          _Author of the Famous "Ruth Fielding" Series_
+         _12mo. Cloth. Illustrated. Jacket in full colors_
+              _Price per volume, 65 cents, postpaid_
+
+          _A series of stories by Alice B. Emerson which
+          are bound to make this writer more popular than
+          ever with her host of girl readers._
+
+    1.  BETTY GORDON AT BRAMBLE FARM
+        _or The Mystery of a Nobody_
+  At the age of twelve Betty is left an orphan.
+  Her uncle sends her to live on a farm.
+
+    2.  BETTY GORDON IN WASHINGTON
+        _or Strange Adventures in a Great City_
+  In this volume Betty goes to the National Capitol to find her
+  uncle and has several unusual adventures.
+
+    3.  BETTY GORDON IN THE LAND OF OIL
+        _or The Farm That Was Worth a Fortune_
+  From Washington the scene is shifted to the great oil fields of
+  our country. A splendid picture of the oil field operations of to-day.
+
+    4.  BETTY GORDON AT BOARDING SCHOOL
+        _or The Treasure of Indian Chasm_
+  Seeking the treasure of Indian Chasm makes an exceedingly interesting
+  incident.
+
+    5.  BETTY GORDON AT MOUNTAIN CAMP
+        _or The Mystery of Ida Bellethorne_
+  At Mountain Camp Betty found herself in the midst of a mystery
+  involving a girl whom she had previously met in Washington.
+
+    6.  BETTY GORDON AT OCEAN PARK
+        _or Gay Days on the Boardwalk_
+  Adventure in high society let loose on the seashore.
+
+              _Send For Our Free Illustrated Catalogue_
+
+
+          CUPPLES & LEON COMPANY, Publishers     New York
+
+
+
+
+                     THE GIRL SCOUT SERIES
+                         BY LILIAN GARIS
+         _12mo. Cloth. Illustrated. Jacket in full colors_
+              _Price per volume, 65 cents, postpaid_
+
+          _The highest ideals of girlhood as advocated
+          by the foremost organizations of America
+          form the background for these stories and while
+          unobtrusive there is a message in every volume._
+
+    1. THE GIRL SCOUT PIONEERS
+        _or Winning the First B. C._
+  A story of the True Tred Troop in a Pennsylvania
+  town. Two runaway girls, who
+  want to see the city, are reclaimed through
+  troop influence. The story is correct in scout
+  detail.
+
+    2.  THE GIRL SCOUTS AT BELLAIRE
+        _or Maid Mary's Awakening_
+  The story of a timid little maid who is afraid to take part in
+  other girls' activities, while working nobly alone for high ideals.
+  How she was discovered by the Bellaire Troop and came into her
+  own as "Maid Mary" makes a fascinating story.
+
+    3.  THE GIRL SCOUTS AT SEA CREST
+        _or The Wig Wag Rescue_
+  Luna Land, a little island by the sea, is wrapt in a mysterious
+  seclusion, and Kitty Scuttle, a grotesque figure, succeeds in keeping
+  all others at bay until the Girl Scouts come.
+
+    4.  THE GIRL SCOUTS AT CAMP COMALONG
+        _or Peg of Tamarack Hills_
+  The girls of Bobolink Troop spend their summer on the shores of
+  Lake Hocomo. Their discovery of Peg, the mysterious rider, and
+  the clearing up of her remarkable adventures afford a vigorous plot.
+
+    5.  THE GIRL SCOUTS AT ROCKY LEDGE
+        _or Nora's Real Vacation_
+  Nora Blair is the pampered daughter of a frivolous mother. Her
+  dislike for the rugged life of Girl Scouts is eventually changed to
+  appreciation, when the rescue of little Lucia, a woodland waif,
+  becomes a problem for the girls to solve.
+
+              _Send For Our Free Illustrated Catalogue_
+
+
+          CUPPLES & LEON COMPANY, Publishers     New York
+
+
+
+
+                      THE RADIO GIRLS SERIES
+                        BY MARGARET PENROSE
+          _12mo. Cloth. Illustrated. Jacket in full colors_
+              _Price per volume, 65 cents, postpaid_
+
+          _A new and up-to-date series, taking in the
+          activities of several bright girls who become
+          interested in radio. The stories tell of thrilling
+          exploits, out-door life and the great part the
+          Radio plays in the adventures of the girls and
+          in solving their mysteries. Fascinating books
+          that girls of all ages will want to read._
+
+    1.  THE RADIO GIRLS OF ROSELAWN
+        _or A Strange Message from the Air_
+  Showing how Jessie Norwood and her chums became interested
+  in radiophoning, how they gave a concert for a worthy local charity,
+  and how they received a sudden and unexpected call for help out
+  of the air. A girl who was wanted as a witness in a celebrated law
+  case had disappeared, and how the radio girls went to the rescue is
+  told in an absorbing manner.
+
+    2.  THE RADIO GIRLS ON THE PROGRAM
+        _or Singing and Reciting at the Sending Station_
+  When listening in on a thrilling recitation or a superb concert
+  number who of us has not longed to "look behind the scenes" to see
+  how it was done? The girls had made the acquaintance of a sending
+  station manager and in this volume are permitted to get on the program,
+  much to their delight. A tale full of action and not a little
+  fun.
+
+    3.  THE RADIO GIRLS ON STATION ISLAND
+        _or The Wireless from the Steam Yacht_
+  In this volume the girls travel to the seashore and put in a vacation
+  on an island where is located a big radio sending station. The big
+  brother of one of the girls owns a steam yacht and while out with a
+  pleasure party those on the island receive word by radio that the
+  yacht is on fire. A tale thrilling to the last page.
+
+              _Send For Our Free Illustrated Catalogue_
+
+
+  CUPPLES & LEON COMPANY, Publishers     New York
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK RUTH FIELDING DOWN EAST***
+
+
+******* This file should be named 23116-8.txt or 23116-8.zip *******
+
+
+This and all associated files of various formats will be found in:
+https://www.gutenberg.org/dirs/2/3/1/1/23116
+
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://www.gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.gutenberg.org/fundraising/pglaf.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://www.gutenberg.org/about/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://www.gutenberg.org/fundraising/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:
+https://www.gutenberg.org/fundraising/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
diff --git a/23116-8.zip b/23116-8.zip
new file mode 100644
index 0000000..a55676e
--- /dev/null
+++ b/23116-8.zip
diff --git a/23116-h.zip b/23116-h.zip
new file mode 100644
index 0000000..e00d6c8
--- /dev/null
+++ b/23116-h.zip
diff --git a/23116-h/23116-h.htm b/23116-h/23116-h.htm
new file mode 100644
index 0000000..e8d9306
--- /dev/null
+++ b/23116-h/23116-h.htm
@@ -0,0 +1,6645 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" />
+<title>The Project Gutenberg eBook of Ruth Fielding Down East, by Alice B. Emerson</title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+
+    .indent { margin-left: 14%; margin-right: 14%; }
+    .ralign  {position: absolute; right: 22%;}
+
+    .books { margin-top: 1em;
+             text-align: justify;
+             margin-bottom: 1em;
+             font-size: 1.2em;
+             }
+
+    .small { font-size: smaller;
+             text-align: center;
+         }
+
+    h1 { text-align: center;
+         clear: both;
+         font-size: 3.5em;
+         letter-spacing: .5em;
+         }
+
+    h1.pg { text-align: center;
+         clear: both;
+         font-size: 200%;
+         letter-spacing: 0em;
+         }
+
+    h5 { text-align: center;
+         clear: both;
+         font-size: 2.3em;
+         }
+
+    h6 { text-align: center;
+         clear: both;
+         font-size: 1.2em;
+         }
+
+    h2,h3 { text-align: center;
+         clear: both;
+         }
+
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    .line { width: 72%;
+	 margin-top: 1em;
+	 margin-bottom: 0em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    a { text-decoration: none; }
+
+    .pagenum  { visibility: hidden;
+                position: absolute;
+                left: 92%;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+
+    .bbox     {border: thick double}
+
+    .centerbox { width: 60%;
+                 margin: 0 auto;
+                 text-align: center;
+                 padding: 2em;  }
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+
+    .caption  {font-weight: bold;}
+
+    .figcenter   {margin: auto; text-align: center;}
+
+    .figleft     {float: left; clear: left; margin-left: 15%; margin-bottom: 1em; margin-top:
+                 1em; margin-right: 1em; padding: 0; text-align: center;}
+
+    .poem             {margin-left:10%; margin-right:10%; text-align: left;}
+    .poem br          {display: none;}
+    .poem .stanza     {margin: 1em 0em 1em 0em;}
+    .poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+    .poem span.i1a    {display: block; margin-left: .5em; padding-left: 3em; text-indent: -3em;}
+    hr.full { width: 100%;
+              margin-top: 3em;
+              margin-bottom: 0em;
+              margin-left: auto;
+              margin-right: auto;
+              height: 4px;
+              border-width: 4px 0 0 0; /* remove all borders except the top one */
+              border-style: solid;
+              border-color: #000000;
+              clear: both; }
+    pre      {font-size: 85%;}
+    // -->
+    /* XML end  ]]>*/
+    </style>
+</head>
+<body>
+<h1 class="pg">The Project Gutenberg eBook, Ruth Fielding Down East, by Alice B. Emerson</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Ruth Fielding Down East</p>
+<p>       Or, The Hermit of Beach Plum Point</p>
+<p>Author: Alice B. Emerson</p>
+<p>Release Date: October 20, 2007  [eBook #23116]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK RUTH FIELDING DOWN EAST***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by David Edwards, Anne Storer, D. Alexander,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+
+<div class="figcenter" style="width: 387px;">
+<img src="images/imgfrontis.jpg" width="387" height="600" alt="Tom cast aside his sweater" title="" />
+<span class="caption">TOM CAST ASIDE HIS SWEATER<br />
+AND PLUNGED INTO THE TIDE.<br /><br />
+<em>Ruth Fielding Down East&nbsp;&nbsp;&nbsp;&nbsp; <a href="#Page_113">Page 113</a></em></span>
+</div>
+
+<hr style="width: 65%;" />
+
+<h1>Ruth Fielding<br />
+Down East</h1>
+
+<h2>OR</h2>
+
+<h2>THE HERMIT OF<br />
+BEACH PLUM POINT</h2>
+
+<p>&nbsp;</p>
+
+<h2>BY<br />
+ALICE B. EMERSON</h2>
+
+<p class="center"><strong><span class="smcap">Author of &ldquo;Ruth Fielding of the Red Mill,&rdquo; &ldquo;Ruth</span><br />
+<span class="smcap">Fielding at Sunrise Farm,&rdquo; &ldquo;Ruth Fielding</span><br />
+<span class="smcap">Homeward Bound,&rdquo; Etc.</span></strong></p>
+
+<p>&nbsp;</p>
+
+<h6><em>ILLUSTRATED</em></h6>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h6>NEW YORK</h6>
+<h2>CUPPLES &amp; LEON COMPANY</h2>
+<h6>PUBLISHERS</h6>
+
+<hr style="width: 65%;" />
+
+
+<div class="centerbox bbox">
+
+<div class="figcenter" style="width: 237px;">
+<img src="images/books.jpg" width="237" height="35" alt="Books for Girls" title="" />
+</div>
+
+<h2>BY ALICE B. EMERSON</h2>
+
+<h6>RUTH FIELDING SERIES</h6>
+
+<p class="center">12mo. Cloth. Illustrated.</p>
+
+<p class="books">RUTH FIELDING OF THE RED MILL</p>
+<p class="books">RUTH FIELDING AT BRIARWOOD HALL</p>
+<p class="books">RUTH FIELDING AT SNOW CAMP</p>
+<p class="books">RUTH FIELDING AT LIGHTHOUSE POINT</p>
+<p class="books">RUTH FIELDING AT SILVER RANCH</p>
+<p class="books">RUTH FIELDING ON CLIFF ISLAND</p>
+<p class="books">RUTH FIELDING AT SUNRISE FARM</p>
+<p class="books">RUTH FIELDING AND THE GYPSIES</p>
+<p class="books">RUTH FIELDING IN MOVING PICTURES</p>
+<p class="books">RUTH FIELDING DOWN IN DIXIE</p>
+<p class="books">RUTH FIELDING AT COLLEGE</p>
+<p class="books">RUTH FIELDING IN THE SADDLE</p>
+<p class="books">RUTH FIELDING IN THE RED CROSS</p>
+<p class="books">RUTH FIELDING AT THE WAR FRONT</p>
+<p class="books">RUTH FIELDING HOMEWARD BOUND</p>
+<p class="books">RUTH FIELDING DOWN EAST</p>
+
+<p class="center"><span class="smcap">Cupples &amp; Leon Co., Publishers, New York.</span></p>
+</div>
+
+<p>&nbsp;</p>
+
+<p class="center"><span class="smcap">Copyright, 1920, By</span><br />
+<span class="smcap">Cupples &amp; Leon Company</span></p>
+<p>&nbsp;</p>
+<p class="center"><span class="smcap">Ruth Fielding Down East</span></p>
+<p class="small">Printed in U. S. A.</p>
+
+
+<hr style="width: 65%;" />
+<h2>CONTENTS</h2>
+
+<div class='center'>
+<table border="0" cellpadding="14" cellspacing="0" summary="">
+
+<tr>  <td align='right'><span class="smcap">chapter</span></td>  <td align='left'></td>  <td align='right'><span class="smcap">page</span></td>  </tr>
+<tr>  <td align='right'><a href="#I">I.</a></td>  <td align='left'><span class="smcap">The Wind Storm</span></td>  <td align='right'>1</td>  </tr>
+<tr>  <td align='right'><a href="#II">II.</a></td>  <td align='left'><span class="smcap">The Mystery of It</span></td>  <td align='right'>7</td>  </tr>
+<tr>  <td align='right'><a href="#III">III.</a></td>  <td align='left'><span class="smcap">The Derelict</span></td>  <td align='right'>14</td>  </tr>
+<tr>  <td align='right'><a href="#IV">IV.</a></td>  <td align='left'><span class="smcap">The Crying Need</span></td>  <td align='right'>22</td>  </tr>
+<tr>  <td align='right'><a href="#V">V.</a></td>  <td align='left'><span class="smcap">Off at Last</span></td>  <td align='right'>29</td>  </tr>
+<tr>  <td align='right'><a href="#VI">VI.</a></td>  <td align='left'>&ldquo;<span class="smcap">The Nevergetovers</span>&rdquo;</td>  <td align='right'>35</td>  </tr>
+<tr>  <td align='right'><a href="#VII">VII.</a></td>  <td align='left'><span class="smcap">Movie Stunts</span></td>  <td align='right'>43</td>  </tr>
+<tr>  <td align='right'><a href="#VIII">VIII.</a></td>  <td align='left'><span class="smcap">The Auction Block</span></td>  <td align='right'>52</td>  </tr>
+<tr>  <td align='right'><a href="#IX">IX.</a></td>  <td align='left'><span class="smcap">A Dismaying Discovery</span></td>  <td align='right'>67</td>  </tr>
+<tr>  <td align='right'><a href="#X">X.</a></td>  <td align='left'><span class="smcap">A Wild Afternoon</span></td>  <td align='right'>77</td>  </tr>
+<tr>  <td align='right'><a href="#XI">XI.</a></td>  <td align='left'><span class="smcap">Mr. Peterby Paul&mdash;and &ldquo;Whosis&rdquo;</span></td>  <td align='right'>86</td>  </tr>
+<tr>  <td align='right'><a href="#XII">XII.</a></td>  <td align='left'><span class="smcap">Alongshore</span></td>  <td align='right'>95</td>  </tr>
+<tr>  <td align='right'><a href="#XIII">XIII.</a></td>  <td align='left'><span class="smcap">The Hermit</span></td>  <td align='right'>104</td>  </tr>
+<tr>  <td align='right'><a href="#XIV">XIV.</a></td>  <td align='left'><span class="smcap">A Quotation</span></td>  <td align='right'>113</td>  </tr>
+<tr>  <td align='right'><a href="#XV">XV.</a></td>  <td align='left'><span class="smcap">An Amazing Situation</span></td>  <td align='right'>122</td>  </tr>
+<tr>  <td align='right'><a href="#XVI">XVI.</a></td>  <td align='left'><span class="smcap">Ruth Solves One Problem</span></td>  <td align='right'>129</td>  </tr>
+<tr>  <td align='right'><a href="#XVII">XVII.</a></td>  <td align='left'><span class="smcap">John, the Hermit&#8217;s, Contribution</span></td>  <td align='right'>136</td>  </tr>
+<tr>  <td align='right'><a href="#XVIII">XVIII.</a></td>  <td align='left'><span class="smcap">Uncertainties</span></td>  <td align='right'>144</td>  </tr>
+<tr>  <td align='right'><a href="#XIX">XIX.</a></td>  <td align='left'><span class="smcap">Counterclaims</span></td>  <td align='right'>152</td>  </tr>
+<tr>  <td align='right'><a href="#XX">XX.</a></td>  <td align='left'><span class="smcap">The Grill</span></td>  <td align='right'>159</td>  </tr>
+<tr>  <td align='right'><a href="#XXI">XXI.</a></td>  <td align='left'><span class="smcap">A Hermit for Revenue Only</span></td>  <td align='right'>171</td>  </tr>
+<tr>  <td align='right'><a href="#XXII">XXII.</a></td>  <td align='left'><span class="smcap">An Arrival</span></td>  <td align='right'>180</td>  </tr>
+<tr>  <td align='right'><a href="#XXIII">XXIII.</a></td>  <td align='left'><span class="smcap">Trouble&mdash;Plenty</span></td>  <td align='right'>186</td>  </tr>
+<tr>  <td align='right'><a href="#XXIV">XXIV.</a></td>  <td align='left'><span class="smcap">About &ldquo;Plain Mary&rdquo;</span></td>  <td align='right'>193</td>  </tr>
+<tr>  <td align='right'><a href="#XXV">XXV.</a></td>  <td align='left'><span class="smcap">Lifting the Curtain</span></td>  <td align='right'>199</td>  </tr>
+</table></div>
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 1]</span><a name="I" id="I"></a></p>
+<h5>RUTH FIELDING<br />
+DOWN EAST</h5>
+
+<p>&nbsp;</p>
+
+<h2>CHAPTER I</h2>
+
+<p class="center"><strong>THE WIND STORM</strong></p>
+
+
+<p>Across the now placidly flowing Lumano where it widened into almost the
+proportions of a lake just below the picturesque Red Mill, a bank of
+tempestuous clouds was shouldering into view above the sky line of the
+rugged and wooded hills. These slate-colored clouds, edged with pallid
+light, foredoomed the continuance of the peaceful summer afternoon.</p>
+
+<p>Not a breath of air stirred on the near side of the river. The huge old
+elms shading the Red Mill and the farmhouse connected with it belonging to
+Mr. Jabez Potter, the miller, were like painted trees, so still were they.
+The brooding heat of midday, however, had presaged the coming storm, and
+it had been prepared for at mill and farmhouse. The tempest was due soon.</p>
+
+<p>The backyard of the farmhouse&mdash;a beautiful lawn of short grass&mdash;sloped
+down to the river. On the bank and over the stream itself was set a
+<span class='pagenum'>[Pg 2]</span>
+summer-house of fair proportions, covered with vines&mdash;a cool and shady
+retreat on the very hottest day of midsummer.</p>
+
+<p>A big robin redbreast had been calling his raucous weather warning from
+the top of one of the trees near the house; but, with her back to the
+river and the coming storm, the girl in the pavilion gave little heed to
+this good-intentioned weather prophet.</p>
+
+<p>She did raise her eyes, however, at the querulous whistle of a striped
+creeper that was wriggling through the intertwined branches of the
+trumpet-vine in search of insects. Ruth Fielding was always interested in
+those busy, helpful little songsters.</p>
+
+<p>&ldquo;You cute little thing!&rdquo; she murmured, at last catching sight of the
+flashing bird between the stems of the old vine. &ldquo;I wish I could put <em>you</em>
+into my scenario.&rdquo;</p>
+
+<p>On the table at which she was sitting was a packet of typewritten sheets
+which she had been annotating, and two fat note books. She laid down her
+gold-mounted fountain pen as she uttered these words, and then sighed and
+pushed her chair back from the table.</p>
+
+<p>Then she stood up suddenly. A sound had startled her. She looked all about
+the summer-house&mdash;a sharp, suspicious glance. Then she tiptoed to the door
+and peered out.</p>
+
+<p><span class='pagenum'>[Pg 3]</span>
+The creeper fluttered away. The robin continued to shout his warning. Had
+it really been a rustling in the vines she had heard? Was there somebody
+lurking about the summer-house?</p>
+
+<p>She stepped out and looked on both sides. It was then she saw how
+threatening the aspect of the clouds on the other side of the river were.
+The sight drove from her thoughts for the moment the strange sound she had
+heard. She did not take pains to look beneath the summer-house on the
+water side.</p>
+
+<p>Instead, another sound assailed her ears. This time one that she could not
+mistake for anything but just what it was&mdash;the musical horn of Tom
+Cameron&#8217;s automobile. Ruth turned swiftly to look up the road. A dark
+maroon car, long and low-hung like a racer, was coming along the road,
+leaving a funnel of dust behind it. There were two people in the car.</p>
+
+<p>The girl beside the driver&mdash;black-haired and petite&mdash;fluttered her
+handkerchief in greeting when she saw Ruth standing by the summer-house.
+At once the latter ran across the yard, over the gentle rise, and down to
+the front gate of the Potter farmhouse. She ran splendidly with a free
+stride of untrammeled limbs, but she held one shoulder rather stiffly.</p>
+
+<p>&ldquo;Oh, Ruth!&rdquo;</p>
+
+<p>&ldquo;Oh, Helen!&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 4]</span>
+The car was at the gate, and Tom brought it to a prompt stop. Helen, his
+twin sister, was out of it instantly and almost leaped into the bigger
+girl&#8217;s arms.</p>
+
+<p>&ldquo;Oh! Oh! Oh!&rdquo; sobbed Helen. &ldquo;You <em>are</em> alive after all that horrible
+experience coming home from Europe.&rdquo;</p>
+
+<p>&ldquo;And you are alive and safe, dear Helen,&rdquo; responded Ruth Fielding, quite
+as deeply moved.</p>
+
+<p>It was the first time they had met since separating in Paris a month
+before. And in these times of war, with peace still an uncertainty, there
+were many perils to fear between the port of Brest and that of New York.</p>
+
+<p>Tom, in uniform and with a ribbon and medal on his breast, grinned
+teasingly at the two girls.</p>
+
+<p>&ldquo;Come, come! Break away! Only twenty seconds allowed in a clinch. Don&#8217;t
+Helen look fine, Ruth? How&#8217;s the shoulder?&rdquo;</p>
+
+<p>&ldquo;Just a bit stiff yet,&rdquo; replied the girl of the Red Mill, kissing her chum
+again.</p>
+
+<p>At this moment the first sudden swoop of the tempest arrived. The tall
+elms writhed as though taken with St. Vitus&#8217;s dance. The hens began to
+screech and run to cover. Thunder muttered in the distance.</p>
+
+<p>&ldquo;Oh, dear me!&rdquo; gasped Ruth, paling unwontedly, for she was not by nature
+a nervous girl. &ldquo;Come right into the house, Helen. You could
+<span class='pagenum'>[Pg 5]</span> not get to
+Cheslow or back home before this storm breaks. Put your car under the
+shed, Tom.&rdquo;</p>
+
+<p>She dragged her friend into the yard and up the warped flag stones to the
+side door of the cottage. A little old woman who had been sitting on the
+porch in a low rocking chair arose with difficulty, leaning on a cane.</p>
+
+<p>&ldquo;Oh, my back, and oh, my bones!&rdquo; murmured Aunt Alvirah Boggs, who was not
+long out of a sick bed herself and would never again be as &ldquo;spry&rdquo; as she
+once had been. &ldquo;Do come in, dearies. It is a wind storm.&rdquo;</p>
+
+<p>Ruth stopped to help the little old woman. She continued pale, but her
+thought for Aunt Alvirah&#8217;s comfort caused her to put aside her own fear.
+The trio entered the house and closed the door.</p>
+
+<p>In a moment there was a sharp patter against the house. The rain had begun
+in big drops. The rear door was opened, and Tom, laughing and shaking the
+water from his cap, dashed into the living room. He wore the insignia of a
+captain under his dust-coat and the distinguishing marks of a very famous
+division of the A. E. F.</p>
+
+<p>&ldquo;It&#8217;s a buster!&rdquo; he declared. &ldquo;There&#8217;s a paper sailing like a kite over
+the roof of the old mill&mdash;&mdash;&rdquo;</p>
+
+<p>Ruth sprang up with a shriek. She ran to the back door by which Tom had
+just entered and tore it open.</p>
+
+<p><span class='pagenum'>[Pg 6]</span>
+&ldquo;Oh, do shut the door, deary!&rdquo; begged Aunt Alvirah. &ldquo;That wind is &#8217;nough
+to lift the roof.&rdquo;</p>
+
+<p>&ldquo;What <em>is</em> the matter, Ruth?&rdquo; demanded Helen.</p>
+
+<p>But Tom ran out after her. He saw the girl leap from the porch and run
+madly down the path toward the summer-house. Back on the wind came a
+broken word or two of explanation:</p>
+
+<p>&ldquo;My papers! My scenario! The best thing I ever did, Tom!&rdquo;</p>
+
+<p>He had almost caught up to her when she reached the little pavilion. The
+wind from across the river was tearing through the summer-house at a
+sixty-mile-an-hour speed.</p>
+
+<p>&ldquo;Oh! It&#8217;s gone!&rdquo; Ruth cried, and had Tom not caught her she would have
+dropped to the ground.</p>
+
+<p>There was not a scrap of paper left upon the table, nor anywhere in
+the place. Even the two fat notebooks had disappeared, and, too, the
+gold-mounted pen the girl of the Red Mill had been using. All, all seemed
+to have been swept out of the summer-house.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 7]</span><a name="II" id="II"></a></p>
+<h2>CHAPTER II</h2>
+
+<p class="center"><strong>THE MYSTERY OF IT</strong></p>
+
+<p>For half a minute Tom Cameron did not know just what to do for Ruth. Then
+the water spilled out of the angry clouds overhead and bade fair to drench
+them.</p>
+
+<p>He half carried Ruth into the summer-house and let her rest upon a bench,
+sitting beside her with his arm tenderly supporting her shoulders. Ruth
+had begun to sob tempestuously.</p>
+
+<p>Ruth Fielding weeping! She might have cried many times in the past, but
+almost always in secret. Tom, who knew her so well, had seen her in
+dangerous and fear-compelling situations, and she had not wept.</p>
+
+<p>&ldquo;What is it?&rdquo; he demanded. &ldquo;What have you lost?&rdquo;</p>
+
+<p>&ldquo;My scenario! All my work gone!&rdquo;</p>
+
+<p>&ldquo;The new story? My goodness, Ruth, it couldn&#8217;t have blown away!&rdquo;</p>
+
+<p>&ldquo;But it has!&rdquo; she wailed. &ldquo;Not a scrap of it left. My notebooks&mdash;my pen!
+Why!&rdquo; and she<span class='pagenum'>[Pg 8]</span>
+suddenly controlled her sobs, for she was, after all, an
+eminently practical girl. &ldquo;Could that fountain pen have been carried away
+by the windstorm, too?&rdquo;</p>
+
+<p>&ldquo;There goes a barrel through the air,&rdquo; shouted Tom. &ldquo;That&#8217;s heavier than a
+fountain pen. Say, this is some wind!&rdquo;</p>
+
+<p>The sound of the dashing rain now almost drowned their voices. It sprayed
+them through the porous shelter of the vines and latticework so that they
+could not sit on the bench.</p>
+
+<p>Ruth huddled upon the table with Tom Cameron standing between her and the
+drifting mist of the storm. She looked across the rain-drenched yard to
+the low-roofed house. She had first seen it with a home-hungry heart when
+a little girl and an orphan.</p>
+
+<p>How many, many strange experiences she had had since that time, which
+seemed so long ago! Nor had she then dreamed, as &ldquo;Ruth Fielding of the Red
+Mill,&rdquo; as the first volume of this series is called, that she would lead
+the eventful life she had since that hour.</p>
+
+<p>Under the niggard care of miserly old Jabez Potter, the miller, her great
+uncle, tempered by the loving kindness of Aunt Alvirah Boggs, the miller&#8217;s
+housekeeper, Ruth&#8217;s prospects had been poor indeed. But Providence moves
+in mysterious ways. Seemingly unexpected chances had
+<span class='pagenum'>[Pg 9]</span>broadened Ruth&#8217;s
+outlook on life and given her advantages that few girls in her sphere
+secure.</p>
+
+<p>First she was enabled to go to a famous boarding school, Briarwood Hall,
+with her dearest chum, Helen Cameron. There she began to make friends and
+widen her experience by travel. With Helen, Tom, and other young friends,
+Ruth had adventures, as the titles of the series of books run, at Snow
+Camp, at Lighthouse Point, at Silver Ranch, on Cliff Island, at Sunrise
+Farm, with the Gypsies, in Moving Pictures, and Down in Dixie.</p>
+
+<p>With the eleventh volume of the series Ruth and her chums, Helen Cameron
+and Jennie Stone, begin their life at Ardmore College. As freshmen their
+experiences are related in &ldquo;Ruth Fielding at College; Or, The Missing
+Examination Papers.&rdquo; This volume is followed by &ldquo;Ruth Fielding in the
+Saddle; Or, College Girls in the Land of Gold,&rdquo; wherein Ruth&#8217;s first big
+scenario is produced by the Alectrion Film Corporation.</p>
+
+<p>As was the fact with so many of our college boys and girls, the World War
+interfered most abruptly and terribly with Ruth&#8217;s peaceful current of
+life. America went into the war and Ruth into Red Cross work almost
+simultaneously.</p>
+
+<p>In &ldquo;Ruth Fielding in the Red Cross; Or, Doing Her Bit for Uncle Sam,&rdquo; the
+Girl of the Red Mill gained a very practical experience in the work of the
+great peace organization which does so much
+<span class='pagenum'>[Pg 10]</span> to smooth the ravages of war.
+Then, in &ldquo;Ruth Fielding at the War Front; Or, The Hunt for the Lost
+Soldier,&rdquo; the Red Cross worker was thrown into the very heart of the
+tremendous struggle, and in northern France achieved a name for courage
+that her college mates greatly envied.</p>
+
+<p>Wounded and nerve-racked because of her experiences, Ruth was sent home,
+only to meet, as related in the fifteenth volume of the series, &ldquo;Ruth
+Fielding Homeward Bound; Or, A Red Cross Worker&#8217;s Ocean Perils,&rdquo; an
+experience which seemed at first to be disastrous. In the end, however,
+the girl reached the Red Mill in a physical and mental state which made
+any undue excitement almost a tragedy for her.</p>
+
+<p>The mysterious disappearance of the moving picture scenario, which had
+been on her heart and mind for months and which she had finally brought,
+she believed, to a successful termination, actually shocked Ruth Fielding.
+She could not control herself for the moment.</p>
+
+<p>Against Tom Cameron&#8217;s uniformed shoulder she sobbed frankly. His arm stole
+around her.</p>
+
+<p>&ldquo;Don&#8217;t take on so, Ruthie,&rdquo; he urged. &ldquo;Of course we&#8217;ll find it all. Wait
+till this rain stops&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;It never blew away, Tom,&rdquo; she said.</p>
+
+<p>&ldquo;Why, of course it did!&rdquo;</p>
+
+<p>&ldquo;No. The sheets of typewritten manuscript
+<span class='pagenum'>[Pg 11]</span> were fastened together with a
+big brass clip. Had they been lose and the wind taken them, we should have
+seen at least some of them flying about. And the notebooks!&rdquo;</p>
+
+<p>&ldquo;And the pen?&rdquo; murmured Tom, seeing the catastrophe now as she did. &ldquo;Why,
+Ruthie! Could somebody have taken them all?&rdquo;</p>
+
+<p>&ldquo;Somebody must!&rdquo;</p>
+
+<p>&ldquo;But who?&rdquo; demanded the young fellow. &ldquo;You have no enemies.&rdquo;</p>
+
+<p>&ldquo;Not here, I hope,&rdquo; she sighed. &ldquo;I left them all behind.&rdquo;</p>
+
+<p>He chuckled, although he was by no means unappreciative of the seriousness
+of her loss. &ldquo;Surely that German aviator who dropped the bomb on you
+hasn&#8217;t followed you here.&rdquo;</p>
+
+<p>&ldquo;Don&#8217;t talk foolishly, Tom!&rdquo; exclaimed the girl, getting back some of her
+usual good sense. &ldquo;Of course, I have no enemy. But a thief is every honest
+person&#8217;s enemy.&rdquo;</p>
+
+<p>&ldquo;Granted. But where is the thief around the Red Mill?&rdquo;</p>
+
+<p>&ldquo;I do not know.&rdquo;</p>
+
+<p>&ldquo;Can it be possible that your uncle or Ben saw the things here and rescued
+them just before the storm burst?&rdquo;</p>
+
+<p>&ldquo;We will ask,&rdquo; she said, with a sigh. &ldquo;But I can imagine no reason for
+either Uncle Jabez or<span class='pagenum'>[Pg 12]</span>
+Ben to come down here to the shore of the river.
+Oh, Tom! it is letting up.&rdquo;</p>
+
+<p>&ldquo;Good! I&#8217;ll look around first of all. If there has been a skulker
+near&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Now, don&#8217;t be rash,&rdquo; she cried.</p>
+
+<p>&ldquo;We&#8217;re not behind the German lines now, Fraulein Mina von Brenner,&rdquo; and he
+laughed as he went out of the summer-house.</p>
+
+<p>He did not smile when he was searching under the house and beating the
+brush clumps near by. He realized that this loss was a very serious matter
+for Ruth.</p>
+
+<p>She was now independent of Uncle Jabez, but her income was partly derived
+from her moving picture royalties. During her war activities she had been
+unable to do much work, and Tom knew that Ruth had spent of her own means
+a great deal in the Red Cross work.</p>
+
+<p>Ruth had refused to tell her friends the first thing about this new story
+for the screen. She believed it to be the very best thing she had ever
+originated, and she said she wished to surprise them all.</p>
+
+<p>He even knew that all her notes and &ldquo;before-the-finish&rdquo; writing was in the
+notebooks that had now gone with the completed manuscript. It looked more
+than mysterious. It was suspicious.</p>
+
+<p>Tom looked all around the summer-house. Of course, after this hard
+downpour it was impossible<span class='pagenum'>[Pg 13]</span>
+to mark any footsteps. Nor, indeed, did the
+raider need to leave such a trail in getting to and departing from the
+little vine-covered pavilion. The sward was heavy all about it save on the
+river side.</p>
+
+<p>The young man found not a trace. Nor did he see a piece of paper anywhere.
+He was confident that Ruth&#8217;s papers and notebooks and pen had been removed
+by some human agency. And it could not have been a friend who had done
+this thing.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 14]</span><a name="III" id="III"></a></p>
+<h2>CHAPTER III</h2>
+
+<p class="center"><strong>THE DERELICT</strong></p>
+
+<p>&ldquo;Didn&#8217;t you find anything, Tom?&rdquo; Ruth Fielding asked, as Helen&#8217;s twin
+re-entered the summer-house.</p>
+
+<p>His long automobile coat glistened with wet and his face was wind-blown.
+Tom Cameron&#8217;s face, too, looked much older than it had&mdash;well, say a year
+before. He, like Ruth herself, had been through much in the war zone
+calculated to make him more sedate and serious than a college
+undergraduate is supposed to be.</p>
+
+<p>&ldquo;I did not see even a piece of paper blowing about,&rdquo; he told her.</p>
+
+<p>&ldquo;But before we came down from the house you said you saw a paper blow over
+the roof like a kite.&rdquo;</p>
+
+<p>&ldquo;That was an outspread newspaper. It was not a sheet of your manuscript.&rdquo;</p>
+
+<p>&ldquo;Then it all must have been stolen!&rdquo; she cried.</p>
+
+<p>&ldquo;At least, human agency must have removed the things you left on this
+table,&rdquo; he said.</p>
+
+<p>&ldquo;Oh, Tom!&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 15]</span>
+&ldquo;Now, now, Ruth! It&#8217;s tough, I know&mdash;&mdash;&rdquo;</p>
+
+<p>But she recovered a measure of her composure almost immediately. Unnerved
+as she had first been by the disaster, she realized that to give way to
+her trouble would not do the least bit of good.</p>
+
+<p>&ldquo;An ordinary thief,&rdquo; Tom suggested after a moment, &ldquo;would not consider
+your notes and the play of much value.&rdquo;</p>
+
+<p>&ldquo;I suppose not,&rdquo; she replied.</p>
+
+<p>&ldquo;If they are stolen it must be by somebody who understands&mdash;or thinks he
+does&mdash;the value of the work. Somebody who thinks he can sell a moving
+picture scenario.&rdquo;</p>
+
+<p>&ldquo;Oh, Tom!&rdquo;</p>
+
+<p>&ldquo;A gold mounted fountain pen would attract any petty thief,&rdquo; he went on to
+say. &ldquo;But surely the itching fingers of such a person would not be tempted
+by that scenario.&rdquo;</p>
+
+<p>&ldquo;Then, which breed of thief stole my scenario, Tom?&rdquo; she demanded. &ldquo;You
+are no detective. Your deductions suggest two thieves.&rdquo;</p>
+
+<p>&ldquo;Humph! So they do. Maybe they run in pairs. But I can&#8217;t really imagine
+two light-fingered people around the Red Mill at once. Seen any tramps
+lately?&rdquo;</p>
+
+<p>&ldquo;We seldom see the usual tramp around here,&rdquo; said Ruth, shaking her head.
+&ldquo;We are too far off the railroad line. And the Cheslow constables keep
+them moving if they land <em>there</em>.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 16]</span>
+&ldquo;Could anybody have done it for a joke?&rdquo; asked Tom suddenly.</p>
+
+<p>&ldquo;If they have,&rdquo; Ruth said, wiping her eyes, &ldquo;it is the least like a joke
+of anything that ever happened to me. Why, Tom! I couldn&#8217;t lay out that
+scenario again, and think of all the details, and get it just so, in a
+year!&rdquo;</p>
+
+<p>&ldquo;Oh, Ruth!&rdquo;</p>
+
+<p>&ldquo;I mean it! And even my notes are gone. Oh, dear! I&#8217;d never have the heart
+to write that scenario again. I don&#8217;t know that I shall ever write
+another, anyway. I&#8217;m discouraged,&rdquo; sobbed the girl suddenly.</p>
+
+<p>&ldquo;Oh, Ruth! don&#8217;t give way like this,&rdquo; he urged, with rather a boyish fear
+of a girl&#8217;s tears.</p>
+
+<p>&ldquo;I&#8217;ve given way already,&rdquo; she choked. &ldquo;I just feel that I&#8217;ll never be able
+to put that scenario into shape again. And I&#8217;d written Mr. Hammond so
+enthusiastically about it.&rdquo;</p>
+
+<p>&ldquo;Oh! Then he knows all about it!&rdquo; said Tom. &ldquo;That is more than any of us
+do. You wouldn&#8217;t tell us a thing.&rdquo;</p>
+
+<p>&ldquo;And I didn&#8217;t tell him. He doesn&#8217;t know the subject, or the title, or
+anything about it. I tell you, Tom, I had <em>such</em> a good idea&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;And you&#8217;ve got the idea yet, haven&#8217;t you? Cheer up! Of course you can do
+it over.&rdquo;</p>
+
+<p>&ldquo;Suppose,&rdquo; demanded Ruth quickly, &ldquo;this thief that has got my manuscript
+should offer it to some<span class='pagenum'>[Pg 17]</span>
+producer? Why! if I tried to rewrite it and bring
+it out, I might be accused of plagiarizing my own work.&rdquo;</p>
+
+<p>&ldquo;Jimminy!&rdquo;</p>
+
+<p>&ldquo;I wouldn&#8217;t dare,&rdquo; said Ruth, shaking her head. &ldquo;As long as I do not know
+what has become of the scenario and my notes, I will not dare use the idea
+at all. It is dreadful!&rdquo;</p>
+
+<p>The rain was now falling less torrentially. The tempest was passing. Soon
+there was even a rift in the clouds in the northwest where a patch of blue
+sky shone through &ldquo;big enough to make a Scotchman a pair of breeches,&rdquo; as
+Aunt Alvirah would say.</p>
+
+<p>&ldquo;We&#8217;d better go up to the house,&rdquo; sighed Ruth.</p>
+
+<p>&ldquo;I&#8217;ll go right around to the neighbors and see if anybody has noticed a
+stranger in the vicinity,&rdquo; Tom suggested.</p>
+
+<p>&ldquo;There&#8217;s Ben! Do you suppose he has seen anybody?&rdquo;</p>
+
+<p>A lanky young man, his clothing gray with flour dust, came from the back
+door of the mill and hastened under the dripping trees to reach the porch
+of the farmhouse. He stood there, smiling broadly at them, as Ruth and Tom
+hurriedly crossed the yard.</p>
+
+<p>&ldquo;Good day, Mr. Tom,&rdquo; said Ben, the miller&#8217;s helper. Then he saw Ruth&#8217;s
+troubled countenance. &ldquo;Wha&mdash;what&#8217;s the matter, Ruthie?&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 18]</span>&ldquo;Ben, I&#8217;ve lost something.&rdquo;</p>
+
+<p>&ldquo;Bless us an&#8217; save us, no!&rdquo;</p>
+
+<p>&ldquo;Yes, I have. Something very valuable. It&#8217;s been stolen.&rdquo;</p>
+
+<p>&ldquo;You don&#8217;t mean it!&rdquo;</p>
+
+<p>&ldquo;But I do! Some manuscript out of the summer-house yonder.&rdquo;</p>
+
+<p>&ldquo;And her gold-mounted fountain pen,&rdquo; added Tom. &ldquo;That would tempt
+somebody.&rdquo;</p>
+
+<p>&ldquo;My goodness!&rdquo;</p>
+
+<p>Ben could express his simple wonderment in a variety of phrases. But he
+seemed unable to go beyond these explosive expressions.</p>
+
+<p>&ldquo;Ben, wake up!&rdquo; exclaimed Ruth. &ldquo;Have you any idea who would have taken
+it?&rdquo;</p>
+
+<p>&ldquo;That gold pen, Ruthie? Why&mdash;why&mdash;&mdash;&nbsp;A thief!&rdquo;</p>
+
+<p>&ldquo;Old man,&rdquo; said Tom with suppressed disgust, &ldquo;you&#8217;re a wonder. How did you
+guess it?&rdquo;</p>
+
+<p>&ldquo;Hush, Tom,&rdquo; Ruth said. Then: &ldquo;Now, Ben, just think. Who has been around
+here to-day? Any stranger, I mean.&rdquo;</p>
+
+<p>&ldquo;Why&mdash;I dunno,&rdquo; said the mill hand, puckering his brows.</p>
+
+<p>&ldquo;Think!&rdquo; she commanded again.</p>
+
+<p>&ldquo;Why&mdash;why&mdash;&mdash;old Jep Parloe drove up for a grinding.&rdquo;</p>
+
+<p>&ldquo;He&#8217;s not a stranger.&rdquo;</p>
+
+<p>&ldquo;Oh, yes he is, Ruthie. Me nor Mr. Potter ain&#8217;t
+<span class='pagenum'>[Pg 19]</span> seen him before for nigh
+three months. Your uncle up and said to him, &lsquo;Why, you&#8217;re a stranger, Mr.
+Parloe.&rsquo;&rdquo;</p>
+
+<p>&ldquo;I mean,&rdquo; said Ruth, with patience, &ldquo;anybody whom you have never seen
+before&mdash;or anybody whom you might suspect would steal.&rdquo;</p>
+
+<p>&ldquo;Well,&rdquo; drawled Ben stubbornly, &ldquo;your uncle, Ruthie, says old Jep ain&#8217;t
+any too honest.&rdquo;</p>
+
+<p>&ldquo;I know all about that,&rdquo; Ruth said. &ldquo;But Parloe did not leave his team and
+go down to the summer-house, did he?&rdquo;</p>
+
+<p>&ldquo;Oh, no!&rdquo;</p>
+
+<p>&ldquo;Did you see anybody go down that way?&rdquo;</p>
+
+<p>&ldquo;Don&#8217;t believe I did&mdash;savin&#8217; you yourself, Ruthie.&rdquo;</p>
+
+<p>&ldquo;I left a manuscript and my pen on the table there. I ran out to meet Tom
+and Helen when they came.&rdquo;</p>
+
+<p>&ldquo;I seen you,&rdquo; said Ben.</p>
+
+<p>&ldquo;Then it was just about that time that somebody sneaked into that
+summer-house and stole those things.&rdquo;</p>
+
+<p>&ldquo;I didn&#8217;t see anybody snuck in there,&rdquo; declared Ben, with more confidence
+than good English.</p>
+
+<p>&ldquo;Say!&rdquo; ejaculated Tom, impatiently, &ldquo;haven&#8217;t you seen any tramp, or
+straggler, or Gypsy&mdash;or anybody like that?&rdquo;</p>
+
+<p>&ldquo;Hi gorry!&rdquo; suddenly said Ben, &ldquo;I do remember. There was a man along here
+this morning<span class='pagenum'>[Pg 20]</span>
+&mdash;a preacher, or something like that. Had a black frock coat
+on and wore his hair long and sort o&#8217; wavy. He was shabby enough to be a
+tramp, that&#8217;s a fact. But he was a real knowledgeable feller&mdash;he was that.
+Stood at the mill door and recited po&#8217;try for us.&rdquo;</p>
+
+<p>&ldquo;Poetry!&rdquo; exclaimed Tom.</p>
+
+<p>&ldquo;To you and Uncle Jabez?&rdquo; asked Ruth.</p>
+
+<p>&ldquo;Uh-huh. All about &lsquo;to be or not to be a bean&mdash;that is the question.&rsquo; And
+something about his having suffered from the slung shots and bow arrers of
+outrageous fortune&mdash;whatever that might be. I guess he got it all out of
+the Scriptures. Your uncle said he was bugs; but I reckoned he was a
+preacher.&rdquo;</p>
+
+<p>&ldquo;Jimminy!&rdquo; muttered Tom. &ldquo;A derelict actor, I bet. Sounds like a
+Shakespearean ham.&rdquo;</p>
+
+<p>&ldquo;Goodness!&rdquo; said Ruth. &ldquo;Between the two of you boys I get a very strange
+idea of this person.&rdquo;</p>
+
+<p>&ldquo;Where did he go, Ben?&rdquo; Tom asked.</p>
+
+<p>&ldquo;I didn&#8217;t watch him. He only hung around a little while. I think he axed
+your uncle for some money, or mebbe something to eat. You see, he didn&#8217;t
+know Mr. Potter.&rdquo;</p>
+
+<p>&ldquo;Not if he struck him for a hand-out,&rdquo; muttered the slangy Tom.</p>
+
+<p>&ldquo;Oh, Ben! don&#8217;t you know whether he went toward Cheslow&mdash;or where?&rdquo; cried
+Ruth.</p>
+
+<p>&ldquo;Does it look probable to you,&rdquo; Tom asked,
+<span class='pagenum'>[Pg 21]</span> &ldquo;that a derelict
+actor&mdash;&mdash;&nbsp;Oh, Jimminy! Of course! <em>He</em> would be just the person to
+see the value of that play script at a glance!&rdquo;</p>
+
+<p>&ldquo;Oh, Tom!&rdquo;</p>
+
+<p>&ldquo;Have you no idea where he went, Ben?&rdquo; Tom again demanded of the puzzled
+mill hand.</p>
+
+<p>&ldquo;No, Mister Tom. I didn&#8217;t watch him.&rdquo;</p>
+
+<p>&ldquo;I&#8217;ll get out the car at once and hunt all about for him,&rdquo; Tom said
+quickly. &ldquo;You go in to Helen and Aunt Alvirah, Ruth. You&#8217;ll be sick if
+you let this get the best of you. I&#8217;ll find that miserable thief of a ham
+actor&mdash;if he&#8217;s to be found.&rdquo; He added this last under his breath as he ran
+for the shed where he had sheltered his automobile.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 22]</span><a name="IV" id="IV"></a></p>
+<h2>CHAPTER IV</h2>
+
+<p class="center"><strong>THE CRYING NEED</strong></p>
+
+<p>Tom Cameron chased about the neighborhood for more than two hours in
+his fast car hunting the trail of the man who he had decided must be a
+wandering theatrical performer. Of course, this was a &ldquo;long shot,&rdquo; Tom
+said; but the trampish individual of whom Ben had told was much more
+likely to be an actor than a preacher.</p>
+
+<p>Tom, however, was able to find no trace of the fellow until he got to the
+outskirts of Cheslow, the nearest town. Here he found a man who had seen a
+long-haired fellow in a shabby frock coat and black hat riding toward the
+railroad station beside one of the farmers who lived beyond the Red Mill.
+This was following the tempest which had burst over the neighborhood at
+mid-afternoon.</p>
+
+<p>Trailing this information farther, Tom learned that the shabby man had
+been seen about the railroad yards. Mr. Curtis, the railroad station
+master, had observed him. But suddenly the tramp had disappeared. Whether
+he had hopped<span class='pagenum'>[Pg 23]</span>
+Number 10, bound north, or Number 43, bound south, both of
+which trains had pulled out of Cheslow within the hour, nobody could be
+sure.</p>
+
+<p>Tom returned to the Red Mill at dusk, forced to report utter failure.</p>
+
+<p>&ldquo;If that bum actor stole your play, Ruth, he&#8217;s got clear way with it,&rdquo; Tom
+said bluntly. &ldquo;I&#8217;m awfully sorry&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Does that help?&rdquo; demanded his sister snappishly, as though it were
+somewhat Tom&#8217;s fault. &ldquo;You go home, Tom. I&#8217;m going to stay with Ruthie
+to-night,&rdquo; and she followed her chum into the bedroom to which she had
+fled at Tom&#8217;s announcement of failure.</p>
+
+<p>&ldquo;Jimminy!&rdquo; murmured Tom to the old miller who was still at the supper
+table. &ldquo;And we aren&#8217;t even sure that that fellow did steal the scenario.&rdquo;</p>
+
+<p>&ldquo;Humph!&rdquo; rejoined Uncle Jabez. &ldquo;You&#8217;ll find, if you live to be old enough,
+young feller, that women folks is kittle cattle. No knowing how they&#8217;ll
+take anything. That pen cost five dollars, I allow; but them papers only
+had writing on &#8217;em, and it does seem to me that what you have writ once
+you ought to be able to write again. That&#8217;s the woman of it. She don&#8217;t say
+a thing about that pen, Ruthie don&#8217;t.&rdquo;</p>
+
+<p>However, Tom Cameron saw farther into the mystery than Uncle Jabez
+appeared to. And after a day or two, with Ruth still &ldquo;moping about like
+<span class='pagenum'>[Pg 24]</span> a
+moulting hen,&rdquo; as the miller expressed it, the young officer felt that he
+must do something to change the atmosphere of the Red Mill farmhouse.</p>
+
+<p>&ldquo;Our morale has gone stale, girls,&rdquo; he declared to his sister and Ruth.
+&ldquo;Worrying never did any good yet.&rdquo;</p>
+
+<p>&ldquo;That&#8217;s a true word, Sonny,&rdquo; said Aunt Alvirah, from her chair. &ldquo;&lsquo;Care
+killed the cat.&rsquo; my old mother always said, and she had ten children to
+bring up and a drunken husband who was a trial. He warn&#8217;t my father. He
+was her second, an&#8217; she took him, I guess, &#8217;cause he was ornamental. He
+was a sign painter when he worked. But he mostly advertised King Alcohol
+by painting his nose red.</p>
+
+<p>&ldquo;We children sartain sure despised that man. But mother was faithful to
+her vows, and she made quite a decent member of the community of that man
+before she left off. And, le&#8217;s see! We was talkin&#8217; about cats, warn&#8217;t we?&rdquo;</p>
+
+<p>&ldquo;You were, Aunty dear,&rdquo; said Ruth, laughing for the first time in several
+days.</p>
+
+<p>&ldquo;Hurrah!&rdquo; said Tom, plunging head-first into his idea. &ldquo;That&#8217;s just what I
+wanted to hear.&rdquo;</p>
+
+<p>&ldquo;What?&rdquo; demanded Helen.</p>
+
+<p>&ldquo;I have wanted to hear Ruth laugh. And we all need to laugh. Why, we are
+becoming a trio of old fogies!&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 25]</span>
+&ldquo;Speak for yourself, Master Tom,&rdquo; pouted his sister.</p>
+
+<p>&ldquo;I do. And for you. And certainly Ruth is about as cheerful as a funeral
+mute. What we all need is some fun.&rdquo;</p>
+
+<p>&ldquo;Oh, Tom, I don&#8217;t feel at all like &lsquo;funning,&rsquo;&rdquo; sighed Ruth.</p>
+
+<p>&ldquo;You be right, Sonny,&rdquo; interjected Aunt Alvirah, who sometimes forgot that
+Tom, as well as the girls, was grown up. She rose from her chair with her
+usual, &ldquo;Oh, my back! and oh, my bones! You young folks should be dancing
+and frolicking&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;But the war, Auntie!&rdquo; murmured Ruth.</p>
+
+<p>&ldquo;You&#8217;ll neither make peace nor mar it by worriting. No, no, my pretty! And
+&#8217;tis a bad thing when young folks grow old before their time.&rdquo;</p>
+
+<p>&ldquo;You&#8217;re always saying that, Aunt Alvirah,&rdquo; Ruth complained. &ldquo;But how can
+one be jolly if one does not feel jolly?&rdquo;</p>
+
+<p>&ldquo;My goodness!&rdquo; cried Tom, &ldquo;you were notoriously the jolliest girl in that
+French hospital. Didn&#8217;t the <em>poilus</em> call you the jolly American? And
+listen to Grandmother Grunt now!&rdquo;</p>
+
+<p>&ldquo;I suppose it is so,&rdquo; sighed Ruth. &ldquo;But I must have used up all my fund of
+cheerfulness for those poor <em>bless&eacute;s</em>. It does seem as though the font of
+my jollity had quite dried up.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 26]</span>
+&ldquo;I wish Heavy Stone were here,&rdquo; said Helen suddenly. &ldquo;<em>She&#8217;d</em> make us
+laugh.&rdquo;</p>
+
+<p>&ldquo;She and her French colonel are spooning down there at Lighthouse Point,&rdquo;
+scoffed Ruth&mdash;and not at all as Ruth Fielding was wont to speak.</p>
+
+<p>&ldquo;Say!&rdquo; Tom interjected, &ldquo;I bet Heavy is funny even when she is in love.&rdquo;</p>
+
+<p>&ldquo;<em>That&#8217;s</em> a reputation!&rdquo; murmured Ruth.</p>
+
+<p>&ldquo;They are not at Lighthouse Point. The Stones did not go there this
+summer, I understand,&rdquo; Helen observed.</p>
+
+<p>&ldquo;I am sorry for Jennie and Colonel Marchand if they are at the Stones&#8217;
+city house at this time of the year,&rdquo; the girl of the Red Mill said.</p>
+
+<p>&ldquo;Bully!&rdquo; cried Tom, with sudden animation. &ldquo;That&#8217;s just what we will do!&rdquo;</p>
+
+<p>&ldquo;What will we do, crazy?&rdquo; demanded his twin.</p>
+
+<p>&ldquo;We&#8217;ll get Jennie Stone and Henri Marchand&mdash;he&#8217;s a good sport, too, as I
+very well know&mdash;and we&#8217;ll all go for a motor trip. Jimminy Christmas! that
+will be just the thing, Sis. We&#8217;ll go all over New England, if you like.
+We&#8217;ll go Down East and introduce Colonel Marchand to some of our
+hard-headed and tight-fisted Yankees that have done their share towards
+injecting America into the war. We will&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Oh!&rdquo; cried Ruth, breaking in with some small enthusiasm, &ldquo;let&#8217;s go to
+Beach Plum Point.&rdquo;</p>
+
+<p>&ldquo;Where is that?&rdquo; asked Helen.</p>
+
+<p><span class='pagenum'>[Pg 27]</span>
+&ldquo;It is down in Maine. Beyond Portland. And Mr. Hammond and his company are
+there making my &lsquo;Seaside Idyl.&rsquo;&rdquo;</p>
+
+<p>&ldquo;Oh, bully!&rdquo; cried Helen, repeating one of her brother&#8217;s favorite phrases,
+and now quite as excited over the idea as he. &ldquo;I do so love to act in
+movies. Is there a part in that &lsquo;Idyl&rsquo; story for me?&rdquo;</p>
+
+<p>&ldquo;I cannot promise that,&rdquo; Ruth said. &ldquo;It would be up to the director. I
+wasn&#8217;t taking much interest in this particular picture. I wrote the
+scenario, you know, before I went to France. I have been giving all my
+thought to&mdash;&mdash;</p>
+
+<p>&ldquo;Oh, dear! If we could only find my lost story!&rdquo;</p>
+
+<p>&ldquo;Come on!&rdquo; interrupted Tom. &ldquo;Let&#8217;s not talk about that. Will you write to
+Jennie Stone?&rdquo;</p>
+
+<p>&ldquo;I will. At once,&rdquo; his sister declared.</p>
+
+<p>&ldquo;Do. I&#8217;ll take it to the post office and send it special delivery. Tell
+her to wire her answer, and let it be &lsquo;yes.&rsquo; We&#8217;ll take both cars. Father
+won&#8217;t mind.&rdquo;</p>
+
+<p>&ldquo;Oh, <em>but</em>!&rdquo; cried Helen. &ldquo;How about a chaperon?&rdquo;</p>
+
+<p>&ldquo;Oh, shucks! I wish you&#8217;d marry some nice fellow, Sis, so that we&#8217;d always
+have a chaperon on tap and handy.&rdquo;</p>
+
+<p>She made a little face at him. &ldquo;I am going to be old-maid aunt to your
+many children, <span class='pagenum'>[Pg 28]</span>
+Tommy-boy. I am sure you will have a full quiver. We will
+have to look for a chaperon.&rdquo;</p>
+
+<p>&ldquo;Aunt Kate!&rdquo; exclaimed Ruth. &ldquo;Heavy&#8217;s Aunt Kate. She is just what Helen
+declares she wants to be&mdash;an old-maid aunt.&rdquo;</p>
+
+<p>&ldquo;And a lovely lady,&rdquo; cried Helen.</p>
+
+<p>&ldquo;Sure. Ask her. Beg her,&rdquo; agreed Tom. &ldquo;Tell her it is the crying need. We
+have positively got to have some fun.&rdquo;</p>
+
+<p>&ldquo;Well, I suppose we may as well,&rdquo; Ruth sighed, in agreement.</p>
+
+<p>&ldquo;Yes. We have always pampered the boy,&rdquo; declared Helen, her eyes
+twinkling. &ldquo;I know just what I&#8217;ll wear, Ruthie.&rdquo;</p>
+
+<p>&ldquo;Oh, we&#8217;ve clothes enough,&rdquo; admitted the girl of the Red Mill rather
+listlessly.</p>
+
+<p>&ldquo;Shucks!&rdquo; said Tom again. &ldquo;Never mind the fashions. Get that letter
+written, Sis.&rdquo;</p>
+
+<p>So it was agreed. Helen wrote, the letter was sent. With Jennie Stone&#8217;s
+usual impulsiveness she accepted for herself and &ldquo;<em>mon Henri</em>&rdquo; and Aunt
+Kate, promising to be at Cheslow within three days, and all within the
+limits of a ten-word telegram!</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 29]</span><a name="V" id="V"></a></p>
+<h2>CHAPTER V</h2>
+
+<p class="center"><strong>OFF AT LAST</strong></p>
+
+<p>&ldquo;The ancients,&rdquo; stated Jennie Stone solemnly, &ldquo;burned incense upon any and
+all occasions&mdash;red letter days, labor days, celebrating Columbus Day and
+the morning after, I presume. But we moderns burn gasoline. And, phew! I
+believe I should prefer the stale smoke of incense in the unventilated
+pyramids of Egypt to this odor of gas. O-o-o-o, Tommy, do let us get
+started!&rdquo;</p>
+
+<p>&ldquo;You&#8217;ve started already&mdash;in your usual way,&rdquo; he laughed.</p>
+
+<p>This was at Cheslow Station on the arrival of the afternoon up train that
+had brought Miss Stone, her Aunt Kate, and the smiling Colonel Henri
+Marchand to join the automobile touring party which Jennie soon dubbed
+&ldquo;the later Pilgrims.&rdquo;</p>
+
+<p>&ldquo;And that big machine looks much as the <em>Mayflower</em> must have looked
+steering across Cape Cod Bay on that special occasion we read of in sacred
+and profane history, hung about with four-poster beds and whatnots. In our
+neighborhood,&rdquo; the<span class='pagenum'>[Pg 30]</span>
+plump girl added, &ldquo;there is enough decrepit furniture
+declared to have been brought over on the <em>Mayflower</em> to have made a cargo
+for the <em>Leviathan</em>.&rdquo;</p>
+
+<p>&ldquo;Oh, <em>ma chere</em>! you do but stretch the point, eh?&rdquo; demanded the handsome
+Henri Marchand, amazed.</p>
+
+<p>&ldquo;I assure you&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Don&#8217;t, Heavy,&rdquo; advised Helen. &ldquo;You will only go farther and do worse. In
+my mind there has always been a suspicion that the <em>Mayflower</em> was sent
+over here by some shipped knocked-down furniture factory. Miles Standish
+and Priscilla Mullins and John Alden must have hung on by their eyebrows.&rdquo;</p>
+
+<p>&ldquo;Their eyebrows&mdash;<em>ma foi</em>!&rdquo; gasped Marchand.</p>
+
+<p>&ldquo;Say, old man,&rdquo; said Tom, laughing, &ldquo;if you listen to these crazy college
+girls you will have a fine idea of our historical monuments, and so forth.
+Take everything with a grain of salt&mdash;do.&rdquo;</p>
+
+<p>&ldquo;<em>Oui, Monsieur!</em> But I must have a little pepper, too. I am &lsquo;strong,&rsquo; as
+you Americans say, for plentiful seasoning.&rdquo;</p>
+
+<p>&ldquo;Isn&#8217;t he cute?&rdquo; demanded Jenny Stone. &ldquo;He takes to American slang like a
+bird to the air.&rdquo;</p>
+
+<p>&ldquo;Poetry barred!&rdquo; declared Helen.</p>
+
+<p>&ldquo;Say,&rdquo; Tom remarked aside to the colonel, &ldquo;you&#8217;ve got all the pep
+necessary, sure enough, in Jennie.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 31]</span>
+&ldquo;She is one dear!&rdquo; sighed the Frenchman.</p>
+
+<p>&ldquo;And she just said you were a bird. You&#8217;ll have a regular zoo about you
+yet. Come on. Let&#8217;s see if we can get this baggage aboard the good ship.
+It does look a good deal of an ark, doesn&#8217;t it?&rdquo;</p>
+
+<p>Although Ruth and Aunt Kate had not joined in this repartee, the girl of
+the Red Mill, as well as their lovely chaperon, enjoyed the fun immensely.
+Ruth had revived in spirits on meeting her friends. Jennie had flown to
+her arms at the first greeting, and hugged the girl of the Red Mill with
+due regard to the mending shoulder.</p>
+
+<p>&ldquo;My dear! My dear!&rdquo; she had cried. &ldquo;I <em>dream</em> of you lying all so pale and
+bloody under that window-sill stone. And what I hear of your and Tom&#8217;s
+experiences coming over&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;But worse has happened to me since I arrived home,&rdquo; Ruth said woefully.</p>
+
+<p>&ldquo;No? Impossible!&rdquo;</p>
+
+<p>&ldquo;Yes. I have had an irreparable loss,&rdquo; sighed Ruth. &ldquo;I&#8217;ll tell you about
+it later.&rdquo;</p>
+
+<p>But for the most part the greetings of the two parties was made up as Tom
+said of &ldquo;Ohs and Ahs.&rdquo;</p>
+
+<p>&ldquo;Take it from me,&rdquo; the naughty Tom declared to Marchand, &ldquo;two girls
+separated for over-night can find more to tell each other about the next
+<span class='pagenum'>[Pg 32]</span>
+morning than we could think of if we should meet at the Resurrection!&rdquo;</p>
+
+<p>The two Cameron cars stood in the station yard, and as the other waiting
+cars, taxicabs and &ldquo;flivvers&rdquo; departed, &ldquo;the sacred odor of gasoline,&rdquo;
+which Jennie had remarked upon, was soon dissipated.</p>
+
+<p>The big touring car was expertly packed with baggage, and had a big hamper
+on either running-board as well. There was room remaining, however, for
+the ladies if they would sit there. But as Tom was to drive the big car he
+insisted that Ruth sit with him in the front seat for company. As for his
+racing car, he had turned that over to Marchand. It, too, was well laden;
+but at the start Jennie squeezed in beside her colonel, and the maroon
+speeder was at once whisperingly dubbed by the others &ldquo;the honeymoon car.&rdquo;</p>
+
+<p>&ldquo;Poor children!&rdquo; said Aunt Kate in private to the two other girls. &ldquo;They
+cannot marry until the war is over. <em>That</em> my brother is firm upon,
+although he thinks well of Colonel Henri. And who could help liking him?
+He is a most lovable boy.&rdquo;</p>
+
+<p>&ldquo;&lsquo;Boy!&rsquo;&rdquo; repeated Ruth. &ldquo;And he is one of the most famous spies France has
+produced in this war! And a great actor!&rdquo;</p>
+
+<p>&ldquo;But we believe he is not acting when he tells us he loves Jennie,&rdquo; Aunt
+Kate said.</p>
+
+<p><span class='pagenum'>[Pg 33]</span>&ldquo;Surely not!&rdquo; cried Helen.</p>
+
+<p>&ldquo;He is the soul of honor,&rdquo; Ruth declared. &ldquo;I trust him as I do&mdash;well, Tom.
+I never had a brother.&rdquo;</p>
+
+<p>&ldquo;I&#8217;ve always shared Tom with you,&rdquo; pouted Helen.</p>
+
+<p>&ldquo;So you have, dear,&rdquo; admitted Ruth. &ldquo;But a girl who has had no
+really-truly brother really has missed something. Perhaps good, perhaps
+bad. But, at least, if you have brothers you understand men better.&rdquo;</p>
+
+<p>&ldquo;Listen to the wisdom of the owl!&rdquo; scoffed Helen. &ldquo;Why, Tommy is only a
+girl turned inside out. A girl keeps all her best and softest attributes
+to the fore, while a boy thinks it is more manly to show a prickly
+surface&mdash;like the burr of a chestnut.&rdquo;</p>
+
+<p>&ldquo;Listen to them!&rdquo; exclaimed Aunt Kate, with laughter. &ldquo;All the wise
+sayings of the ancient world must be crammed under those pretty caps you
+wear, along with your hair.&rdquo;</p>
+
+<p>&ldquo;That is what we get at college,&rdquo; said Helen seriously. &ldquo;Dear old Ardmore!
+Ruth! won&#8217;t you be glad to get back to the grind again?&rdquo;</p>
+
+<p>&ldquo;I&mdash;don&#8217;t&mdash;know,&rdquo; said her chum slowly. &ldquo;We have seen so much greater
+things than college. It&#8217;s going to be rather tame, isn&#8217;t it?&rdquo;</p>
+
+<p>But this conversation was all before they were distributed into their
+seats and had started.<span class='pagenum'>[Pg 34]</span>
+Colonel Marchand was an excellent driver, and he
+soon understood clearly the mechanism of the smaller car. Tom gave him the
+directions for the first few miles and they pulled out of the yard with
+Mr. Curtis, the station master, and his lame daughter, who now acted as
+telegraph operator, waving the party good-bye.</p>
+
+<p>They would not go by the way of the Red Mill, for that would take them out
+of the way they had chosen. The inn they had in mind to stop at on this
+first night was a long four hours&#8217; ride.</p>
+
+<p>&ldquo;Eastward, Ho!&rdquo; shouted Tom. &ldquo;This is to be a voyage of discovery, but
+don&#8217;t discover any punctures or blow-outs this evening.&rdquo;</p>
+
+<p>Then he glanced at Ruth&#8217;s rather serious face beside him and muttered to
+himself:</p>
+
+<p>&ldquo;And we want to discover principally the smile that Ruth Fielding seems to
+have permanently lost!&rdquo;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 35]</span><a name="VI" id="VI"></a></p>
+<h2>CHAPTER VI</h2>
+
+<p class="center"><strong>&ldquo;THE NEVERGETOVERS&rdquo;</strong></p>
+
+<p>After crossing the Cheslow Hills and the Lumano by the Long Bridge about
+twenty miles below the Red Mill, the touring party debouched upon one of
+the very best State roads. They left much of the dust from which they had
+first suffered behind them, and Tom could now lead the way with the big
+car without smothering the occupants of the honeymoon car in the rear.</p>
+
+<p>The highway wound along a pretty ridge for some miles, with farms dotting
+the landscape and lush meadows or fruit-growing farms dipping to the edge
+of the distant river.</p>
+
+<p>&ldquo;Ah,&rdquo; sighed Henri Marchand. &ldquo;Like <em>la belle</em> France before the war. Such
+peace and quietude we knew, too. Fortunate you are, my friends, that <em>le
+Boche</em> has not trampled these fields into bloody mire.&rdquo;</p>
+
+<p>This comment he made when they halted the cars at a certain overlook to
+view the landscape.<span class='pagenum'>[Pg 36]</span>
+But they could not stop often. Their first objective
+inn was still a long way ahead.</p>
+
+<p>They did not, however, reach the inn, which was a resort well known to
+motorists. Five miles away Tom noticed that the car was acting strangely.</p>
+
+<p>&ldquo;What is it, Tom?&rdquo; demanded Ruth quickly.</p>
+
+<p>&ldquo;Steering gear, I am afraid. Something is loose.&rdquo;</p>
+
+<p>It did not take him long to make an examination, and in the meantime the
+second car came alongside.</p>
+
+<p>&ldquo;It might hold out until we get to the hotel ahead; but I think we had
+better stop before that time if we can,&rdquo; was Tom&#8217;s comment. &ldquo;I do not want
+the thing to break and send us flying over a stone wall or up a tree.&rdquo;</p>
+
+<p>&ldquo;But you can fix it, Tom?&rdquo; questioned Ruth.</p>
+
+<p>&ldquo;Sure! But it will take half an hour or more.&rdquo;</p>
+
+<p>After that they ran along slowly and presently came in sight of a place
+called the Drovers&#8217; Tavern.</p>
+
+<p>&ldquo;Not a very inviting place, but I guess it will do,&rdquo; was Ruth&#8217;s
+announcement after they had looked the inn over.</p>
+
+<p>The girls and Aunt Kate alighted at the steps while the young men wheeled
+the cars around to the sheds.</p>
+
+<p>The housekeeper, who immediately announced
+<span class='pagenum'>[Pg 37]</span> herself as Susan Timmins, was
+fussily determined to see that all was as it should be in the ladies&#8217;
+chambers.</p>
+
+<p>&ldquo;I can&#8217;t trust this gal I got to do the upstairs work,&rdquo; she declared,
+saying it through her nose and with emphasis. &ldquo;Just as sure as kin be,
+if ye go for to help a poor relation you air always sorry for it.&rdquo;</p>
+
+<p>She led the way up the main flight of stairs as she talked.</p>
+
+<p>&ldquo;This here gal will give me the nevergitovers, I know! She&#8217;s my own
+sister&#8217;s child that married a good-for-nothing and is jest like her
+father.&rdquo;</p>
+
+<p>&ldquo;Bella! You Bella! Turn on the light in these rooms. Is the pitchers
+filled? And the beds turned down? If I find a speck of dust on this
+furniture I&#8217;ll nigh &#8217;bout have the nevergitovers! That gal will drive me
+to my grave, she will. Bella!&rdquo;</p>
+
+<p>Bella appeared&mdash;a rather good looking child of fourteen or so, slim as a
+lath and with hungry eyes. She was dark&mdash;almost Gypsy-like. She stared at
+Ruth, Helen and Jennie with all the amazement of the usual yokel. But it
+was their dress, not themselves, Ruth saw, engaged Bella&#8217;s interest.</p>
+
+<p>&ldquo;When you ladies want any help, you call for Bella,&rdquo; announced Miss Susan
+Timmins. &ldquo;And if<span class='pagenum'>[Pg 38]</span>
+she don&#8217;t come running, you let me know, and I&#8217;ll give
+her her nevergitovers, now I tell ye!&rdquo;</p>
+
+<p>&ldquo;No wonder this hotel is called &lsquo;Drovers&#8217; Tavern,&rsquo;&rdquo; said Jennie Stone.
+&ldquo;That woman certainly is a driver&mdash;a slave driver.&rdquo;</p>
+
+<p>Ruth, meanwhile, was trying to make a friend of Bella.</p>
+
+<p>&ldquo;What is your name, my dear?&rdquo; she asked the lathlike girl.</p>
+
+<p>&ldquo;You heard it,&rdquo; was the ungracious reply.</p>
+
+<p>&ldquo;Oh! Yes. &lsquo;Bella.&rsquo; But your other name?&rdquo;</p>
+
+<p>&ldquo;Arabella Montague Fitzmaurice Pike. My father is Montague Fitzmaurice.&rdquo;</p>
+
+<p>She said it proudly, with a lift of her tousled head and a straightening
+of her thin shoulders.</p>
+
+<p>&ldquo;Oh!&rdquo; fairly gasped Ruth Fielding. &ldquo;It&mdash;it sounds quite impressive, I must
+say. I guess you think a good deal of your father?&rdquo;</p>
+
+<p>&ldquo;Aunt Suse don&#8217;t,&rdquo; said the girl ungraciously. &ldquo;My mother&#8217;s dead. And pa
+is resting this season. So I hafter stay here with Aunt Suse. I hate it!&rdquo;</p>
+
+<p>&ldquo;Your father is&mdash;er&mdash;what is his business?&rdquo; Ruth asked.</p>
+
+<p>&ldquo;He&#8217;s one of the profession.&rdquo;</p>
+
+<p>&ldquo;A doctor?&rdquo;</p>
+
+<p>&ldquo;Lands, no! He&#8217;s a heavy.&rdquo;</p>
+
+<p>&ldquo;A <em>what</em>?&rdquo;</p>
+
+<p>&ldquo;A heavy lead&mdash;and a good one. But these
+<span class='pagenum'>[Pg 39]</span> moving pictures knock out all
+the really good people. There are no chances now for him to play
+Shakespearean roles&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Your father is an actor!&rdquo; cried Ruth.</p>
+
+<p>&ldquo;Of course. Montague Fitzmaurice. Surely you have heard the name?&rdquo; said
+the lathlike girl, tossing her head.</p>
+
+<p>&ldquo;Why&mdash;why&mdash;&mdash;of course!&rdquo; declared Ruth warmly. It was true. She had heard
+the name. Bella had just pronounced it!</p>
+
+<p>&ldquo;Then you know what kind of an actor my pa is,&rdquo; said the proud child. &ldquo;He
+did not have a very good season last winter. He rehearsed with four
+companies and was only out three weeks altogether. And one of the managers
+did not pay at all.&rdquo;</p>
+
+<p>&ldquo;That is too bad.&rdquo;</p>
+
+<p>&ldquo;Yes. It&#8217;s tough,&rdquo; admitted Bella. &ldquo;But I liked it.&rdquo;</p>
+
+<p>&ldquo;You liked it when he was so unsuccessful?&rdquo; repeated Ruth.</p>
+
+<p>&ldquo;Pa wasn&#8217;t unsuccessful. He never is. He can play any part,&rdquo; declared the
+girl proudly. &ldquo;But the plays were punk. He says there are no good plays
+written nowadays. That is why so many companies fail.&rdquo;</p>
+
+<p>&ldquo;But you said you liked it?&rdquo;</p>
+
+<p>&ldquo;In New York,&rdquo; explained Bella. &ldquo;While he was rehearsing pa could get
+credit at Mother<span class='pagenum'>[Pg 40]</span>
+Grubson&#8217;s boarding house on West Forty-fourth Street. I
+helped her around the house. She said I was worth my keep. But Aunt Suse
+says I don&#8217;t earn my salt here.&rdquo;</p>
+
+<p>&ldquo;I am sure you do your best, Bella,&rdquo; Ruth observed.</p>
+
+<p>&ldquo;No, I don&#8217;t. Nor you wouldn&#8217;t if you worked for Aunt Suse. She says I&#8217;ll
+give her her nevergitovers&mdash;an&#8217; I hope I do!&rdquo; with which final observation
+she ran to unlace Aunt Kate&#8217;s shoes.</p>
+
+<p>&ldquo;Poor little thing,&rdquo; said Ruth to Helen. &ldquo;She is worse off than an orphan.
+Her Aunt Susan is worse than Uncle Jabez ever was to me. And she has no
+Aunt Alvirah to help her to bear it. We ought to do something for her.&rdquo;</p>
+
+<p>&ldquo;There! You&#8217;ve begun. Every waif and stray on our journey must be aided, I
+suppose,&rdquo; pouted Helen, half exasperated.</p>
+
+<p>But Tom was glad to see that Ruth had found a new interest. Bella waited
+on the supper table, was snapped at by Miss Timmins, and driven from
+pillar to post by that crotchety individual.</p>
+
+<p>&ldquo;Jimminy Christmas!&rdquo; remarked Tom, &ldquo;that Timmins woman must be a
+reincarnation of one of the ancient Egyptians who was overseer in the
+brickyard where Moses learned his trade. If they were all like her, no
+wonder the Israelites went on a strike and marched out of Egypt.&rdquo;</p>
+
+<p>They were all very careful, however, not to
+<span class='pagenum'>[Pg 41]</span> let Miss Susan Timmins hear
+their comments. She had the true dictatorial spirit of the old-fashioned
+New England school teacher. The guests of Drovers&#8217; Tavern were treated by
+her much as she might have treated a class in the little red schoolhouse
+up the road had she presided there.</p>
+
+<p>She drove the guests to their chambers by the method of turning off the
+electric light in the general sitting room at a quarter past ten. Each
+room was furnished with a bayberry candle, and she announced that the
+electricity all over the house would be switched off at eleven o&#8217;clock.</p>
+
+<p>&ldquo;That is late enough for any decent body to be up,&rdquo; she announced in her
+decisive manner. &ldquo;That&#8217;s when I go to bed myself. I couldn&#8217;t do so in
+peace if I knew folks was burning them electric lights to all hours.
+&#8217;Tain&#8217;t safe in a thunder storm.</p>
+
+<p>&ldquo;Why, when we first got &#8217;em, Jed Parraday from Wachuset come to town to do
+his buyin&#8217; and stayed all night with us. He&#8217;d never seed a &#8217;lectric bulb
+before, and he didn&#8217;t know how to blow it out. And he couldn&#8217;t sleep in a
+room with a light.</p>
+
+<p>&ldquo;So, what does the tarnal old fool do but unhook the cord so&#8217;t the bulb
+could be carried as far as the winder. And he hung it outside, shut the
+winder down on it, drawed the shade and went to bed in the dark.</p>
+
+<p><span class='pagenum'>[Pg 42]</span>
+&ldquo;Elnathan Spear, the constable, seen the light a-shining outside the
+winder in the middle of the night and he thought &#8217;twas burglars. He
+<em>dreams</em> of burglars, Elnathan does. But he ain&#8217;t never caught none yet.</p>
+
+<p>&ldquo;On that occasion, howsomever, he was sure he&#8217;d got a whole gang of &#8217;em,
+and he waked up the whole hotel trying to find out what was going on. I
+charged Parraday ha&#8217;f a dollar for burning extry &#8217;lectricity, and he got
+so mad he ain&#8217;t stopped at the hotel since.</p>
+
+<p>&ldquo;He&#8217;d give one the nevergitovers, that man would!&rdquo; she concluded.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 43]</span><a name="VII" id="VII"></a></p>
+<h2>CHAPTER VII</h2>
+
+<p class="center"><strong>MOVIE STUNTS</strong></p>
+
+<p>Jennie Stone slept in Ruth&#8217;s bed that night because, having been parted
+since they were both in France, they had a great deal to say to each
+other&mdash;thus proving true one of Tom Cameron&#8217;s statements regarding women.</p>
+
+<p>Jennie was just as sympathetic&mdash;and as sleepy&mdash;as she could be and she
+&ldquo;oh, dear, me&#8217;d&rdquo; and yawned alternately all through the tale of the lost
+scenario and notebooks, appreciating fully how Ruth felt about it, but
+unable to smother the expression of her desire for sleep.</p>
+
+<p>&ldquo;Maybe we ought not to have come on this automobile trip,&rdquo; said Jennie.
+&ldquo;If the thief just did it to be mean and is somebody who lives around the
+Red Mill, perhaps you might have discovered something by mingling with the
+neighbors.&rdquo;</p>
+
+<p>&ldquo;Oh! Tom did all that,&rdquo; sighed Ruth. &ldquo;And without avail. He searched the
+neighborhood<span class='pagenum'>[Pg 44]</span>
+thoroughly, although he is confident that a tramp carried it
+off. And that seems reasonable. I am almost sure, Heavy, that my scenario
+will appear under the trademark of some other producing manager than Mr.
+Hammond.&rdquo;</p>
+
+<p>&ldquo;Oh! How mean!&rdquo;</p>
+
+<p>&ldquo;Well, a thief is almost the meanest person there is in the world, don&#8217;t
+you think so? Except a backbiter. And anybody mean enough to steal my
+scenario must be mean enough to try to make use of it.&rdquo;</p>
+
+<p>&ldquo;Oh, dear! Ow-oo-ooo! Scuse me, Ruth. Yes, I guess you are right. But
+can&#8217;t you stop the production of the picture?&rdquo;</p>
+
+<p>&ldquo;How can I do that?&rdquo;</p>
+
+<p>&ldquo;I don&#8217;t&mdash;&mdash;ow-oo!&mdash;&mdash;know. Scuse me, dear.&rdquo;</p>
+
+<p>&ldquo;Most pictures are made in secret, anyway. The public knows nothing about
+them until the producer is ready to make their release.&rdquo;</p>
+
+<p>&ldquo;I&mdash;ow-oo!&mdash;I see,&rdquo; yawned Jennie.</p>
+
+<p>&ldquo;Even the picture play magazines do not announce them until the first
+runs. Then, sometimes, there is a synopsis of the story published. But it
+will be too late, then. Especially when I have no notes of my work, nor
+any witnesses. I told no living soul about the scenario&mdash;what it was
+about, or&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Sh-sh-sh&mdash;&mdash;&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 45]</span>
+&ldquo;Why, Heavy!&rdquo; murmured the scandalized Ruth.</p>
+
+<p>&ldquo;Sh-sh-sh&mdash;whoo!&rdquo; breathed the plump girl, with complete abandon.</p>
+
+<p>&ldquo;My goodness!&rdquo; exclaimed Ruth, tempted to shake her, &ldquo;if you snore like
+that when you are married, Henri will have to sleep at the other end of
+the house.&rdquo;</p>
+
+<p>But this was completely lost on the tired Jennie Stone, who continued to
+breathe heavily until Ruth herself fell asleep. It seemed as though the
+latter had only closed her eyes when the sun shining into her face awoke
+the girl of the Red Mill. The shades of the east window had been left up,
+and it was sunrise.</p>
+
+<p>Plenty of farm noises outside the Drovers&#8217; Tavern, as well as a stir in
+the kitchen, assured Ruth that there were early risers here. Jennie,
+rolled in more than her share of the bedclothes, continued to breathe as
+heavily as she had the night before.</p>
+
+<p>But suddenly Ruth was aware that there was somebody besides herself awake
+in the room. She sat up abruptly in bed and reached to seize Jennie&#8217;s
+plump shoulder. Ruth had to confess she was much excited, if not
+frightened.</p>
+
+<p>Then, before she touched the still sleeping Jennie Stone, Ruth saw the
+intruder. The door from the anteroom was ajar. A steaming agateware
+<span class='pagenum'>[Pg 46]</span> can
+of water stood on the floor just inside this door. Before the bureau which
+boasted a rather large mirror for a country hotel bedroom, pivoted the
+thin figure of Arabella Montague Fitzmaurice Pike!</p>
+
+<p>From the neatly arranged outer clothing of the two girls supposedly asleep
+in the big four-poster, Bella had selected a skirt of Ruth&#8217;s and a
+shirt-waist of Jennie&#8217;s, arraying herself in both of these borrowed
+garments. She was now putting the finishing touch to her costume by
+setting Ruth&#8217;s cap on top of her black, fly-away mop of hair.</p>
+
+<p>Turning about and about before the glass, Bella was so much engaged in
+admiring herself that she forgot the hot water she was supposed to carry
+to the various rooms. Nor did she see Ruth sitting up in bed looking at
+her in dawning amusement. Nor did she, as she pirouetted there, hear her
+Nemesis outside in the hall.</p>
+
+<p>The door suddenly creaked farther open. The grim face of Miss Susan
+Timmins appeared at the aperture.</p>
+
+<p>&ldquo;Oh!&rdquo; gasped Ruth Fielding aloud.</p>
+
+<p>Bella turned to glance in startled surprise at the girl in bed. And at
+that moment Miss Timmins bore down upon the child like a shrike on a
+chippy-bird.</p>
+
+<p>&ldquo;Ow-ouch!&rdquo; shrieked Bella.</p>
+
+<p>&ldquo;Oh, don&#8217;t!&rdquo; begged Ruth.</p>
+
+<p><span class='pagenum'>[Pg 47]</span>
+&ldquo;What is it? Goodness! <em>Fire!</em>&rdquo; cried Jennie Stone, who, when awakened
+suddenly, always remembered the dormitory fire at Briarwood Hall.</p>
+
+<p>&ldquo;You little pest! I&#8217;ll larrup ye good! I&#8217;ll give ye your nevergitovers!&rdquo;
+sputtered the hotel housekeeper.</p>
+
+<p>But the affrighted Bella wriggled away from her aunt&#8217;s bony grasp. She
+dodged Miss Timmins about the marble-topped table, retreated behind the
+hair-cloth sofa, and finally made a headlong dash for the door, while
+Jennie continued to shriek for the fire department.</p>
+
+<p>Ruth leaped out of bed. In her silk pajamas and slippers, and without any
+wrap, she hurried to reach, and try to separate, the struggling couple
+near the door.</p>
+
+<p>Miss Timmins delivered several hearty slaps upon Bella&#8217;s face and ears.
+The child shrieked. She got away again and plunged into the can of hot
+water.</p>
+
+<p>Over this went, flooding the rag-carpet for yards around.</p>
+
+<p>&ldquo;Fire! Fire!&rdquo; Jennie continued to shriek.</p>
+
+<p>Helen dashed in from the next room, dressed quite as lightly as Ruth, and
+just in time to see the can spilled.</p>
+
+<p>&ldquo;Oh! Water! Water!&rdquo;</p>
+
+<p>&ldquo;Drat that young one!&rdquo; barked Miss Timmins,
+<span class='pagenum'>[Pg 48]</span> ignoring the flood and
+everything else save her niece&mdash;even the conventions.</p>
+
+<p>She dashed after Bella. The latter had disappeared into the hall through
+the anteroom.</p>
+
+<p>&ldquo;Oh, the poor child!&rdquo; cried sympathetic Ruth, and followed in the wake of
+the angry housekeeper.</p>
+
+<p>&ldquo;Fire! Fire!&rdquo; moaned Jennie Stone.</p>
+
+<p>&ldquo;Cat&#8217;s foot!&rdquo; snapped Helen Cameron. &ldquo;It&#8217;s water&mdash;and it is flooding the
+whole room.&rdquo;</p>
+
+<p>She ran to set the can upright&mdash;after the water was all out of it. Without
+thinking of her costume, Ruth Fielding ran to avert Bella&#8217;s punishment if
+she could. She knew the aunt was beside herself with rage, and Ruth feared
+that the woman would, indeed, give Bella her &ldquo;nevergetovers.&rdquo;</p>
+
+<p>The corridor of the hotel was long, running from front to rear of the main
+building. The window at the rear end of it overlooked the roof of the back
+kitchen. This window was open, and when Ruth reached the corridor Bella
+was going head-first through the open window, like a circus clown diving
+through a hoop.</p>
+
+<p>She had discarded Jennie&#8217;s shirt-waist between the bedroom and the window.
+But Ruth&#8217;s skirt still flapped about the child&#8217;s thin shanks.</p>
+
+<p>Miss Timmins, breathing threatenings and slaughter, raced down the hall in
+pursuit. Ruth<span class='pagenum'>[Pg 49]</span>
+followed, begging for quarter for the terrified child.</p>
+
+<p>But the housekeeper went through the open window after Bella, although in
+a more conventional manner, paying no heed to Ruth&#8217;s plea. The frightened
+girl, however, escaped her aunt&#8217;s clutch by slipping off the borrowed
+skirt and descending the trumpet-vine trellis by the kitchen door.</p>
+
+<p>&ldquo;Do let her go, Miss Timmins!&rdquo; begged Ruth, as the panting woman, carrying
+Ruth&#8217;s skirt, returned to the window where the girl of the Red Mill stood.
+&ldquo;She is scared to death. She was doing no harm.&rdquo;</p>
+
+<p>&ldquo;I&#8217;ll thank you to mind your own business, Miss,&rdquo; snapped Miss Timmins
+hotly. &ldquo;I declare! A girl growed like you running &#8217;round in men&#8217;s
+overalls&mdash;or, what be them things you got on?&rdquo;</p>
+
+<p>At this criticism Ruth Fielding fled, taking the skirt and Jennie&#8217;s
+shirt-waist with her. But Aunt Kate was aroused now and the four women of
+the automobile party swiftly slipped into their negligees and appeared in
+the hall again, to meet Tom and Colonel Marchand who came from their room
+only partly dressed.</p>
+
+<p>The critical Miss Timmins had darted downstairs, evidently in pursuit of
+her unfortunate niece. The guests crowded to the back window.</p>
+
+<p>&ldquo;Where did she go?&rdquo; demanded Tom, who had
+<span class='pagenum'>[Pg 50]</span> heard some explanation of the
+early morning excitement. &ldquo;Is she running away?&rdquo;</p>
+
+<p>&ldquo;What a child!&rdquo; gasped Aunt Kate.</p>
+
+<p>&ldquo;My waist!&rdquo; moaned Jennie.</p>
+
+<p>&ldquo;Look at Ruth&#8217;s skirt!&rdquo; exclaimed Helen.</p>
+
+<p>&ldquo;I do not care for the skirt,&rdquo; the girl of the Red Mill declared. &ldquo;It is
+Bella.&rdquo;</p>
+
+<p>&ldquo;Her aunt will about give her those &lsquo;nevergetovers&rsquo; she spoke of,&rdquo;
+chuckled Tom.</p>
+
+<p>&ldquo;<em>Ma foi!</em> look you there,&rdquo; exclaimed Colonel Marchand, pointing through
+the window that overlooked the rear premises of the hotel.</p>
+
+<p>At top speed Miss Timmins was crossing the yard toward the big hay barn.
+Bella had taken refuge in that structure, and the housekeeper&#8217;s evident
+intention was to harry her out. The woman grasped a clothes-stick with
+which she proposed to castigate her niece.</p>
+
+<p>&ldquo;The cruel thing!&rdquo; exclaimed Helen, the waters of her sympathy rising for
+Bella Pike now.</p>
+
+<p>&ldquo;There&#8217;s the poor kid!&rdquo; said Tom.</p>
+
+<p>Bella appeared at an open door far up in the peak of the haymow. The hay
+was packed solidly under the roof; but there was an air space left at
+either end.</p>
+
+<p>&ldquo;She has put herself into the so-tight corner&mdash;no?&rdquo; suggested the young
+Frenchman.</p>
+
+<p>&ldquo;You&#8217;ve said it!&rdquo; agreed Tom. &ldquo;Why! it&#8217;s regular movie stunts. She&#8217;s come
+up the ladders to<span class='pagenum'>[Pg 51]</span>
+the top of the mow. If auntie follows her, I don&#8217;t see
+that the kid can do anything but jump!&rdquo;</p>
+
+<p>&ldquo;Tom! Never!&rdquo; cried Ruth.</p>
+
+<p>&ldquo;He is fooling,&rdquo; said Jennie.</p>
+
+<p>&ldquo;Tell me how she can dodge that woman, then,&rdquo; demanded Tom.</p>
+
+<p>&ldquo;Ah!&rdquo; murmured Henri Marchand. &ldquo;She have arrive&#8217;.&rdquo;</p>
+
+<p>Miss Timmins appeared at the door behind Bella. The spectators heard the
+girl&#8217;s shriek. The housekeeper struck at her with the clothes stick. And
+then&mdash;&mdash;</p>
+
+<p>&ldquo;Talk about movie stunts!&rdquo; shouted Tom Cameron, for the frightened Bella
+leaped like a cat upon the haymow door and swung outward with nothing more
+stable than air between her and the ground, more than thirty feet below!</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 52]</span><a name="VIII" id="VIII"></a></p>
+<h2>CHAPTER VIII</h2>
+
+<p class="center"><strong>THE AUCTION BLOCK</strong></p>
+
+
+<p>Helen Cameron and Jennie Stone shrieked in unison when Miss Susan Timmins&#8217;
+niece cast herself out of the haymow upon the plank door and swung as far
+as the door would go upon its creaking hinges. Ruth seized Tom&#8217;s wrist in
+a nervous grip, but did not utter a word. Aunt Kate turned away and
+covered her eyes with her hands that she might not see the reckless child
+fall&mdash;if she did fall.</p>
+
+<p>&ldquo;Name of a name!&rdquo; murmured Henri Marchand. &ldquo;<em>Au secours!</em> Come, Tom, <em>mon
+ami</em>&mdash;to the rescue!&rdquo;</p>
+
+<p>He turned and ran lightly along the hall and down the stairs. But Tom went
+through the window, almost as precipitately as had Bella Pike herself, and
+so over the roof of the kitchen ell and down the trumpet-vine trellis.</p>
+
+<p>Tom was in the yard and running to the barn before Marchand got out of the
+kitchen. Several other people, early as the hour was, appeared running
+toward the rear premises of Drovers&#8217; Tavern.</p>
+
+<p><span class='pagenum'>[Pg 53]</span>
+&ldquo;See that crazy young one!&rdquo; some woman shrieked. &ldquo;I know she&#8217;ll kill
+herself yet.&rdquo;</p>
+
+<p>&ldquo;Stop that!&rdquo; commanded Tom, looking up and shaking a threatening hand at
+Miss Timmins.</p>
+
+<p>For in her rage the woman was trying to strike her niece with the stick,
+as Bella clung to the door.</p>
+
+<p>&ldquo;Mind your own business, young man!&rdquo; snapped the virago. &ldquo;And go back and
+put the rest of your clothes on. You ain&#8217;t decent.&rdquo;</p>
+
+<p>Tom was scarcely embarrassed by this verbal attack. The case was too
+serious for that. Miss Timmins struck at the girl again, and only missed
+the screaming Bella by an inch or so.</p>
+
+<p>Helen and Jennie screamed in unison, and Ruth herself had difficulty in
+keeping her lips closed. The cruel rage of the hotel housekeeper made her
+quite unfit to manage such a child as Bella, and Ruth determined to
+interfere in Bella&#8217;s behalf at the proper time.</p>
+
+<p>&ldquo;I wish she would pitch out of that door herself!&rdquo; cried Helen recklessly.</p>
+
+<p>Tom had run into the barn and was climbing the ladders as rapidly as
+possible to the highest loft. Scolding and striking at her victim, Miss
+Susan Timmins continued to act like the mad woman she was. And Bella, made
+desperate at last by fear, reached for the curling edges of the shingles
+on the eaves above her head.</p>
+
+<p>&ldquo;Don&#8217;t do that, child!&rdquo; shrieked Jennie Stone.</p>
+
+<p><span class='pagenum'>[Pg 54]</span>
+But Bella scrambled up off the swinging door and pulled herself by her
+thin arms on to the roof of the barn. There she was completely out of her
+aunt&#8217;s reach.</p>
+
+<p>&ldquo;Oh, the plucky little sprite!&rdquo; cried Helen, in delight.</p>
+
+<p>&ldquo;But&mdash;but she can&#8217;t get down again,&rdquo; murmured Aunt Kate. &ldquo;There is no
+scuttle in that roof.&rdquo;</p>
+
+<p>&ldquo;Tom will find a way,&rdquo; declared Ruth Fielding with confidence.</p>
+
+<p>&ldquo;And my Henri,&rdquo; put in Jennie. &ldquo;That horrid old creature!&rdquo;</p>
+
+<p>&ldquo;She should be punished for this,&rdquo; agreed Ruth. &ldquo;I wonder where the
+child&#8217;s father is.&rdquo;</p>
+
+<p>&ldquo;Didn&#8217;t you find out last night?&rdquo; Helen asked.</p>
+
+<p>&ldquo;Only that he is &lsquo;resting&rsquo;.&rdquo;</p>
+
+<p>&ldquo;Some poor, miserable loafer, is he?&rdquo; demanded Aunt Kate, with acrimony.</p>
+
+<p>&ldquo;No. It seems that he is an actor,&rdquo; Ruth explained. &ldquo;He is out of work.&rdquo;</p>
+
+<p>&ldquo;But he can&#8217;t think anything of his daughter to see her treated like
+this,&rdquo; concluded Aunt Kate.</p>
+
+<p>&ldquo;She is very proud of him. His professional name is Montague Fitzmaurice.&rdquo;</p>
+
+<p>&ldquo;Some name!&rdquo; murmured Jennie.</p>
+
+<p>&ldquo;Their family name is Pike,&rdquo; said Ruth, still seriously. &ldquo;I do not think
+the man can know how this aunt treats little Bella. There&#8217;s Tom!&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 55]</span>
+The young captain appeared behind the enraged housekeeper at the open door
+of the loft. One glance told him what Bella had done. He placed a firm
+hand on Miss Timmins&#8217; shoulder.</p>
+
+<p>&ldquo;If you had made that girl fall you would go to jail,&rdquo; Tom said sternly.
+&ldquo;You may go, yet. I will try to put you there. And in any case you shall
+not have the management of the child any longer. Go back to the house!&rdquo;</p>
+
+<p>For once the housekeeper was awed. Especially when Henri Marchand, too,
+appeared in the loft.</p>
+
+<p>&ldquo;Madame will return to the house. We shall see what can be done for the
+child. <em>Gare!</em>&rdquo;</p>
+
+<p>Perhaps the woman was a little frightened at last by what she had done&mdash;or
+what she might have done. At least, she descended the ladders to the
+ground floor without argument.</p>
+
+<p>The two young men planned swiftly how to rescue the sobbing child. But
+when Tom first spoke to Bella, proposing to help her down, she looked over
+the edge of the roof at him and shook her head.</p>
+
+<p>&ldquo;No! I ain&#8217;t coming down,&rdquo; she announced emphatically. &ldquo;Aunt Suse will
+near about skin me alive.&rdquo;</p>
+
+<p>&ldquo;She shall not touch you,&rdquo; Tom promised.</p>
+
+<p>&ldquo;She&#8217;ll give me my nevergitovers, just as she says. You can&#8217;t stay here
+and watch her.&rdquo;</p>
+
+<p>&ldquo;But we&#8217;ll find a way to keep her from beating
+<span class='pagenum'>[Pg 56]</span> you when we are gone,&rdquo; Tom
+promised. &ldquo;Don&#8217;t you fear her at all.&rdquo;</p>
+
+<p>&ldquo;I don&#8217;t care where you put me, Aunt Suse will find me out. She&#8217;ll send
+Elnathan Spear after me.&rdquo;</p>
+
+<p>&ldquo;I don&#8217;t know who Spear is&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;He&#8217;s the constable,&rdquo; sobbed Bella.</p>
+
+<p>&ldquo;Well, he sha&#8217;n&#8217;t spear you,&rdquo; declared Tom. &ldquo;Come on, kid. Don&#8217;t be
+scared, and we&#8217;ll get you down all right.&rdquo;</p>
+
+<p>He found the clothes-stick Miss Timmins had abandoned and used it for a
+brace. With a rope tied to the handle of the plank door and drawn taut, it
+was held half open. Tom then climbed out upon and straddled the door and
+raised his arms to receive the girl when she lowered herself over the
+eaves.</p>
+
+<p>She was light enough&mdash;little more than skin and bone, Tom declared&mdash;and
+the latter lowered her without much effort into Henri&#8217;s arms.</p>
+
+<p>When the three girls and Aunt Kate at the tavern window saw this safely
+accomplished they hurried back to their rooms to dress.</p>
+
+<p>&ldquo;Something must be done for that poor child,&rdquo; Ruth Fielding said with
+decision.</p>
+
+<p>&ldquo;Are you going to adopt her?&rdquo; Helen asked.</p>
+
+<p>&ldquo;And send her to Briarwood?&rdquo; put in Jennie.</p>
+
+<p>&ldquo;That might be the very best thing that could happen to her,&rdquo; Ruth
+rejoined soberly. &ldquo;She has<span class='pagenum'>[Pg 57]</span>
+lived at times in a theatrical boarding house
+and has likewise traveled with her father when he was with a more or less
+prosperous company.</p>
+
+<p>&ldquo;These experiences have made her, after a fashion, grown-up in her ways
+and words. But in most things she is just as ignorant as she can be. Her
+future is not the most important thing just now. It is her present.&rdquo;</p>
+
+<p>Helen heard the last word from the other room where she was dressing, and
+she cried:</p>
+
+<p>&ldquo;That&#8217;s it, Ruthie. Give her a present and tell her to run away from her
+aunt. She&#8217;s a spiteful old thing!&rdquo;</p>
+
+<p>&ldquo;You do not mean that!&rdquo; exclaimed her chum. &ldquo;You are only lazy and hate
+responsibility of any kind. We must do something practical for Bella
+Pike.&rdquo;</p>
+
+<p>&ldquo;How easily she says &lsquo;we&rsquo;,&rdquo; Helen scoffed.</p>
+
+<p>&ldquo;I mean it. I could not sleep to-night if I knew this child was in her
+aunt&#8217;s control.&rdquo;</p>
+
+<p>A knock on the door interrupted the discussion. Ruth, who was quite
+dressed now, responded. A lout of a boy, who evidently worked about the
+stables, stood grinning at the door.</p>
+
+<p>&ldquo;Miz Timmins says you folks kin all get out. She won&#8217;t have you served no
+breakfast. She don&#8217;t want none of you here.&rdquo;</p>
+
+<p>&ldquo;My goodness!&rdquo; wailed Jennie. &ldquo;Dispossessed&mdash;and without breakfast!&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 58]</span>
+&ldquo;Where is the proprietor of this hotel, boy?&rdquo; Ruth asked.</p>
+
+<p>&ldquo;You mean Mr. Drovers? He ain&#8217;t here. Gone to Boston. But that wouldn&#8217;t
+make no dif&#8217;rence. Suse Timmins is boss.&rdquo;</p>
+
+<p>&ldquo;Oh, me! Oh, my!&rdquo; groaned Jennie, to whom the prospect was tragic.
+Jennie&#8217;s appetite was never-failing.</p>
+
+<p>The boy slouched away just as Tom and Henri Marchand appeared with Bella
+between them.</p>
+
+<p>&ldquo;You poor, dear child!&rdquo; cried Ruth, running along the hall to meet them.</p>
+
+<p>Bella struggled to escape from the boys. But Tom and Colonel Marchand held
+her by either hand.</p>
+
+<p>&ldquo;Easy, young one!&rdquo; advised Captain Cameron.</p>
+
+<p>&ldquo;I never meant to do no harm, Miss!&rdquo; cried Bella. &ldquo;I&mdash;I just wanted to see
+how I&#8217;d look in them clothes. I never do have anything decent to wear.&rdquo;</p>
+
+<p>&ldquo;Why, my dear, don&#8217;t mind about that,&rdquo; said Ruth, taking the lathlike girl
+in her arms. &ldquo;If you had asked us we would have let you try on the things,
+I am sure.&rdquo;</p>
+
+<p>&ldquo;Aunt Suse would near &#8217;bout give me my nevergitovers&mdash;and she will yet!&rdquo;</p>
+
+<p>&ldquo;No she won&#8217;t,&rdquo; Ruth reassured her. &ldquo;Don&#8217;t be afraid of your aunt any
+longer.&rdquo;</p>
+
+<p>&ldquo;That is what I tell her,&rdquo; Tom said warmly.</p>
+
+<p><span class='pagenum'>[Pg 59]</span>
+&ldquo;Say! You won&#8217;t put me in no home, will you?&rdquo; asked Bella, with sudden
+anxiety.</p>
+
+<p>&ldquo;A &lsquo;home&rsquo;?&rdquo; repeated Ruth, puzzled.</p>
+
+<p>&ldquo;She means a charitable institution, poor dear,&rdquo; said Aunt Kate.</p>
+
+<p>&ldquo;That&#8217;s it, Missus,&rdquo; Bella said. &ldquo;I knew a girl that was out of one of
+them homes. She worked for Mrs. Grubson. She said all the girls wore brown
+denim uniforms and had their hair slicked back and wasn&#8217;t allowed even to
+whisper at table or after they got to bed at night.&rdquo;</p>
+
+<p>&ldquo;Nothing like that shall happen to you,&rdquo; Ruth declared.</p>
+
+<p>&ldquo;Where is your father, Bella?&rdquo; Tom asked.</p>
+
+<p>&ldquo;I don&#8217;t know. Last I saw of him he came through here with a medicine
+show. I didn&#8217;t tell Aunt Suse, but I ran away at night and went to Broxton
+to see him. But he said business was poor. He got paid so much a bottle
+commission on the sales of Chief Henry Red-dog&#8217;s Bitters. He didn&#8217;t think
+the show would keep going much longer.&rdquo;</p>
+
+<p>&ldquo;Oh!&rdquo;</p>
+
+<p>&ldquo;You know, they didn&#8217;t know he was Montague Fitzmaurice, the great
+Shakespearean actor. Pa often takes such jobs. He ain&#8217;t lazy like Aunt
+Suse says. Why, once he took a job as a ballyhoo at a show on the Bowery
+in Coney Island. But his voice ain&#8217;t never been what it was since.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 60]</span>
+&ldquo;Do you expect him to return here for you?&rdquo; Ruth asked, while the other
+listeners exchanged glances and with difficulty kept their faces straight.</p>
+
+<p>&ldquo;Oh, yes, Miss. Just as soon as he is in funds. Or he&#8217;ll send for me. He
+always does. He knows I hate it here.&rdquo;</p>
+
+<p>&ldquo;Does he know how your aunt treats you?&rdquo; Aunt Kate interrupted.</p>
+
+<p>&ldquo;N&mdash;not exactly,&rdquo; stammered Bella. &ldquo;I haven&#8217;t told him all. I don&#8217;t want
+to bother him. It&mdash;it ain&#8217;t always so bad.&rdquo;</p>
+
+<p>&ldquo;I tell you it&#8217;s got to stop!&rdquo; Tom said, with warmth.</p>
+
+<p>&ldquo;Of course she shall not remain in this woman&#8217;s care any longer,&rdquo; Aunt
+Kate agreed.</p>
+
+<p>&ldquo;But we must not take Bella away from this locality,&rdquo; Ruth observed. &ldquo;When
+her father comes back for her she must be here&mdash;somewhere.&rdquo;</p>
+
+<p>&ldquo;Oh, lady!&rdquo; exclaimed Bella. &ldquo;Send me to New York to Mrs. Grubson&#8217;s. I bet
+she&#8217;d keep me till pa opens somewhere in a good show.&rdquo;</p>
+
+<p>But Ruth shook her head. She had her doubts about the wisdom of the
+child&#8217;s being in such a place as Mrs. Grubson&#8217;s boarding house, no matter
+how kindly disposed that woman might be.</p>
+
+<p>&ldquo;Bella should stay near here,&rdquo; Ruth said firmly, &ldquo;as long as we cannot
+communicate with Mr. Pike at once.&rdquo;</p>
+
+<p>&ldquo;Let&#8217;s write a notice for one of the theatrical
+<span class='pagenum'>[Pg 61]</span> papers,&rdquo; suggested Helen
+eagerly. &ldquo;You know&mdash;&lsquo;Montague Fitzmaurice please answer.&rsquo; All the actors
+do it.&rdquo;</p>
+
+<p>&ldquo;But pa don&#8217;t always have the money to buy the papers,&rdquo; said Bella, taking
+the suggestion quite seriously.</p>
+
+<p>&ldquo;At least, if Bella is in this neighborhood he will know where to find
+her,&rdquo; went on Ruth. &ldquo;Is there nobody you know here, child, whom you would
+like to stay with till your father returns?&rdquo;</p>
+
+<p>Bella&#8217;s face instantly brightened. Her black eyes flashed.</p>
+
+<p>&ldquo;Oh, I&#8217;d like to stay at the minister&#8217;s,&rdquo; she said.</p>
+
+<p>&ldquo;At the minister&#8217;s?&rdquo; repeated Ruth. &ldquo;Why, if he would take you that would
+be fine. Who is he?&rdquo;</p>
+
+<p>&ldquo;The Reverend Driggs,&rdquo; said Bella.</p>
+
+<p>&ldquo;Do you suppose the clergyman would take the child?&rdquo; murmured Aunt Kate.</p>
+
+<p>&ldquo;Why do you want to go to live with the minister?&rdquo; asked Tom with
+curiosity.</p>
+
+<p>&ldquo;&#8217;Cause he reads the Bible so beautifully,&rdquo; declared Bella. &ldquo;Why! it
+sounds just like pa reading a play. The Reverend Driggs is an educated man
+like pa. But he&#8217;s got an awful raft of young ones.&rdquo;</p>
+
+<p>&ldquo;A poor minister,&rdquo; said Aunt Kate briskly. &ldquo;I am afraid that would not
+suit.&rdquo;</p>
+
+<p>&ldquo;If the Driggs family is already a large one,&rdquo; began Ruth doubtfully, when
+Bella declared:</p>
+
+<p><span class='pagenum'>[Pg 62]</span>
+&ldquo;Miz Driggs had two pairs of twins, and one ever so many times. There&#8217;s a
+raft of &#8217;em.&rdquo;</p>
+
+<p>Helen and Jennie burst out laughing at this statement and the others were
+amused. But to Ruth Fielding this was a serious matter. The placing of
+Bella Pike in a pleasant home until her father could be communicated with,
+or until he appeared on the scene ready and able to care for the child,
+was even more serious than the matter of going without breakfast, although
+Jennie Stone said &ldquo;No!&rdquo; to this.</p>
+
+<p>&ldquo;We&#8217;d better set up an auction block before the door of the hotel and
+auction her off to the highest bidder, hadn&#8217;t we?&rdquo; suggested Helen, who
+had been rummaging in her bag. &ldquo;Here, Bella! If you want a shirt-waist to
+take the place of that calico blouse you have on, here is one. One of
+mine. And I guarantee it will fit you better than Heavy&#8217;s did. She wears
+an extra size.&rdquo;</p>
+
+<p>&ldquo;I don&#8217;t either,&rdquo; flashed the plump girl, as the boys retreated from the
+room. &ldquo;I may not be a perfect thirty-six&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Is there any doubt of it?&rdquo; cried Helen, the tease.</p>
+
+<p>&ldquo;Well!&rdquo;</p>
+
+<p>&ldquo;Never mind,&rdquo; Ruth said. &ldquo;Jennie is going to be thinner.&rdquo;</p>
+
+<p>&ldquo;And it seems she will begin to diet this very morning,&rdquo; Aunt Kate put
+in.</p>
+
+<p><span class='pagenum'>[Pg 63]</span>
+&ldquo;Ow-wow!&rdquo; moaned Jennie at this reminder that they had been refused
+breakfast.</p>
+
+<p>Captain Tom, however, had handled too many serious situations in France to
+be browbeaten by a termagant like Miss Susan Timmins. He went down to the
+kitchen, ordered a good breakfast for all of his party, and threatened to
+have recourse to the law if the meal was not well and properly served.</p>
+
+<p>&ldquo;For you keep a public tavern,&rdquo; he told the sputtering Miss Timmins, &ldquo;and
+you cannot refuse to serve travelers who are willing and able to pay. We
+are on a pleasure trip, and I assure you, Madam, it will be a pleasure to
+get you into court for any cause.&rdquo;</p>
+
+<p>On coming back to the front of the house he found two of the neighbors
+just entering. One proved to be the local doctor&#8217;s wife and the other was
+a kindly looking farmer.</p>
+
+<p>&ldquo;I knowed that girl warn&#8217;t being treated right, right along,&rdquo; said the
+man. &ldquo;And I told Mirandy that I was going to put a stop to it.&rdquo;</p>
+
+<p>&ldquo;It is a disgrace,&rdquo; said the doctor&#8217;s wife, &ldquo;that we should have allowed
+it to go on so long. I will take the child myself&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;And so&#8217;ll Mirandy,&rdquo; declared the farmer.</p>
+
+<p>&ldquo;It is an auction,&rdquo; whispered Helen, overhearing this from the top of the
+stairs.</p>
+
+<p>The party of guests came down with their bags
+<span class='pagenum'>[Pg 64]</span> now, bringing Bella in
+their midst&mdash;and in the new shirt-waist.</p>
+
+<p>&ldquo;Let her choose which of these kind people she will stay with,&rdquo; Tom
+advised. &ldquo;And,&rdquo; he added, in a low voice to Ruth, &ldquo;we will pay for her
+support until we can find her father.&rdquo;</p>
+
+<p>&ldquo;Like fun you will, young feller!&rdquo; snorted the farmer, overhearing Tom.</p>
+
+<p>&ldquo;I could not hear of such a thing,&rdquo; said the doctor&#8217;s wife.</p>
+
+<p>&ldquo;I&#8217;d like to know what you people think you&#8217;re doing?&rdquo; demanded Miss
+Timmins, popping out at them suddenly.</p>
+
+<p>&ldquo;Now, Suse Timmins, we&#8217;re a-goin&#8217; to do what we neighbors ought to have
+done long ago. We&#8217;re goin&#8217; to take this gal&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;You start anything like that&mdash;taking that young one away from her lawful
+guardeen&mdash;an&#8217; I&#8217;ll get Elnathan Spear after you in a hurry, now I tell ye.
+I&#8217;ll give you your nevergitovers!&rdquo;</p>
+
+<p>&ldquo;If Nate Spear comes to my house, I&#8217;ll ask him to pay me for that corn he
+bought off&#8217;n me as long ago as last fall,&rdquo; chuckled the farmer. &ldquo;Just
+because you&#8217;re own cousin to Nate don&#8217;t put <em>all</em> the law an&#8217; the gospel
+on your side, Suse Timmins. I&#8217;ll take good care of this girl.&rdquo;</p>
+
+<p>&ldquo;And so will I, if Bella wants to live with me,&rdquo; said the doctor&#8217;s wife.</p>
+
+<p>&ldquo;Mirandy will be glad to have her.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 65]</span>
+&ldquo;And she&#8217;d be company for me,&rdquo; rejoined the other neighbor. &ldquo;I haven&#8217;t any
+children.&rdquo;</p>
+
+<p>&ldquo;Bella must choose for herself,&rdquo; said Ruth kindly.</p>
+
+<p>&ldquo;I guess I&#8217;ll go with Mr. Perkins,&rdquo; said the actor&#8217;s daughter. &ldquo;Miz Holmes
+is real nice; but Doctor Holmes gives awful tastin&#8217; medicine. I might be
+sick there and have to take some of it. So I&#8217;ll go to Miz Perkins. She has
+a doctor from Maybridge and he gives candy-covered pellets. I ate some
+once. Besides, Miz Perkins is lame and can&#8217;t get around so spry, and I can
+do more for her.&rdquo;</p>
+
+<p>&ldquo;Now listen to that!&rdquo; exclaimed the farmer. &ldquo;Ain&#8217;t she a noticing child?&rdquo;</p>
+
+<p>&ldquo;Well, Mrs. Perkins will be good to her, no doubt,&rdquo; agreed the doctor&#8217;s
+wife.</p>
+
+<p>&ldquo;I&#8217;d like to know what you fresh city folks butted into this thing for!&rdquo;
+demanded Miss Timmins. &ldquo;If there&#8217;s any law in the land&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;<em>You&#8217;ll</em> get it!&rdquo; promised Tom Cameron.</p>
+
+<p>&ldquo;Go get anything you own that you want to take with you, Bella,&rdquo; Ruth
+advised the shrinking child.</p>
+
+<p>With another fearful glance at her aunt, Bella ran upstairs.</p>
+
+<p>Miss Timmins might have started after her, but Tom planted himself before
+that door. The lout of a boy began bringing in the breakfast for the
+automobile party. Ruth talked privately with
+<span class='pagenum'>[Pg 66]</span> the doctor&#8217;s wife and Mr.
+Perkins, and forced some money on the woman to be expended for a very
+necessary outfit of clothing for Bella.</p>
+
+<p>Miss Timmins finally flounced back into the kitchen where they heard her
+venting her anger and chagrin on the kitchen help. Bella returned bearing
+an ancient extension bag crammed full of odds and ends. She kissed Ruth
+and shook hands with the rest of the company before departing with Mr.
+Perkins.</p>
+
+<p>The doctor&#8217;s wife promised to write to Ruth as soon as anything was heard
+of Mr. Pike, and the automobile party turned their attention to ham and
+eggs, stewed potatoes, and griddle cakes.</p>
+
+<p>&ldquo;Only,&rdquo; said Jennie, sepulchrally, &ldquo;I hope the viands are not poisoned.
+That Miss Timmins would certainly like to give us all our
+&lsquo;nevergetovers&rsquo;.&rdquo;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 67]</span><a name="IX" id="IX"></a></p>
+<h2>CHAPTER IX</h2>
+
+<p class="center"><strong>A DISMAYING DISCOVERY</strong></p>
+
+<p>&ldquo;&lsquo;The Later Pilgrims&rsquo; are well out of that trouble,&rdquo; announced Helen, when
+the cars were underway, the honeymoon car ahead and the other members of
+the party packed into the bigger automobile.</p>
+
+<p>&ldquo;And I hope,&rdquo; she added, &ldquo;that Ruth will find no more waifs and strays.&rdquo;</p>
+
+<p>&ldquo;Don&#8217;t be knocking Ruthie all the time,&rdquo; said Tom, glancing back over his
+shoulder. &ldquo;She&#8217;s all right.&rdquo;</p>
+
+<p>&ldquo;And you keep your eyes straight ahead, young man,&rdquo; advised Aunt Kate, &ldquo;or
+you will have this heavy car in the ditch.&rdquo;</p>
+
+<p>&ldquo;Watch out for Henri and Heavy, too,&rdquo; advised Helen. &ldquo;They do not quite
+know what they are about and you may run them down. There! See his
+horizon-blue sleeve steal about her? He&#8217;s got only one hand left to steer
+with. Talk about a perfect thirty-six! It&#8217;s lucky Henri&#8217;s arm is
+phenomenally long, or he could never surround <em>that</em> baby!&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 68]</span>
+&ldquo;I declare, Helen,&rdquo; laughed Ruth. &ldquo;I believe you are covetous.&rdquo;</p>
+
+<p>&ldquo;Well, Henri is an awfully nice fellow&mdash;for a Frenchman.&rdquo;</p>
+
+<p>&ldquo;And you are the damsel who declared you proposed to remain an old maid
+forever and ever and the year after.&rdquo;</p>
+
+<p>&ldquo;I can be an old maid and still like the boys, can&#8217;t I? All the more, in
+fact. I sha&#8217;n&#8217;t have to be true to just one man, which, I believe, would
+be tedious.&rdquo;</p>
+
+<p>&ldquo;You should live in that part of New York called Greenwich Village and
+wear a Russian blouse and your hair bobbed. Those are the kind of bon mots
+those people throw off in conversation. Light and airy persiflage, it is
+called,&rdquo; said Tom from the front seat.</p>
+
+<p>&ldquo;What do you know about such people, Tommy?&rdquo; demanded his sister.</p>
+
+<p>&ldquo;There were some co-eds of that breed I met at Cambridge. They were
+exponents of the &lsquo;new freedom,&rsquo; whatever that is. Bolshevism, I guess.
+Freedom from both law and morals.&rdquo;</p>
+
+<p>&ldquo;Those are not the kind of girls who are helping in France,&rdquo; said Ruth
+soberly.</p>
+
+<p>&ldquo;You said it!&rdquo; agreed Tom. &ldquo;That sort are so busy riding hobbies over here
+that they have no interest in what is going on in Europe unless it may be
+in Russia. Well, thank heaven, there are
+<span class='pagenum'>[Pg 69]</span> comparatively few nuts compared
+with us sane folks.&rdquo;</p>
+
+<p>Such thoughts as these, however, did not occupy their minds for long. Just
+as Tom had declared, they were out for fun, and the fun could be found
+almost anywhere by these blithe young folk.</p>
+
+<p>Ruth&#8217;s face actually changed as they journeyed on. She was both &ldquo;pink and
+pretty,&rdquo; Helen declared, before they camped at the wayside for luncheon.</p>
+
+<p>The hampers on the big car were crammed with all the necessities of food
+and service for several meals. There were, too, twin alcohol lamps, a
+coffee boiler and a teapot.</p>
+
+<p>Altogether they were making a very satisfactory meal and were having a
+jolly time at the edge of a piece of wood when a big, black wood-ant
+dropped down Jennie Stone&#8217;s back.</p>
+
+<p>At first they did not know what the matter was with her. Her mouth was
+full, the food in that state of mastication that she could not immediately
+swallow it.</p>
+
+<p>&ldquo;Ow! Ow! Ow!&rdquo; choked the plump girl, trying to get both hands at once down
+the neck of her shirt-waist.</p>
+
+<p>&ldquo;What <em>is</em> the matter, Heavy?&rdquo; gasped Helen.</p>
+
+<p>&ldquo;Jennie, dear!&rdquo; murmured Ruth. &ldquo;Don&#8217;t!&rdquo;</p>
+
+<p>&ldquo;<em>Ma chere!</em>&rdquo; gasped Henri Marchand. &ldquo;Is she ill?&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 70]</span>
+&ldquo;Jennie, behave yourself!&rdquo; cried her aunt.</p>
+
+<p>&ldquo;I saw a toad swallow a hornet once,&rdquo; Tom declared. &ldquo;She acts just the
+same way.&rdquo;</p>
+
+<p>&ldquo;As the hornet?&rdquo; demanded his sister, beginning to giggle.</p>
+
+<p>&ldquo;As the toad,&rdquo; answered Tom, gravely.</p>
+
+<p>But Henri had got to his feet and now reached the wriggling girl. &ldquo;Let me
+try to help!&rdquo; he cried.</p>
+
+<p>&ldquo;If you even begin wiggling that way, Colonel Marchand,&rdquo; declared Helen,
+&ldquo;you will be in danger of arrest. There is a law against <em>that</em> dance.&rdquo;</p>
+
+<p>&ldquo;Ow! Ow! Ow!&rdquo; burst out Jennie once more, actually in danger of choking.</p>
+
+<p>&ldquo;What <em>is</em> it?&rdquo; Ruth demanded, likewise reaching the writhing girl.</p>
+
+<p>&ldquo;Oh, he bit me!&rdquo; finally exploded Jennie.</p>
+
+<p>Ruth guessed what must be the trouble then, and she forced Jennie&#8217;s hands
+out of the neck of her waist and ran her hand down the plump girl&#8217;s back.
+Between them they killed the ant, for Ruth finally recovered a part of the
+unfortunate creature.</p>
+
+<p>&ldquo;But just think,&rdquo; consoled Helen, &ldquo;how much more awful it would have been
+if you had swallowed him, Heavy, instead of his wriggling down your spinal
+column.&rdquo;</p>
+
+<p>&ldquo;Oh, don&#8217;t! I can feel him wriggling now,&rdquo; sighed Jennie.</p>
+
+<p><span class='pagenum'>[Pg 71]</span>
+&ldquo;That can be nothing more than his ghost,&rdquo; said Tom soberly, &ldquo;for Ruth
+retrieved at least half of the ant&#8217;s bodily presence.&rdquo;</p>
+
+<p>&ldquo;You&#8217;ll give us all the fidgets if you keep on wriggling, Jennie,&rdquo;
+declared Aunt Kate.</p>
+
+<p>&ldquo;Well, I don&#8217;t want to sit on the grass in a woodsy place again while we
+are on this journey,&rdquo; sighed Jennie. &ldquo;Ugh! I always did hate creepy
+things.&rdquo;</p>
+
+<p>&ldquo;Including spiders, snakes, beetles and babies, I suppose?&rdquo; laughed Helen.
+&ldquo;Come on now. Let us clear up the wreck. Where do we camp to-night,
+Tommy?&rdquo;</p>
+
+<p>&ldquo;No more camping, I pray!&rdquo; squealed Jennie. &ldquo;I am no Gypsy.&rdquo;</p>
+
+<p>&ldquo;The hotel at Hampton is recommended as the real thing. They have a horse
+show every year at Hampton, you know. It is in the midst of a summer
+colony of wealthy people. It is the real thing,&rdquo; Tom repeated.</p>
+
+<p>They made a pleasant and long run that afternoon and arrived at the
+Hampton hotel in good season to dress for dinner. Jennie and her aunt met
+some people they knew, and naturally Jennie&#8217;s fianc&eacute; and her friends were
+warmly welcomed by the gay little colony.</p>
+
+<p>Men at the pleasure resorts were very scarce that year, and here were two
+perfectly good<span class='pagenum'>[Pg 72]</span> dancers. So it was very late when the automobile party got
+away from the dance at the Casino.</p>
+
+<p>They were late the next morning in starting on the road to Boston.
+Besides, there was thunder early, and Helen, having heard it rumbling,
+quoted:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">&ldquo;&lsquo;Thunder in the morning,<br /></span>
+<span class="i1a">Sailors take warning!&rsquo;&rdquo;<br /></span>
+</div></div>
+
+<p>and rolled over for another nap.</p>
+
+<p>Ruth, however, at last had to get up. She was no &ldquo;lie-abed&rdquo; in any case,
+and in her present nervous state she had to be up and doing.</p>
+
+<p>&ldquo;But it&#8217;s going to ra-a-ain!&rdquo; whined Jennie Stone when Ruth went into her
+room.</p>
+
+<p>&ldquo;You&#8217;re neither sugar nor salt,&rdquo; said Ruth.</p>
+
+<p>&ldquo;Henri says I&#8217;m as sweet as sugar,&rdquo; yawned Jennie.</p>
+
+<p>&ldquo;He is not responsible for what he says about you,&rdquo; said her aunt briskly.
+&ldquo;When I think of what that really nice young man is taking on his
+shoulders when he marries you&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;But, Auntie!&rdquo; cried Jennie, &ldquo;he&#8217;s not going to try to carry me pickaback,
+you know.&rdquo;</p>
+
+<p>&ldquo;Just the same, it is wrong for us to encourage him to become responsible
+for you, Jennie,&rdquo; said her aunt. &ldquo;He really should be warned.&rdquo;</p>
+
+<p>&ldquo;Oh!&rdquo; gasped the plump girl. &ldquo;Let anybody dare try to get between me and
+my Henri&mdash;&mdash;&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 73]</span>
+&ldquo;Nobody can&mdash;no fear&mdash;when you are sitting with him in the front seat of
+that roadster of Tom&#8217;s,&rdquo; said Ruth. &ldquo;You fill every atom of space, Heavy.&rdquo;</p>
+
+<p>She went to the window and looked out again. Heavy rolled out of bed&mdash;a
+good deal like a barrel, her aunt said tartly.</p>
+
+<p>&ldquo;What is it doing outside?&rdquo; yawned the plump girl.</p>
+
+<p>&ldquo;Well, it&#8217;s not raining. And it is a long run to Boston. We should be on
+our way now. The road through the hills is winding. There will be no time
+to stop for a Gypsy picnic.&rdquo;</p>
+
+<p>&ldquo;Thank goodness for that!&rdquo; grumbled Jennie, sitting on the floor,
+schoolgirl fashion, to draw on her stockings. &ldquo;I&#8217;ll eat enough at
+breakfast hereafter to keep me alive until we reach a hotel, if you folks
+insist on inviting wood ants and other savage creatures of the forest to
+our luncheon table.&rdquo;</p>
+
+<p>When the party finally gathered for breakfast in the hotel dining room on
+this morning, it was disgracefully late. Tom had been over both cars and
+pronounced them fit. He had ordered the tanks filled with gasoline and had
+tipped one of the garage men liberally to see that this was properly done.</p>
+
+<p>Afterward Captain Tom declared he would never trust a garage workman
+again.</p>
+
+<p><span class='pagenum'>[Pg 74]</span>
+&ldquo;The only way to get a thing done well is to do it yourself&mdash;and a tip
+never bought any special service yet,&rdquo; declared the angry Tom. &ldquo;It is
+merely a form of highway robbery.&rdquo;</p>
+
+<p>But this was afterward. The party started off from Hampton in high fettle
+and with a childlike trust in the honesty of a garage attendant.</p>
+
+<p>There were banks of clouds shrouding the horizon both to the west and
+north&mdash;the two directions from which thunder showers usually rise in this
+part of New England in which they were traveling. And yet the shower held
+off.</p>
+
+<p>It was some time past noon before the thunder began to mutter again. The
+automobile party was then in the hilly country. Heretofore farms had been
+plentiful, although hamlets were few and far between.</p>
+
+<p>&ldquo;If it rains,&rdquo; said Ruth cheerfully, &ldquo;of course we can take refuge in some
+farmhouse.&rdquo;</p>
+
+<p>&ldquo;Ho, for adventure among the savage natives!&rdquo; cried Helen.</p>
+
+<p>&ldquo;I hope we shall meet nobody quite as savage as Miss Susan Timmins,&rdquo; was
+Aunt Kate&#8217;s comment.</p>
+
+<p>They ran into a deep cut between two wooded hills and there was not a
+house in sight. Indeed, they had not passed a farmstead on the road for
+the last five miles. Over the top of the wooded crest to the north curled
+a slate colored storm<span class='pagenum'>[Pg 75]</span>
+cloud, its upper edge trembling with livid
+lightnings. The veriest tyro of a weather prophet could see that a storm
+was about to break. But nobody had foretold the sudden stopping of the
+honeymoon car in the lead!</p>
+
+<p>&ldquo;What is the matter with you?&rdquo; cried Helen, standing up in the tonneau of
+the big car, when Tom pulled up suddenly to keep from running the maroon
+roadster down. &ldquo;Don&#8217;t you see it is going to rain? We want to get
+somewhere.&rdquo;</p>
+
+<p>&ldquo;I guess we have got somewhere,&rdquo; responded Jennie Stone. &ldquo;As far as we are
+concerned, this seems to be our stopping place. The old car won&#8217;t go.&rdquo;</p>
+
+<p>Tom jumped out and hurried forward to join Henri in an examination of the
+car&#8217;s mechanism.</p>
+
+<p>&ldquo;What happened, Colonel?&rdquo; he asked the Frenchman, worriedly.</p>
+
+<p>&ldquo;I have no idea, <em>mon ami</em>,&rdquo; responded Marchand. &ldquo;This is a puzzle, eh?&rdquo;</p>
+
+<p>&ldquo;First of all, let&#8217;s put up the tops. That rain is already beating the
+woods on the summit of the hill.&rdquo;</p>
+
+<p>The two young men hurried to do this, first sheltering Jennie and then
+together dragging the heavy top over the big car, covering the baggage and
+passengers. Helen and Ruth could fasten the curtains, and soon the women
+of the party were snug enough. The drivers, however, had to get
+<span class='pagenum'>[Pg 76]</span> into rain
+garments and begin the work of hunting the trouble with the roadster.</p>
+
+<p>The thunder grew louder and louder. Flashes of lightning streaked across
+the sky overhead. The electric explosions were soon so frequent and
+furious that the girls cowered together in real terror. Jennie had slipped
+out of the small car and crowded in with her chums and Aunt Kate.</p>
+
+<p>&ldquo;I don&#8217;t care!&rdquo; she wailed, &ldquo;Henri and Tom are bound to take that car all
+to pieces to find what has happened.&rdquo;</p>
+
+<p>But they did not have to go as far as that. In fact, before the rain
+really began to fall in earnest, Tom made the tragic discovery. There was
+scarcely a drop of gasoline in the tank of the small machine. Tom hurried
+back to the big car. He glanced at the dial of the gasoline tank. There
+was not enough of the fluid to take them a mile! And the emergency tank
+was turned on!</p>
+
+<p>It was at this point that he stated his opinion of the trustworthiness of
+garage workmen.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 77]</span><a name="X" id="X"></a></p>
+<h2>CHAPTER X</h2>
+
+<p class="center"><strong>A WILD AFTERNOON</strong></p>
+
+<p>This was a serious situation. Five miles behind the automobile party was
+the nearest dwelling on this road, and Tom was sure that the nearest
+gasoline sign was all of five miles further back!</p>
+
+<p>Ahead lay more or less mystery. As the rain began to drum upon the roofs
+of the two cars, harder and harder and faster and faster, Tom got out the
+road map and tried to figure out their location. Ridgeton was ahead
+somewhere&mdash;not nearer than six miles, he was sure. And the map showed no
+gas sign this side of Ridgeton.</p>
+
+<p>Of course there might be some wayside dwelling only a short distance ahead
+at which enough gasoline could be secured to drive the smaller car to
+Ridgeton for a proper supply for both machines. But if all the gasoline
+was drained from the tank of the big car into that of the roadster, the
+latter would be scarcely able to travel another mile. And without being
+sure that such a supply of gas<span class='pagenum'>[Pg 78]</span>
+could be found within that distance, why
+separate the two cars?</p>
+
+<p>This was the sensible way Tom put it to Henri; and it was finally decided
+that Tom should start out on foot with an empty can and hunt for gasoline,
+while Colonel Marchand remained with the girls and Aunt Kate.</p>
+
+<p>When the two young men ran back through the pouring rain to the big car
+and announced this decision, they had to shout to make the girls hear. The
+turmoil of the rain and thunder was terrific.</p>
+
+<p>&ldquo;I really wish you&#8217;d wait, Tom, till the tempest is over,&rdquo; Ruth anxiously
+said. &ldquo;Suppose something happened to you on the road?&rdquo;</p>
+
+<p>&ldquo;Suppose something happened to <em>us</em> here in the auto?&rdquo; shrieked Helen.</p>
+
+<p>&ldquo;But Henri Marchand will be with you,&rdquo; said her brother, preparing to
+depart. &ldquo;And if I delay we may not reach Boston to-night.&rdquo;</p>
+
+<p>&ldquo;Oh!&rdquo; gasped Jennie. &ldquo;Do please find some gas, Tom. I&#8217;d be scared to death
+to stay out here in these woods.&rdquo;</p>
+
+<p>&ldquo;One of the autos may bite her,&rdquo; scoffed Helen, ready to scorn her own
+fears when her friend was even more fearful. &ldquo;These cars are the wildest
+thing in these woods, I warrant.&rdquo;</p>
+
+<p>&ldquo;Of course you must do what you think is best, Tom,&rdquo; said Ruth, gravely.
+&ldquo;I hope you will not have to go far.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 79]</span>
+&ldquo;No matter how long I am gone, Ruth, don&#8217;t be alarmed,&rdquo; he told her. &ldquo;You
+know, nothing serious ever happens to me.&rdquo;</p>
+
+<p>&ldquo;Oh, no!&rdquo; cried his sister. &ldquo;Of course not! Only you get carried away on a
+Zeppelin, or are captured by the Germans and Ruth has to go to your
+rescue. We know all about how immune you are from trouble, young man.&rdquo;</p>
+
+<p>&ldquo;Thanks be! there are no Boches here in peaceful New England,&rdquo; exclaimed
+Jennie, after Tom had started off with the gasoline can. &ldquo;Oh!&rdquo;</p>
+
+<p>A sharp clap of thunder seemingly just overhead followed the flash that
+had made the plump girl shriek. The explosion reverberated between the
+hills in slowly passing cadence.</p>
+
+<p>Jennie finally removed her fingers from her ears with a groan. Aunt Kate
+had covered her eyes. With Helen they cowered together in the tonneau.
+Ruth had been sitting beside Tom in the front seat when the cars were
+stalled, and now Henri Marchand was her companion.</p>
+
+<p>&ldquo;I heard something then, Colonel,&rdquo; Ruth said in a low tone, when the salvo
+of thunder was passed.</p>
+
+<p>&ldquo;You are fortunate, Mademoiselle,&rdquo; he returned. &ldquo;Me, I am deafened
+complete&#8217;.&rdquo;</p>
+
+<p>&ldquo;I heard a cry.&rdquo;</p>
+
+<p>&ldquo;Not from Captain Cameron?&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 80]</span>&ldquo;It was not his voice. Listen!&rdquo; said the girl of the Red Mill, in some
+excitement.</p>
+
+<p>Despite the driving rain she put her head out beyond the curtain and
+listened. Her face was sheltered from the beating rain. It would have
+taken her breath had she faced it. Again the lightning flashed and the
+thunder crashed on its trail.</p>
+
+<p>Ruth did not draw in her head. She wore her raincoat and a rubber cap, and
+on her feet heavy shoes. The storm did not frighten her. She might be
+anxious for Tom&#8217;s safety, but the ordinary chances of such a disturbance
+of the elements as this never bothered Ruth Fielding at all.</p>
+
+<p>As the rolling of thunder died away in the distance again, the splashing
+sound of the rain seemed to grow lighter, too; or Ruth&#8217;s hearing became
+attuned to the sounds about her.</p>
+
+<p>There it was again! A human cry! Or was it? It came from up the hillside
+to the north of the road on which the automobiles were stalled.</p>
+
+<p>Was there somebody up there in the wet woods&mdash;some human creature lost in
+the storm?</p>
+
+<p>For a third time Ruth heard the wailing, long-drawn cry. Henri had his
+hands full soothing Jennie. Helen and Aunt Kate were clinging together in
+the depths of the tonneau. Possibly their eyes were covered against the
+glare of the lightning.</p>
+
+<p>Ruth slipped out under the curtain on the
+<span class='pagenum'>[Pg 81]</span>leeward side. The rain swept
+down the hillside in solid platoons that marched one after another from
+northwest to southeast. Dashing against the southern hillside, these
+marching columns dissolved in torrents that Ruth could hear roaring down
+from the tree-tops and rushing in miniature floods through the forest.</p>
+
+<p>The road was all awash. The cars stood almost hub-deep in a yellow,
+foaming flood. The roadside ditches were not deep here, and the sudden
+freshet was badly guttering the highway.</p>
+
+<p>Sheltered at first by the top of the big car, Ruth strained her ears again
+to catch that cry which had come down the wind from the thickly wooded
+hillside.</p>
+
+<p>There it was! A high, piercing scream, as though the one who uttered it
+was in great fear or agony. Nor did the cry seem to be far away.</p>
+
+<p>Ruth went around to the other side of the automobile. The rain was letting
+up&mdash;or seemed to be. She crossed to the higher ground and pushed through
+the fringe of bushes that bordered the road.</p>
+
+<p>Already her feet and ankles were saturated, for she had waded through
+water more than a foot in depth. Here on the steep hillside the flowing
+water followed the beds of small rivulets which carried it away on either
+side of her.</p>
+
+<p>The thick branches of the trees made an almost
+<span class='pagenum'>[Pg 82]</span> impervious umbrella above
+her head. She could see up the hill through the drifting mist for a long
+distance. The aisles between the rows of trees seemed filled with a sort
+of pallid light.</p>
+
+<p>Across the line of her vision and through one of these aisles passed a
+figure&mdash;whether that of an animal or the stooping body of a human being
+Ruth Fielding could not at first be sure.</p>
+
+<p>She had no fear of there being any savage creature in this wood. At least
+there could be nothing here that would attack her in broad daylight. In a
+lull in the echoing thunder she cried aloud:</p>
+
+<p>&ldquo;Hoo-hoo! Hoo-hoo! Where are you?&rdquo;</p>
+
+<p>She was sure her voice drove some distance up the hillside against the
+wind. She saw the flitting figure again, and with a desire to make sure of
+its identity, Ruth started in pursuit.</p>
+
+<p>Had Tom been present the girl of the Red Mill would have called his
+attention to the mystery and left it to him to decide whether to
+investigate or not. But Ruth was quite an independent person when she was
+alone; and under the circumstances, with Henri Marchand so busy comforting
+Jennie, Ruth did not consider for a moment calling the Frenchman to advise
+with her.</p>
+
+<p>As for Helen and Aunt Kate, they were quite overcome by their fears. Ruth
+was not really afraid of thunder and lightning, as many people are. She
+had long since learned that &ldquo;thunder<span class='pagenum'>[Pg 83]</span>
+does not bite, and the bolt of
+lightning that hits you, you will never see!&rdquo;</p>
+
+<p>Heavy as the going was, and interfering with her progress through her wet
+garments did, Ruth ran up the hill underneath the dripping trees. She saw
+the flitting, shadowy figure once more. Again she called as loudly as she
+could shout:</p>
+
+<p>&ldquo;Wait! Wait! I won&#8217;t hurt you.&rdquo;</p>
+
+<p>Whoever or whatever it was, the figure did not stay. It flitted on about
+two hundred yards ahead of the pursuing girl.</p>
+
+<p>At times it disappeared altogether; but Ruth kept on up the hill and her
+quarry always reappeared. She was quite positive this was the creature
+that had shrieked, for the mournful cry was not repeated after she caught
+sight of the figure.</p>
+
+<p>&ldquo;It is somebody who has been frightened by the storm,&rdquo; she thought. &ldquo;Or it
+is a lost child. This is a wild hillside, and one might easily be lost up
+here.&rdquo;</p>
+
+<p>Then she called again. She thought the strange figure turned and
+hesitated. Then, of a sudden, it darted into a clump of brush. When Ruth
+came panting to the spot she could see no trace of the creature, or the
+path which it had followed.</p>
+
+<p>But directly before Ruth was an opening in the hillside&mdash;the mouth of a
+deep ravine which had not been visible from the road below.</p>
+
+<p><span class='pagenum'>[Pg 84]</span>
+Down this ravine ran a noisy torrent which had cut itself a wider and
+deeper bed since the cloudburst on the heights. Small trees, brush, and
+rocks had been uprooted by the force of the stream, but its current was
+now receding. One might walk along the edge of the brook into this
+hillside fastness.</p>
+
+<p>Determined to solve the mystery of the strange creature&#8217;s disappearance,
+and quite convinced that it was a lost child or woman, Ruth Fielding
+ventured through the brush clump and passed along the ragged bank of the
+tumbling brook.</p>
+
+<p>Suddenly, in the muddy ground at her feet, the girl spied a shoe. It was a
+black oxford of good quality, and it had been, of course, wrenched from
+the foot of the person she pursued. This girl, or woman, must be running
+from Ruth in fear.</p>
+
+<p>Ruth picked up the shoe. It was for a small foot, but might belong to
+either a girl of fourteen or so or to a small woman. She could see the
+print of the other shoe&mdash;yes! and there was the impress of the stockinged
+foot in the mud.</p>
+
+<p>&ldquo;Whoever she may be,&rdquo; thought Ruth Fielding, &ldquo;she is so frightened that
+she abandoned this shoe. Poor thing! What can be the matter with her?&rdquo;</p>
+
+<p>Ruth shouted again, and yet again. She went on up the side of the
+turbulent brook, staring all about for the hiding place of her quarry.</p>
+
+<p>The rain ceased entirely and abruptly. But the<span class='pagenum'>[Pg 85]</span>
+whole forest was a-drip.
+Far up through the trees she saw a sudden lightening of the sky. The
+clouds were breaking.</p>
+
+<p>But the smoke of the torrential downpour still rose from the saturated
+earth. When Ruth jarred a bush in passing a perfect deluge fell from the
+trembling leaves. The girl began to feel that she had come far enough in
+what appeared to be a wild-goose chase.</p>
+
+<p>Then suddenly, quite amazingly, she was halted. She plunged around a sharp
+turn in the ravine, trying to step on the dryer places, and found herself
+confronted by a man standing under the shelter of a wide-armed spruce.</p>
+
+<p>&ldquo;Oh!&rdquo; gasped Ruth, starting back.</p>
+
+<p>He was a heavy-set, bewhiskered man with gleaming eyes and rather a grim
+look. Worst of all, he carried a gun with the lock sheltered under his
+arm-pit from the rain.</p>
+
+<p>At Ruth&#8217;s appearance he seemed startled, too, and he advanced the muzzle
+of the gun and took a stride forward at the same moment.</p>
+
+<p>&ldquo;Hello!&rdquo; he growled. &ldquo;Be you crazy, too? What in all git out be you
+traipsing through these woods for in the rain?&rdquo;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 86]</span><a name="XI" id="XI"></a></p>
+<h2>CHAPTER XI</h2>
+
+<p class="center"><strong>MR. PETERBY PAUL AND &ldquo;WHOSIS&rdquo;</strong></p>
+
+<p>Ruth Fielding was more than a little startled, for the appearance of this
+bearded and gruff-spoken man was much against him.</p>
+
+<p>She had become familiar, however, during the past months with all sorts
+and conditions of men&mdash;many of them much more dangerous looking than this
+stranger.</p>
+
+<p>Her experiences at the battlefront in France had taught her many things.
+Among them, that very often the roughest men are the most tender with and
+considerate of women. Ruth knew that the girls and women working in the
+Red Cross and the &ldquo;Y&rdquo; and the Salvation Army might venture among the
+roughest <em>poilus</em>, Tommies and our own Yanks without fearing insult or
+injury.</p>
+
+<p>After that first startled &ldquo;Oh!&rdquo; Ruth Fielding gave no sign of fearing the
+bearded man with the gun under his arm. She stood her ground as he
+approached her.</p>
+
+<p><span class='pagenum'>[Pg 87]</span>
+&ldquo;How many air there of ye, Sissy?&rdquo; he wanted to know. &ldquo;And air ye all
+loose from some bat factory? That other one&#8217;s crazy as all git out.&rdquo;</p>
+
+<p>&ldquo;Oh, did you see her?&rdquo;</p>
+
+<p>&ldquo;If ye mean that Whosis that&#8217;s wanderin&#8217; around yellin&#8217; like a
+cat-o&#8217;-mountain&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Oh, dear! It was she that was screaming so!&rdquo;</p>
+
+<p>&ldquo;I should say it was. I tried to cotch her&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;And that scared her more, I suppose.&rdquo;</p>
+
+<p>&ldquo;Huh! Be I so scareful to look at?&rdquo; the stranger demanded. &ldquo;Or, mebbe
+<em>you</em> ain&#8217;t loony, lady?&rdquo;</p>
+
+<p>&ldquo;I should hope not,&rdquo; rejoined Ruth, beginning to laugh.</p>
+
+<p>&ldquo;Then how in tarnation,&rdquo; demanded the bearded man, &ldquo;do you explain your
+wanderin&#8217; about these woods in this storm?&rdquo;</p>
+
+<p>&ldquo;Why,&rdquo; said Ruth, &ldquo;I was trying to catch that poor creature, too.&rdquo;</p>
+
+<p>&ldquo;That Whosis?&rdquo; he exclaimed.</p>
+
+<p>&ldquo;Whatever and whoever she is. See! Here&#8217;s one of her shoes.&rdquo;</p>
+
+<p>&ldquo;Do tell! She&#8217;s lost it, ain&#8217;t she? Don&#8217;t you reckon she&#8217;s loony?&rdquo;</p>
+
+<p>&ldquo;It may be that she is out of her mind. But she couldn&#8217;t hurt you&mdash;a big,
+strong man like you.&rdquo;</p>
+
+<p>&ldquo;That&#8217;s as may be. I misdoubted me she was some kind of a Whosis,&rdquo; said
+the woodsman. &ldquo;I<span class='pagenum'>[Pg 88]</span>
+seen her a couple of times and heard her holler ev&#8217;ry
+time the lightning was real sharp.&rdquo;</p>
+
+<p>&ldquo;The poor creature has been frightened half to death by the tempest,&rdquo; said
+Ruth.</p>
+
+<p>&ldquo;Mebbe. But where did she come from? And where did you come from, if I may
+ask? This yere ain&#8217;t a neighborhood that many city folks finds their way
+into, let me tell ye.&rdquo;</p>
+
+<p>Ruth told him her name and related the mishap that had happened to the two
+cars at the bottom of the hill.</p>
+
+<p>&ldquo;Wal, I want to know!&rdquo; he responded. &ldquo;Out o&#8217; gasoline, heh? Wal, that can
+be mended.&rdquo;</p>
+
+<p>&ldquo;Tom Cameron has gone on foot for some.&rdquo;</p>
+
+<p>&ldquo;Which way did he go, Ma&#8217;am?&rdquo;</p>
+
+<p>&ldquo;East,&rdquo; she said, pointing.</p>
+
+<p>&ldquo;Towards Ridgeton? Wal, he&#8217;ll have a fine walk.&rdquo;</p>
+
+<p>&ldquo;But we have not seen any gasoline sign for ever so far back on the road.&rdquo;</p>
+
+<p>&ldquo;That&#8217;s right. Ain&#8217;t no reg&#8217;lar place. But I guess I might be able to
+scare up enough gas to help you folks out. Ye see, we got a saw mill right
+up this gully and we got a gasoline engine to run her. I&#8217;m a-watchin&#8217; the
+place till the gang come in to work next month. That there Whosis got me
+out in the rain&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Oh! Where do you suppose the poor thing
+<span class='pagenum'>[Pg 89]</span> has gone?&rdquo; interrupted Ruth. &ldquo;We
+should do something for her.&rdquo;</p>
+
+<p>&ldquo;Wal, if she don&#8217;t belong to you folks&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;She doesn&#8217;t. But she should not be allowed to wander about in this awful
+way. Is she a woman grown, or a child?&rdquo;</p>
+
+<p>&ldquo;I couldn&#8217;t tell ye. I ain&#8217;t been close enough to her. By the way, my name
+is Peterby Paul, and I&#8217;m well and fav&#8217;rably knowed about this mounting. I
+did have my thoughts about you, same as that Whosis, I must say. But you
+&#8217;pear to be all right. Wait, and I&#8217;ll bring ye down a couple of cans of
+gasoline, and you can go on and pick up the feller that&#8217;s started to walk
+to Ridgeton.&rdquo;</p>
+
+<p>&ldquo;But that poor creature I followed up here, Mr. Paul? We <em>must</em> find her.&rdquo;</p>
+
+<p>&ldquo;You say she ain&#8217;t nothin&#8217; to you folks?&rdquo;</p>
+
+<p>&ldquo;But she is alone, and frightened.&rdquo;</p>
+
+<p>&ldquo;Wal, I expect so. She did give me a start for fair. I don&#8217;t know where
+she could have come from &#8217;nless she belongs over toward Ridgeton at old
+Miz Abby Drake&#8217;s. She&#8217;s got some city folks stopping with her&mdash;&rdquo;</p>
+
+<p>&ldquo;There she is!&rdquo; cried Ruth, under her breath.</p>
+
+<p>A hobbling figure appeared for a moment on the side of the ravine. The
+rain had ceased now, but it still dripped plentifully from the trees.</p>
+
+<p>&ldquo;I&#8217;m going after her!&rdquo; exclaimed Ruth.</p>
+
+<p><span class='pagenum'>[Pg 90]</span>
+&ldquo;All right, Ma&#8217;am,&rdquo; said Mr. Peterby Paul. &ldquo;I guess she ain&#8217;t no Whosis,
+after all.&rdquo;</p>
+
+<p>Ruth could run much faster than the strange person who had so startled
+both the woodsman and herself. And running lightly, the girl of the Red
+Mill was almost at her quarry&#8217;s elbow before her presence was suspected by
+the latter.</p>
+
+<p>The woman turned her face toward Ruth and screeched in evident alarm. She
+looked wild enough to be called a &ldquo;Whosis,&rdquo; whatever kind of supernatural
+apparition that might be. Her silk dress was in rags; her hair floated
+down her back in a tangled mane; altogether she was a sorry sight, indeed.</p>
+
+<p>She was a woman of middle age, dark, slight of build, and of a most
+pitiful appearance.</p>
+
+<p>&ldquo;Don&#8217;t be frightened! Don&#8217;t be afraid of me,&rdquo; begged Ruth. &ldquo;Where are your
+friends? I will take you to them.&rdquo;</p>
+
+<p>&ldquo;It is the voice of God,&rdquo; said the woman solemnly. &ldquo;I am wicked. He will
+punish me. Do you know how wicked I am?&rdquo; she added in a tense whisper.</p>
+
+<p>&ldquo;I have no idea,&rdquo; Ruth replied calmly. &ldquo;But I think that when we are
+nervous and distraught as you are, we magnify our sins as well as our
+troubles.&rdquo;</p>
+
+<p>Really, Ruth Fielding felt that she might take
+<span class='pagenum'>[Pg 91]</span> this philosophy to
+herself. She had been of late magnifying her troubles, without doubt.</p>
+
+<p>&ldquo;I have been a great sinner,&rdquo; said the woman. &ldquo;Do you know, I used to
+steal my little sister&#8217;s bread and jam. And now she is dead. I can never
+make it up to her.&rdquo;</p>
+
+<p>Plainly this was a serious matter to the excited mind of the poor woman.</p>
+
+<p>&ldquo;Come on down the hill with me. I have got an automobile there and we can
+ride to Mrs. Drake&#8217;s in it. Isn&#8217;t that where you are stopping?&rdquo;</p>
+
+<p>&ldquo;Yes, yes. Abby Drake,&rdquo; said the lost woman weakly. &ldquo;We&mdash;we all started
+out for huckleberries. And I never thought before how wicked I was to my
+little sister. But the storm burst&mdash;such a terrible storm!&rdquo; and the poor
+creature cowered close to Ruth as the thunder muttered again in the
+distance.</p>
+
+<p>&ldquo;It is the voice of God&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Come along!&rdquo; urged Ruth. &ldquo;Lots of people have made the same mistake. So
+Aunt Alvirah says. They mistake some other noise for the voice of God!&rdquo;</p>
+
+<p>The woman was now so weak that the strong girl could easily lead her. Mr.
+Peterby Paul looked at the forlorn figure askance, however.</p>
+
+<p>&ldquo;You can&#8217;t blame me for thinkin&#8217; she was a Whosis,&rdquo; he said to Ruth. &ldquo;Poor
+critter! It&#8217;s<span class='pagenum'>[Pg 92]</span> lucky you came after her. She give me such a start I might
+o&#8217; run sort o&#8217; wild myself.&rdquo;</p>
+
+<p>&ldquo;Perhaps if you had tried to catch her it would only have made her worse,&rdquo;
+Ruth replied, gently patting the excited woman&#8217;s hand.</p>
+
+<p>&ldquo;The voice of God!&rdquo; muttered the victim of her own nervousness.</p>
+
+<p>&ldquo;And she traipsing through these woods in a silk dress!&rdquo; exclaimed Mr.
+Paul. &ldquo;I tell &#8217;em all, city folks ain&#8217;t got right good sense.&rdquo;</p>
+
+<p>&ldquo;Maybe you are right, Mr. Paul,&rdquo; sighed Ruth. &ldquo;We are all a little queer,
+I guess. I will take her down to the car.&rdquo;</p>
+
+<p>&ldquo;And I&#8217;ll be right along with a couple of cans of gasoline, Ma&#8217;am,&rdquo;
+rejoined Peterby Paul. &ldquo;Ain&#8217;t no use you and your friends bein&#8217; stranded
+no longer.&rdquo;</p>
+
+<p>&ldquo;If you will be so kind,&rdquo; Ruth said.</p>
+
+<p>He turned back up the ravine and Ruth urged the lost woman down the hill.
+The poor creature was scarcely able to walk, even after she had put on her
+lost shoe. Her fears which had driven her into this quite irresponsible
+state, were the result of ungoverned nervousness. Ruth thought seriously
+of this fact as she aided her charge down the hillside.</p>
+
+<p>She must steady her own nerves, or the result might be quite as serious.
+She had allowed the loss of her scenario to shake her usual calm. She
+<span class='pagenum'>[Pg 93]</span>
+knew she had not been acting like herself during this automobile journey
+and that she had given her friends cause for alarm.</p>
+
+<p>Then and there Ruth determined to talk no more about her loss or her fears
+regarding the missing scenario. If it was gone, it was gone. That was all
+there was to it. She would no longer worry her friends and disturb her own
+mental poise by ruminating upon her misfortune.</p>
+
+<p>When she and the lost woman got out of the ravine, Ruth could hear the
+girls calling her. And there was Colonel Marchand&#8217;s horizon-blue uniform
+in sight as he toiled up the ascent, looking for her.</p>
+
+<p>&ldquo;Don&#8217;t be frightened, dear,&rdquo; Ruth said to the startled woman. &ldquo;These are
+my friends.&rdquo;</p>
+
+<p>Then she called to Helen that she was coming. Colonel Marchand hurried
+forward with an amazed question.</p>
+
+<p>&ldquo;Never mind! Don&#8217;t bother her,&rdquo; Ruth said. &ldquo;The poor creature has been
+through enough&mdash;out in all this storm, alone. We must get her to where she
+is stopping as soon as possible. See the condition her clothes are in!&rdquo;</p>
+
+<p>&ldquo;But, Mademoiselle Ruth!&rdquo; gasped the Frenchman. &ldquo;We are stalled until
+Captain Tom comes back with the gasoline&mdash;is it not?&rdquo;</p>
+
+<p>&ldquo;We are going to have gas in a very few <span class='pagenum'>[Pg 94]</span>
+minutes,&rdquo; returned Ruth gaily. &ldquo;I did more than find this poor woman
+up on the hill. Wait!&rdquo;</p>
+
+<p>Helen and Jennie sprang at Ruth like a pair of terriers after a cat,
+demanding information and explanation all in a breath. But when they
+realized the state of mind of the strange woman, they calmed down.</p>
+
+<p>They wrapped her in a dry raincoat and put her in the back of the big car.
+She remained quietly there with Jennie&#8217;s Aunt Kate while Ruth related her
+adventure with Mr. Peterby Paul and the &ldquo;Whosis.&rdquo;</p>
+
+<p>&ldquo;Goodness!&rdquo; gasped Helen, &ldquo;I guess he named her rightly. There must be
+something altogether wrong with the poor creature to make her wander about
+these wet woods, screeching like a loon.&rdquo;</p>
+
+<p>&ldquo;I&#8217;d screech, too,&rdquo; said Jennie Stone, &ldquo;if I&#8217;d torn a perfectly good silk
+dress to tatters as she has.&rdquo;</p>
+
+<p>&ldquo;Think of going huckleberrying in a frock like that,&rdquo; murmured Ruth. &ldquo;I
+guess you are both right. And Mr. Peterby Paul did have good reason for
+calling her a &lsquo;Whosis&rsquo;.&rdquo;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 95]</span><a name="XII" id="XII"></a></p>
+<h2>CHAPTER XII</h2>
+
+<p class="center"><strong>ALONGSHORE</strong></p>
+
+<p>Mr. Peterby Paul appeared after a short time striding down the wooded
+hillside balancing a five-gallon gasoline can in either hand.</p>
+
+<p>&ldquo;I reckon you can get to Ridgeton on this here,&rdquo; he said jovially. &ldquo;Guess
+I&#8217;d better set up a sign down here so&#8217;s other of you autermobile folks kin
+take heart if ye git stuck.&rdquo;</p>
+
+<p>&ldquo;You are just as welcome as the flowers in spring, tra-la!&rdquo; cried Helen,
+fairly dancing with delight.</p>
+
+<p>&ldquo;You are an angel visitor, Mr. Paul,&rdquo; said the plump girl.</p>
+
+<p>&ldquo;I been called a lot o&#8217; things besides an angel,&rdquo; the bearded woodsman
+said, his eyes twinkling. &ldquo;My wife, &#8217;fore she died, had an almighty tart
+tongue.&rdquo;</p>
+
+<p>&ldquo;And <em>now</em>?&rdquo; queried Helen wickedly.</p>
+
+<p>&ldquo;Wal, wherever the poor critter&#8217;s gone, I reckon she&#8217;s l&#8217;arned to bridle
+her tongue,&rdquo; said Mr. Peterby Paul cheerfully. &ldquo;Howsomever, as the feller
+said, that&#8217;s another day&#8217;s job. Mr.<span class='pagenum'>[Pg 96]</span>
+Frenchy, let&#8217;s pour this gasoline
+into them tanks.&rdquo;</p>
+
+<p>Ruth insisted upon paying for the gasoline, and paying well. Then Peterby
+Paul gave them careful directions as to the situation of Abby Drake&#8217;s
+house, at which it seemed the lost woman must belong.</p>
+
+<p>&ldquo;Abby always has her house full of city folks in the summer,&rdquo; the woodsman
+said. &ldquo;She is pretty near a Whosis herself, Abby Drake is.&rdquo;</p>
+
+<p>With which rather unfavorable intimation regarding the despised &ldquo;city
+folks,&rdquo; Mr. Peterby Paul saw them start on over the now badly rutted road.</p>
+
+<p>Helen drove the smaller car with Ruth sitting beside her. Henri Marchand
+took the wheel of the touring car, and the run to Boston was resumed.</p>
+
+<p>&ldquo;But we must not over-run Tom,&rdquo; said Ruth to her chum. &ldquo;No knowing what
+by-path he might have tried in search of the elusive gasoline.&rdquo;</p>
+
+<p>&ldquo;I&#8217;ll keep the horn blowing,&rdquo; Helen said, suiting action to her speech and
+sounding a musical blast through the wooded country that lay all about.
+&ldquo;He ought to know his own auto-horn.&rdquo;</p>
+
+<p>The tone of the horn was peculiar. Ruth could always distinguish it from
+any other as Tom speeded along the Cheslow road toward the Red Mill. But
+then, she was perhaps subconsciously listening for its mellow note.</p>
+
+<p><span class='pagenum'>[Pg 97]</span>
+She tacitly agreed with Helen, however, that it might be a good thing to
+toot the horn frequently. And the signal brought to the roadside an
+anxious group of women at a sprawling farmhouse not a mile beyond the spot
+where the two cars had been stalled.</p>
+
+<p>&ldquo;That is the Drake place. It must be!&rdquo; Ruth exclaimed, putting out a hand
+to warn Colonel Marchand that they were about to halt.</p>
+
+<p>A fleshy woman with a very ruddy face under her sunbonnet came eagerly out
+into the road, leading the group of evidently much worried women.</p>
+
+<p>&ldquo;Have you folks seen anything of&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;<em>Abby!</em>&rdquo; shrieked the woman Ruth had found, and she struggled to get out
+of the car.</p>
+
+<p>&ldquo;Well, I declare, Mary Marsden!&rdquo; gasped the sunbonneted woman, who was
+plainly Abby Drake. &ldquo;If you ain&#8217;t a sight!&rdquo;</p>
+
+<p>&ldquo;I&mdash;I&#8217;m so scared!&rdquo; quavered the unforunate victim of her own nerves, as
+Ruth ran back to help her out of the touring car. &ldquo;God is going to punish
+me, Abby.&rdquo;</p>
+
+<p>&ldquo;I certainly hope He will,&rdquo; declared her friend, in rather a hard-hearted
+way. &ldquo;I told you, you ought to be punished for wearing that dress up there
+into the berry pasture, and&mdash;&mdash;&nbsp;Land&#8217;s sakes alive! Look at her
+dress!&rdquo;</p>
+
+<p>Afterward, when Ruth had been thanked by<span class='pagenum'>[Pg 98]</span>
+Mrs. Drake and the other women,
+and the cars were rolling along the highway again, the girl of the Red
+Mill said to Helen Cameron:</p>
+
+<p>&ldquo;I guess Tom is more than half right. Altogether, the most serious topic
+of conversation for all kinds and conditions of female humans is the
+matter of dress&mdash;in one way or another.&rdquo;</p>
+
+<p>&ldquo;How dare you slur your own sex so?&rdquo; demanded Helen.</p>
+
+<p>&ldquo;Well, look at this case,&rdquo; her chum observed. &ldquo;This Mary Marsden had been
+lost in the storm and killed for all they knew, yet Abby Drake&#8217;s first
+thought was for the woman&#8217;s dress.&rdquo;</p>
+
+<p>&ldquo;Well, it was a pity about the dress,&rdquo; Helen remarked, proving that she
+agreed with Abby Drake and the bulk of womankind&mdash;as her twin brother oft
+and again acclaimed.</p>
+
+<p>Ruth laughed. &ldquo;And now if we could see poor dear Tommy&mdash;&mdash;&rdquo;</p>
+
+<p>The car rounded a sharp turn in the highway. The Drake house was perhaps a
+mile behind. Ahead was a long stretch of rain-drenched road, and Helen
+instantly cried:</p>
+
+<p>&ldquo;There he is!&rdquo;</p>
+
+<p>The figure of Tom Cameron with the empty gasoline can in his hand could
+scarcely be mistaken, although he was at least a mile in advance. Helen
+began to punch the horn madly.</p>
+
+<p><span class='pagenum'>[Pg 99]</span>
+&ldquo;He&#8217;ll know that,&rdquo; Ruth cried. &ldquo;Yes, he looks back! Won&#8217;t he be
+astonished?&rdquo;</p>
+
+<p>Tom certainly was amazed. He proceeded to sit down on the can and wait for
+the cars to overtake him.</p>
+
+<p>&ldquo;What are you traveling on?&rdquo; he shouted, when Helen stopped with the
+engine running just in front of him. &ldquo;Fairy gasoline?&rdquo;</p>
+
+<p>&ldquo;Why, Tommy, you&#8217;re not so smart!&rdquo; laughed his sister. &ldquo;It takes Ruth to
+find gas stations. We were stalled right in front of one, and you did not
+know it. Hop in here and take my place and I&#8217;ll run back to the other car.
+Ruth will tell you all about it.&rdquo;</p>
+
+<p>&ldquo;Perhaps we had better let Colonel Marchand and Jennie have this honeymoon
+car,&rdquo; Ruth said doubtfully.</p>
+
+<p>&ldquo;Humph!&rdquo; her chum observed, &ldquo;I begin to believe it will be just as much a
+honeymoon car with you and Tom in it as with that other couple. &lsquo;Bless
+you, my children!&rsquo;&rdquo;</p>
+
+<p>She ran back to the big car with this saucy statement. Tom grinned,
+slipped behind the wheel, and started the roadster slowly.</p>
+
+<p>&ldquo;It must be,&rdquo; he observed in his inimitable drawl, &ldquo;that Sis has noticed
+that I&#8217;m fond of you, Ruthie.&rdquo;</p>
+
+<p>&ldquo;Quite remarkable,&rdquo; she rejoined cheerfully. &ldquo;But the war isn&#8217;t over yet,
+Tommy-boy. And if<span class='pagenum'>[Pg 100]</span>
+our lives are spared we&#8217;ve got to finish our educations
+and all that. Why, Tommy, you are scarcely out of short pants, and I&#8217;ve
+only begun to put my hair up.&rdquo;</p>
+
+<p>&ldquo;Jimminy!&rdquo; he grumbled, &ldquo;you do take all the starch out of a fellow. Now
+tell me how you got gas. What happened?&rdquo;</p>
+
+<p>Everybody has been to Boston, or expects to go there some time, so it is
+quite immaterial what happened to the party while at the Hub. They only
+remained two days, anyway, then they started off alongshore through the
+pleasant old towns that dot the coast as far as Cape Ann.</p>
+
+<p>They saw the ancient fishing ports of Marblehead, Salem, Gloucester and
+Rockport, and then came back into the interior and did not see salt water
+again until they reached Newburyport at the mouth of the Merrimac.</p>
+
+<p>The weather remained delightfully cool and sunshiny after that heavy
+tempest they had suffered in the hills, and they reached Portsmouth and
+remained at a hotel for three days when it rained again. The young folks
+chafed at this delay, but Aunt Kate declared that a hotel room was restful
+after jouncing over all sorts of roads for so long.</p>
+
+<p>&ldquo;They never will build a car easy enough for auntie,&rdquo; Jennie Stone
+declared. &ldquo;I tell pa he must buy some sort of airship for us&mdash;&mdash;&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 101]</span>
+&ldquo;Never!&rdquo; cried Aunt Kate in quick denial. &ldquo;Whenever I go up in the air it
+will be because wings have sprouted on my shoulder blades. And I should
+not call an aeroplane easy riding, in any case.&rdquo;</p>
+
+<p>&ldquo;At least,&rdquo; grumbled Tom, &ldquo;you can spin along without any trouble with
+country constables, and <em>that&#8217;s</em> a blessing.&rdquo;</p>
+
+<p>For on several occasions they had had arguments with members of the police
+force, in one case helping to support a justice and a constable by paying
+a fine.</p>
+
+<p>They did not travel on Sunday, however, when the constables reap most of
+their harvest, so they really had little to complain of in that direction.
+Nor did they travel fast in any case.</p>
+
+<p>After the rainy days at Portsmouth, the automobile party ran on with only
+minor incidents and no adventures until they reached Portland. There Ruth
+telegraphed to Mr. Hammond that they were coming, as in her letter,
+written before they left Cheslow, she had promised him she would.</p>
+
+<p>Herringport, the nearest town to the moving picture camp at Beach Plum
+Point, was at the head of a beautiful harbor, dotted with islands, and
+with water as blue as that of the Bay of Naples. When the two cars rolled
+into this old seaport the party was welcomed in person by Mr.
+<span class='pagenum'>[Pg 102]</span> Hammond,
+the president and producing manager of the Alectrion Film Corporation.</p>
+
+<p>&ldquo;I have engaged rooms for you at the hotel here, if you want them,&rdquo; he
+told Ruth, after being introduced to Aunt Kate and Colonel Marchand, the
+only members of the party whom he had not previously met.</p>
+
+<p>&ldquo;But I can give you all comfortable bunks with some degree of luxury at
+the camp. At least, we think it luxurious after our gold mining experience
+in the West. You will get better cooking at the Point, too.&rdquo;</p>
+
+<p>&ldquo;But a camp!&rdquo; sighed Aunt Kate. &ldquo;We have roughed it so much coming down
+here, Mr. Hammond.&rdquo;</p>
+
+<p>&ldquo;There won&#8217;t be any black ants at this camp,&rdquo; said her niece cheerfully.</p>
+
+<p>&ldquo;Only sand fleas,&rdquo; suggested the wicked Tom.</p>
+
+<p>&ldquo;You can&#8217;t scare me with fleas,&rdquo; said Jennie. &ldquo;They only hop; they don&#8217;t
+wriggle and creep.&rdquo;</p>
+
+<p>&ldquo;My star in the &lsquo;Seaside Idyl,&rsquo; Miss Loder, demanded hotel accommodations
+at first. But she soon changed her mind,&rdquo; Mr. Hammond said. &ldquo;She is now
+glad to be on the lot with the rest of the company.&rdquo;</p>
+
+<p>&ldquo;It sounds like a circus,&rdquo; Aunt Kate murmured doubtfully.</p>
+
+<p>&ldquo;It is more than that, my dear Madam,&rdquo; <span class='pagenum'>[Pg 103]</span>
+replied the manager, laughing.
+&ldquo;But these young people&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;If Aunt Kate won&#8217;t mind,&rdquo; said Ruth, &ldquo;let us try it, while she remains at
+the Herringport Inn.&rdquo;</p>
+
+<p>&ldquo;I&#8217;ll run her back and forth every day for the &lsquo;eats&rsquo;,&rdquo; Tom promptly
+proposed.</p>
+
+<p>&ldquo;My duty as a chaperon&mdash;&mdash;&rdquo; began the good woman, when her niece broke in
+with:</p>
+
+<p>&ldquo;In numbers there is perfect safety, Auntie. There are a whole lot of
+girls down there at the Point.&rdquo;</p>
+
+<p>&ldquo;And we have chaperons of our own, I assure you,&rdquo; interposed Mr. Hammond,
+treating Aunt Kate&#8217;s objection seriously. &ldquo;Miss Loder has a cousin who
+always travels with her. Our own Mother Paisley, who plays character
+parts, has daughters of her own and is a lovely lady. You need not fear,
+Madam, that the conventions will be broken.&rdquo;</p>
+
+<p>&ldquo;We won&#8217;t even crack &#8217;em, Aunt Kate,&rdquo; declared Helen rouguishly. &ldquo;I will
+watch Jen like a cat would a mouse.&rdquo;</p>
+
+<p>&ldquo;Humph!&rdquo; observed the plump girl, scornfully. &ldquo;<em>This</em> mouse, in that case,
+is likely to swallow the cat!&rdquo;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 104]</span><a name="XIII" id="XIII"></a></p>
+<h2>CHAPTER XIII</h2>
+
+<p class="center"><strong>THE HERMIT</strong></p>
+
+<p>&ldquo;Now, tell me, Miss Ruth,&rdquo; said Mr. Hammond, having taken the girl of the
+Red Mill into his own car for the short run to Beach Plum Point, &ldquo;what is
+this trouble about your new scenario? You have excited my curiosity during
+all these months about the wonderful script, and now you say it is not
+ready for me.&rdquo;</p>
+
+<p>&ldquo;Oh, Mr. Hammond!&rdquo; exclaimed Ruth, &ldquo;I fear it will never be ready for
+you.&rdquo;</p>
+
+<p>&ldquo;Nonsense! Don&#8217;t lose heart. You have merely come to one of those
+thank-you-ma&#8217;ams in story writing that all authors suffer. Wait. It will
+come to you.&rdquo;</p>
+
+<p>&ldquo;No, no!&rdquo; sighed Ruth. &ldquo;It is nothing like that. I had finished the
+scenario. I had it all just about as I wanted it, and then&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Then what?&rdquo; he asked in wonder at her emotion.</p>
+
+<p>&ldquo;It&mdash;it was stolen!&rdquo;</p>
+
+<p>&ldquo;Stolen?&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 105]</span>
+&ldquo;Yes. And all my notes&mdash;everything! I&mdash;I can&#8217;t talk about it. And I never
+could write it again,&rdquo; sobbed Ruth. &ldquo;It is the best thing I ever did, Mr.
+Hammond.&rdquo;</p>
+
+<p>&ldquo;If it is better than &lsquo;The Heart of a Schoolgirl&rsquo;, or &lsquo;The Forty-Niners&rsquo;,
+or &lsquo;The Boys of the Draft&rsquo;, then it must be some scenario, Miss Ruth. The
+last two are still going strong, you know. And I have hopes of the
+&lsquo;Seaside Idyl&rsquo; catching the public fancy just when we are all getting
+rather weary of war dramas.</p>
+
+<p>&ldquo;If you can only rewrite this new story&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;But Mr. Hammond! I am sure it has been stolen by somebody who will make
+use of it. Some other producer may put it on the screen, and then my
+version would fall flat&mdash;if no worse.&rdquo;</p>
+
+<p>&ldquo;Humph! And you have been so secret about it!&rdquo;</p>
+
+<p>&ldquo;I took your advice, Mr. Hammond. I have told nobody about it&mdash;not a
+thing!&rdquo;</p>
+
+<p>&ldquo;And somebody unknown stole it?&rdquo;</p>
+
+<p>&ldquo;We think it was a vagrant actor. A tramp. Just the sort of person,
+though, who would know how to make use of the script.&rdquo;</p>
+
+<p>&ldquo;Humph! All actors were considered &lsquo;vagrants&rsquo; under the old English
+law&mdash;in Shakespeare&#8217;s younger days, for instance,&rdquo; remarked Mr. Hammond.</p>
+
+<p>&ldquo;You see how unwise it would be for me to try<span class='pagenum'>[Pg 106]</span>
+to rewrite the story&mdash;even
+if I could&mdash;and try to screen it.&rdquo;</p>
+
+<p>&ldquo;I presume you are right. Yes. But I hoped you would bring a story with
+you that we could be working on at odd times. I have a good all-around
+company here on the lot.&rdquo;</p>
+
+<p>&ldquo;I had most of your principals in mind when I wrote my scenario,&rdquo; sighed
+Ruth. &ldquo;But I could not put my mind to that same subject now. I am
+discouraged, Mr. Hammond.&rdquo;</p>
+
+<p>&ldquo;I would not feel that way if I were you, Miss Ruth,&rdquo; he advised, trying,
+as everybody else did, to cheer her. &ldquo;You will get another good idea, and
+like all other born writers, you will just <em>have</em> to give expression to
+it. Meantime, of course, if I get hold of a promising scenario, I shall
+try to produce it.&rdquo;</p>
+
+<p>&ldquo;I hope you will find a good one, Mr. Hammond.&rdquo;</p>
+
+<p>He smiled rather ruefully. &ldquo;Of course, there is scarcely anybody on the
+lot who hasn&#8217;t a picture play in his or her pocket. I was possibly unwise
+last week to offer five hundred dollars spot cash for a play I could make
+use of, for now I suppose there will be fifty to read. Everybody, from
+Jacks, the property man, to the old hermit, believes he can write a
+scenario.&rdquo;</p>
+
+<p>&ldquo;Who is the hermit?&rdquo; asked Ruth, with some curiosity.</p>
+
+<p><span class='pagenum'>[Pg 107]</span>
+&ldquo;I don&#8217;t know. Nobody seems to know who he is about Herringport. He was
+living in an old fish-house down on the Point when we came here last week
+with the full strength of the company. And I have made use of the old
+fellow in your &lsquo;Seaside Idyl&rsquo;.</p>
+
+<p>&ldquo;He seems to be a queer duck. But he has some idea of the art of acting,
+it seems. Director Jim Hooley is delighted with him. But they tell me the
+old fellow is scribbling all night in his hut. The scenario bug has
+certainly bit that old codger. He&#8217;s out for my five hundred dollars,&rdquo; and
+the producing manager laughed again.</p>
+
+<p>&ldquo;I hope you get a good script,&rdquo; said Ruth earnestly. &ldquo;But don&#8217;t ask me to
+read any of them, Mr. Hammond. It does seem as though I never wanted to
+look at a scenario again!&rdquo;</p>
+
+<p>&ldquo;Then you are going to miss some amusement in this case,&rdquo; he chuckled.</p>
+
+<p>&ldquo;Why so?&rdquo;</p>
+
+<p>&ldquo;I tell you frankly I do not expect much from even those professional
+actors. It was my experience even before I went into the motion picture
+business that plays submitted by actors were always full of all the old
+stuff&mdash;all the old theatrical tricks and the like. Actors are the most
+insular people in existence, I believe. They know how plays should be
+written to fulfill the tenets of the<span class='pagenum'>[Pg 108]</span>
+profession; but invention is &lsquo;something else again&rsquo;.&rdquo;</p>
+
+<p>The young people who had motored so far were welcomed by many of Mr.
+Hammond&#8217;s company who had acted in &ldquo;The Forty-Niners&rdquo; and had met Ruth and
+her friends in the West, as related in &ldquo;Ruth Fielding in the Saddle.&rdquo;</p>
+
+<p>The shacks that had been built especially for the company&#8217;s use were
+comfortable, even if they did smell of new pine boards. The men of the
+company lived in khaki tents. There were several old fish-houses that were
+likewise being utilized by the members of the company.</p>
+
+<p>Beach Plum Point was the easterly barrier of sand and rock that defended
+the beautiful harbor from the Atlantic breakers. It was a wind-blown
+place, and the moan of the surf on the outer reef was continually in the
+ears of the campers on the Point.</p>
+
+<p>The tang of salt in the air could always be tasted on the lips when one
+was out of doors. And the younger folks were out on the sands most of the
+time when they were not working, sleeping, or eating.</p>
+
+<p>&ldquo;We are going to have some fun here,&rdquo; promised Tom Cameron to Ruth, after
+their party had got established with its baggage. &ldquo;See that hard strip of
+beach? That&#8217;s no clamflat. I am going to race my car on that sand. Palm
+Beach<span class='pagenum'>[Pg 109]</span> has nothing on this. Jackman,
+the property man (you remember Jacks,
+don&#8217;t you, Ruth?), says the blackfish and bass are biting off the Point.
+You girls can act in movies if you like, but <em>I</em> am going fishing.&rdquo;</p>
+
+<p>&ldquo;Don&#8217;t talk movies to me,&rdquo; sighed the girl. &ldquo;I almost wish we had not
+come, Tom.&rdquo;</p>
+
+<p>&ldquo;Nonsense! You shall go fishing with me. Put on your oldest duds
+and&mdash;well, maybe you will have to strip off your shoes and stockings. It
+is both wet and slippery on the rocks.&rdquo;</p>
+
+<p>&ldquo;Pooh! I&#8217;ll put on my bathing suit and a sweater. I never was afraid of
+water yet,&rdquo; Ruth declared.</p>
+
+<p>This was the morning after their arrival. Tom had been up to the port and
+brought down Aunt Kate for the day. Aunt Kate sat under an umbrella near
+where the company was working on location, and she scribbled all day in a
+notebook. Jennie whispered that she, too, was bitten by the scenario bug!</p>
+
+<p>&ldquo;I feel it coming over me,&rdquo; announced Helen. &ldquo;I&#8217;ve got what I think is a
+dandy idea.&rdquo;</p>
+
+<p>&ldquo;Oh, there&#8217;s too much to do,&rdquo; Jennie Stone said. &ldquo;I couldn&#8217;t find time to
+dabble in literature.&rdquo;</p>
+
+<p>&ldquo;My, oh, my!&rdquo; gasped Helen, with scorn. &ldquo;How busy we are! You and Henri
+spend all your time making eyes at each other.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 110]</span>
+&ldquo;But just think, Nell!&rdquo; cried the plump girl. &ldquo;He&#8217;s got to go back to
+France and fight&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;And so has my Tom.&rdquo;</p>
+
+<p>&ldquo;But Tom is only your brother.&rdquo;</p>
+
+<p>&ldquo;And Henri is nothing at all to you,&rdquo; rejoined Helen cruelly. &ldquo;A fianc&eacute; is
+only an expectation. You may change your mind about Henri.&rdquo;</p>
+
+<p>&ldquo;Never!&rdquo; cried Jennie, with horror.</p>
+
+<p>&ldquo;Well, he keeps you busy, I grant. And there go Tom and Ruth mooning off
+together with fish lines. Lots of fishing <em>they</em> will do! They are almost
+as bad as you and Henri. Why!&rdquo; ejaculated Helen in some heat, &ldquo;I am just
+driven to writing scenarios to keep from dying of loneliness.&rdquo;</p>
+
+<p>&ldquo;I notice that &lsquo;juvenile lead,&rsquo; Mr. Simmons, is keeping you quite busy,&rdquo;
+remarked Jennie slyly, as she turned away.</p>
+
+<p>It was a fact that Ruth and Tom enjoyed each others&#8217; company. But Helen
+need not have been even a wee bit jealous. To tell the truth, she did not
+like to &ldquo;get all mussed up,&rdquo; as she expressed it, by going fishing. To
+Ruth the adventure was a glad relief from worriment. Much as she tried,
+she could not throw off all thought of her lost scenario.</p>
+
+<p>She welcomed every incident that promised amusement and mental relaxation.
+Some of the<span class='pagenum'>[Pg 111]</span>
+troupe of actors&mdash;the men, mostly&mdash;were bathing off the
+Point.</p>
+
+<p>&ldquo;And see that man in the old skiff!&rdquo; cried Ruth. &ldquo;&lsquo;The Lone Fisherman&rsquo;.&rdquo;</p>
+
+<p>The individual in question sat upon a common kitchen chair in the skiff
+with a big, patched umbrella to keep the sun off, and was fishing with a
+pole that he had evidently cut in the woods along the shore.</p>
+
+<p>&ldquo;That is that hermit fellow,&rdquo; said Tom. &ldquo;He&#8217;s a queer duck. And the boys
+bother him a good deal.&rdquo;</p>
+
+<p>He was angrily driving some of the swimmers away from his fishing location
+at that moment. It was plain the members of the moving picture company
+used the hermit as a butt for their jokes.</p>
+
+<p>While one fellow was taking up the hermit&#8217;s attention in front, another
+bather rose silently behind him and reached into the bottom of the skiff.
+What this second fellow did Tom and Ruth could not see.</p>
+
+<p>&ldquo;The old chap can&#8217;t swim a stroke,&rdquo; explained one of the laughing bathers
+to the visitors. &ldquo;He&#8217;s as afraid of water as a cat. Now you watch.&rdquo;</p>
+
+<p>But Tom and Ruth saw nothing to watch. They went on to the tip of the
+Point and Tom prepared the fishing tackle and baited the hooks. Just as
+Ruth made her first cast there sounded a scream from the direction of the
+lone fisherman.</p>
+
+<p><span class='pagenum'>[Pg 112]</span>
+&ldquo;What is it?&rdquo; she gasped, dropping her pole.</p>
+
+<p>The bathers had deserted the old man in the skiff, and were now at some
+distance. He was anchored in probably twenty feet of water.</p>
+
+<p>To the amazement of Ruth and her companion, the skiff had sunk until its
+gunwales were scarcely visible. The hermit had wrenched away his umbrella
+and was now balanced upon the chair on his feet, in danger of sinking. His
+fear of this catastrophe was being expressed in unstinted terms.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_113" id="Page_113">[Pg 113]</a></span>
+<a name="XIV" id="XIV"></a></p>
+<h2>CHAPTER XIV</h2>
+
+<p class="center"><strong>A QUOTATION</strong></p>
+
+<p>&ldquo;Do help him, Tom!&rdquo; cried Ruth Fielding, and she started for the spot
+where the man and the skiff were sinking.</p>
+
+<p>Tom cast aside his sweater, kicked his sneakers off, and plunged into the
+tide. Ruth was quite as lightly dressed as Tom; but she saw that he could
+do all that was necessary.</p>
+
+<p>That was, to bring the frightened man ashore. This &ldquo;hermit&rdquo; as they called
+him, was certainly very much afraid of the water.</p>
+
+<p>He splashed a good deal, and Tom had to speak sharply to keep him from
+getting a strangle-hold about his own neck.</p>
+
+<p>&ldquo;Jimminy! but that was a mean trick,&rdquo; panted Tom, when he got ashore with
+the fisherman. &ldquo;Somebody pulled the plug out of the bottom of the skiff
+and first he knew, he was going down.&rdquo;</p>
+
+<p>&ldquo;It is a shame,&rdquo; agreed Ruth, looking at the victim of the joke curiously.</p>
+
+<p>He was a thin-featured, austere looking man, scrupulously shaven, but with
+rather long hair<span class='pagenum'>[Pg 114]</span>
+that had quite evidently been dyed. Now that it was
+plastered to his crown by the salt water (for he had been completely
+immersed more than once in his struggle with Tom Cameron) his hair was
+shown to be quite thin and of a greenish tinge at the roots.</p>
+
+<p>The shock of being dipped in the sea so unexpectedly was plainly no small
+one for the hermit. He stood quite unsteadily on the strand, panting and
+sputtering.</p>
+
+<p>&ldquo;Young dogs! No respect for age and ability in this generation. I might
+have been drowned.&rdquo;</p>
+
+<p>&ldquo;Well, it&#8217;s all over now,&rdquo; said Tom comfortingly. &ldquo;Where do you live?&rdquo;</p>
+
+<p>&ldquo;Over yonder, young man,&rdquo; replied the hermit, pointing to the ocean side
+of the point.</p>
+
+<p>&ldquo;We will take you home. You lie down for a while and you will feel
+better,&rdquo; Ruth said soothingly. &ldquo;We will come back here afterward and get
+your skiff ashore.&rdquo;</p>
+
+<p>&ldquo;Thank you, Miss,&rdquo; said the man courteously.</p>
+
+<p>&ldquo;I&#8217;ll make those fellows who played the trick on you get the boat ashore,&rdquo;
+promised Tom, running for his shoes and sweater.</p>
+
+<p>The hermit proved to be a very uncommunicative person. Ruth tried to get
+him to talk about himself as they crossed the rocky spit, but all that he
+said of a personal nature was that his name was &ldquo;John.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 115]</span>
+His shack was certainly a lonely looking hovel. It faced the tumbling
+Atlantic and it seemed rather an odd thing to Ruth that a man who was so
+afraid of the sea should have selected such a spot for his home.</p>
+
+<p>The hermit did not invite them to enter his abode. He promised Ruth that
+he would make a hot drink for himself and remove his wet garments and lie
+down. But he only seemed moderately grateful for their assistance, and
+shut the door of the shack promptly in their faces when he got inside.</p>
+
+<p>&ldquo;Just as friendly as a sore-headed dog,&rdquo; remarked Tom, as they went back
+to the bay side of the Point.</p>
+
+<p>&ldquo;Perhaps the others have played so many tricks on him that he is
+suspicious of even our assistance,&rdquo; Ruth said.</p>
+
+<p>Thus speaking, she stooped to pick up a bit of paper in the path. It had
+been half covered by the sand and might have lain there a long time, or
+only a day.</p>
+
+<p>Just why this bit of brown wrapping paper had caught her attention, it
+would be hard to say. Ruth might have passed it a dozen times without
+noticing it.</p>
+
+<p>But now she must needs turn the paper over and over in her hands as she
+watched Tom, with<span class='pagenum'>[Pg 116]</span>
+the help of the rather abashed practical jokers, haul
+the water-logged skiff ashore.</p>
+
+<p>She had forgotten the fishing poles they had abandoned on the rocks, and
+sat down upon a boulder. Suddenly she discovered that there was writing on
+the bit of paper she had picked up. It was then that her attention really
+became fixed upon her find.</p>
+
+<p>The characters had been written with an indelible pencil. The dampness had
+only blurred the writing instead of erasing it. Her attention thus
+engaged, she idly scrutinized more than the blurred lines. Her attitude as
+she sat there on the boulder slowly stiffened; her gaze focused upon the
+paper.</p>
+
+<p>&ldquo;Why! what is it?&rdquo; she murmured at last.</p>
+
+<p>The blurred lines became clearer to her vision. It was the wording of the
+phrase rather than the handwriting that enthralled her. This that follows
+was all that was written on the paper:</p>
+
+<div class="blockquot"><p>&ldquo;Flash:&mdash;</p>
+
+<p>&ldquo;As in the beginning, is now, and ever shall be&mdash;&mdash;&rdquo;</p></div>
+
+<p>To the ordinary observer, with no knowledge of what went before or
+followed this quotation, the phrase must seem idle. But the word &ldquo;flash&rdquo;
+is used by scenario writers and motion picture<span class='pagenum'>[Pg 117]</span>
+makers, indicating an explanatory phrase thrown on the screen.</p>
+
+<p>And this quoted phrase struck poignantly to Ruth Fielding&#8217;s mind. For it
+was one she had used in that last scenario&mdash;the one that had so strangely
+disappeared from the summer-house back at the Red Mill!</p>
+
+<p>Amazed&mdash;almost stunned&mdash;by this discovery, she sat on the boulder scarcely
+seeing what Tom and the others were doing toward salvaging the old
+hermit&#8217;s skiff and other property.</p>
+
+<p>Thoughts regarding the quotation shuttled back and forth in the girl&#8217;s
+mind in a most bewildering way. The practical side of her character
+pointed out that there really could be no significance in this discovery.
+It could not possibly have anything to do with her stolen script.</p>
+
+<p>Yet the odd phrase, used in just this way, had been one of the few
+&ldquo;flashes&rdquo; indicated in her scenario. Was it likely that anybody else,
+writing a picture, would use just that phrase?</p>
+
+<p>She balanced the improbability of this find meaning anything at all to her
+against the coincidence of another author using the quotation in writing a
+scenario. She did not know what to think. Which supposition was the more
+improbable?</p>
+
+<p>The thought was preposterous that the paper should mean anything to her.
+Ruth was about to<span class='pagenum'>[Pg 118]</span>
+throw it away; and then, failing to convince herself
+that the quotation was but idly written, she tucked the piece of paper
+into the belt of her bathing suit.</p>
+
+<p>When Tom was ready to go back to their fishing station, Ruth went with him
+and said nothing about the find she had made.</p>
+
+<p>They had fair luck, all told, and the chef at the camp produced their
+catch in a dish of boiled tautog with egg sauce at dinner that evening.
+The company ate together at a long table, like a logging camp crew, only
+with many more of the refinements of life than the usual logging crew
+enjoys. It was, however, on a picnic plane of existence, and there was
+much hilarity.</p>
+
+<p>These actor folk were very pleasant people. Even the star, Miss Loder, was
+quite unspoiled by her success.</p>
+
+<p>&ldquo;You know,&rdquo; she confessed to Ruth (everybody confided in Ruth), &ldquo;I never
+would have been anything more than a stock actress in some jerkwater town,
+as we say in the West, if the movies hadn&#8217;t become so popular. I have what
+they call the &lsquo;appealing face&rsquo; and I can squeeze out real tears at the
+proper juncture. Those are two very necessary attributes for a girl who
+wishes to gain film success.&rdquo;</p>
+
+<p>&ldquo;But you can really act,&rdquo; Ruth said honestly. &ldquo;I watched you to-day.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 119]</span>
+&ldquo;I should be able to act. I come of a family who have been actors for
+generations. Acting is like breathing to me. But, of course, it is another
+art to &lsquo;register&rsquo; emotion in the face, and very different from displaying
+one&#8217;s feelings by action and audible expression. You know, one of our most
+popular present-day stage actresses got her start by an ability to scream
+off-stage. Nothing like that in the movies.&rdquo;</p>
+
+<p>&ldquo;You should hear Jennie Stone with a black ant down her back,&rdquo; put in
+Helen, with serious face. &ldquo;I am sure Heavy could go the actress you speak
+of one better, and become even more popular.&rdquo;</p>
+
+<p>&ldquo;I am not to be blamed if I squeal at crawly things,&rdquo; sniffed the plump
+girl, hearing this. &ldquo;See how brave I am in most other respects.&rdquo;</p>
+
+<p>But that night Jennie exhibited what Tom called her &ldquo;scarefulness&rdquo; in most
+unmistakable fashion, and never again could she claim to be brave. She
+gave her chums in addition such a fright that they were not soon over
+talking about it.</p>
+
+<p>The three college girls had cots in a small shack that Mr. Hammond had
+given up to their use. It was one of the shacks nearest the shore of the
+harbor. Several boat-docks near by ran out into the deep water.</p>
+
+<p>It was past midnight when Jennie was for some reason aroused. Usually she
+slept straight<span class='pagenum'>[Pg 120]</span>
+through the night, and had to be awakened by violent means
+in time for breakfast.</p>
+
+<p>She was not startled, but awoke naturally, and found herself broad awake.
+She sat up in her cot, almost convinced that it must be daylight. But it
+was the moon shining through a haze of clouds that lighted the interior of
+the shack. The other two girls were breathing deeply. The noises she heard
+did not at first alarm Jennie.</p>
+
+<p>There was the whisper of the tide as it rolled the tiny pebbles and shells
+up the strand and, receding, swept them down again. It chuckled, too,
+among the small piers of the near-by docks.</p>
+
+<p>Then the listening girl heard footsteps&mdash;or what she took to be that
+sound. They approached the shack, then receded. She began to be curious,
+then felt a tremor of alarm. Who could be wandering about the camp at this
+grim hour of the night?</p>
+
+<p>She was unwise enough to allow her imagination to wake up, too. She stole
+from her bed and peered out of the screened window that faced the water.
+Almost at once a moving object met her frightened gaze.</p>
+
+<p>It was a figure all in white which seemed to float down the lane between
+the tents and out upon the nearest boat-dock.</p>
+
+<p>Afterward Jennie declared she could have suffered one of these
+spirit-looking manifestations in<span class='pagenum'>[Pg 121]</span>
+silence. She crammed the strings of her
+frilled nightcap between her teeth as a stopper!</p>
+
+<p>This spectral figure was going away from the shack, anyway. It appeared to
+be bearing something in its arms. But then came a second ghost, likewise
+burdened. Gasping, Jennie waited, clinging to the window-sill for support.</p>
+
+<p>A third spectre appeared, rising like Banquo&#8217;s spirit at Macbeth&#8217;s feast.
+This was too much for the plump girl&#8217;s self-control. She opened her mouth,
+and her half-strangled shriek, the partially masticated cap-strings all
+but choking her, aroused Ruth and Helen to palpitating fright.</p>
+
+<p>&ldquo;Oh! What is it?&rdquo; demanded Helen, bounding out of bed.</p>
+
+<p>&ldquo;Ghosts! Oh! Waw!&rdquo; gurgled Jennie, and sank back into her friend&#8217;s arms.</p>
+
+<p>Helen was literally as well as mentally overcome. Jennie&#8217;s weight carried
+her to the straw matting with a bump that shook the shack and brought
+Ruth, too, out of bed.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 122]</span><a name="XV" id="XV"></a></p>
+<h2>CHAPTER XV</h2>
+
+<p class="center"><strong>AN AMAZING SITUATION</strong></p>
+
+<p>&ldquo;&lsquo;Ghost&rsquo;?&rdquo; cried Ruth Fielding. &ldquo;Let me see it! Remember the campus ghost
+back at old Briarwood, Helen? I haven&#8217;t seen a ghost since that time.&rdquo;</p>
+
+<p>&ldquo;Ugh! Get this big elephant off of me!&rdquo; grunted her chum, impolitely as
+well as angrily. &ldquo;<em>She&#8217;s</em> no ghost, I do assure you. She&#8217;s of the earth,
+earthy, and no mistake! Ouch! Get off, Heavy!&rdquo;</p>
+
+<p>&ldquo;Oh! Oh! Oh!&rdquo; groaned the plump girl. &ldquo;I&mdash;I saw them. Three of them!&rdquo;</p>
+
+<p>&ldquo;Sounds like a three-ring circus,&rdquo; snapped Helen.</p>
+
+<p>But Ruth was peering through the window. She saw nothing, and complained
+thereof:</p>
+
+<p>&ldquo;Jen has had a nightmare. I don&#8217;t see a thing.&rdquo;</p>
+
+<p>&ldquo;Nightmare, your granny!&rdquo; sputtered the plump girl, finally rolling off
+her half crushed friend. &ldquo;I saw it&mdash;them&mdash;<em>those</em>!&rdquo;</p>
+
+<p>&ldquo;Your grammar is so mixed I wouldn&#8217;t believe you on oath,&rdquo; declared Helen,
+getting to her own<span class='pagenum'>[Pg 123]</span>
+bare feet and paddling back to her cot for slippers
+and a negligee.</p>
+
+<p>&ldquo;O-o-oh, it is chilly,&rdquo; agreed Ruth, grabbing a wrap, too.</p>
+
+<p>&ldquo;Do tell us about it, Jennie,&rdquo; she begged. &ldquo;Did you see your ghost through
+the window here?&rdquo;</p>
+
+<p>&ldquo;It isn&#8217;t my ghost!&rdquo; denied the plump girl. &ldquo;I&#8217;m alive, ain&#8217;t I?&rdquo;</p>
+
+<p>&ldquo;But you&#8217;re not conscious,&rdquo; grumbled Helen.</p>
+
+<p>&ldquo;I can see!&rdquo; wailed Jennie. &ldquo;I haven&#8217;t lost my eyesight.&rdquo;</p>
+
+<p>&ldquo;Stop!&rdquo; Ruth urged. &ldquo;Let us get at the foundation of this trouble. You say
+you saw&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;I saw what I saw!&rdquo;</p>
+
+<p>&ldquo;Oh, see-saw!&rdquo; cried Helen. &ldquo;We&#8217;re all loony, now.&rdquo;</p>
+
+<p>Ruth was about to ask another question, but she was again looking through
+the window. She suddenly bit off a cry of her own. She had to confess that
+the sight she saw was startling.</p>
+
+<p>&ldquo;Is&mdash;is that the ghost, Jennie?&rdquo; she breathed, seizing the plump girl by
+her arm and dragging her forward.</p>
+
+<p>Jennie gave one frightened look through the window and immediately clapped
+her palms over her eyes.</p>
+
+<p>&ldquo;Ow!&rdquo; she wailed in muffled tones. &ldquo;They&#8217;re coming back.&rdquo;</p>
+
+<p>They were, indeed! Three white figures in <span class='pagenum'>[Pg 124]</span>
+Indian file came stalking up
+the long dock. They approached the camp in a spectral procession and had
+she been awakened to see them first of all, Ruth might have been startled
+herself.</p>
+
+<p>Helen peered over her chum&#8217;s shoulder and in teeth-chattering monotone
+breathed in Ruth&#8217;s ear the query:</p>
+
+<p>&ldquo;What is it?&rdquo;</p>
+
+<p>&ldquo;It&mdash;it&#8217;s Heavy&#8217;s ghost.&rdquo;</p>
+
+<p>&ldquo;Not mine! Not mine!&rdquo; denied the plump girl.</p>
+
+<p>&ldquo;Oh!&rdquo; gasped Helen, spying the stalking white figures.</p>
+
+<p>It was the moonlight made them appear so ghostly. Ruth knew that, of
+course, at once. And then&mdash;&mdash;</p>
+
+<p>&ldquo;Who ever saw ghosts carrying garbage cans before?&rdquo; ejaculated the girl of
+the Red Mill. &ldquo;Mercy me, Heavy! do stop your wailing. It is the chef and
+his two assistants who have got up to dump the garbage on the out-going
+tide. What a perfect scare-cat you are!&rdquo;</p>
+
+<p>&ldquo;You don&#8217;t mean it, Ruth?&rdquo; whimpered the plump girl. &ldquo;Is that <em>all</em> they
+were?&rdquo;</p>
+
+<p>Helen began to giggle. And it covered her own fright. Ruth was rather
+annoyed.</p>
+
+<p>&ldquo;If you had remained in bed and minded your own business,&rdquo; she said to
+Jennie, &ldquo;you would not have seen ghosts, or got us up to see them. Now go
+back to sleep and behave yourself.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 125]</span>
+&ldquo;Yes, ma&#8217;am,&rdquo; murmured the abashed Jennie Stone. &ldquo;How silly of me! I was
+never afraid of a cook before&mdash;no, indeed.&rdquo;</p>
+
+<p>Helen continued to giggle spasmodically; but she fell asleep soon. As for
+Jennie, she began to breathe heavily almost as soon as her head touched
+the pillow. But Ruth must needs lie awake for hours, and naturally the
+teeth of her mind began to knaw at the problem of that bit of paper she
+had found in the sand.</p>
+
+<p>The more she thought of it the less easy it was to discard the idea that
+the writing on the paper was a quotation from her own scenario script. It
+seemed utterly improbable that two people should use that same expression
+as a &ldquo;flash&rdquo; in a scenario.</p>
+
+<p>Yet, if this paper was a connecting link between her stolen manuscript and
+the thief, <em>who was the thief</em>?</p>
+
+<p>It would seem, of course, if this supposition were granted, that some
+member of the company of film actors Mr. Hammond had there at Beach Plum
+Point had stolen the scenario. At least, the stolen scenario must be in
+the possession of some member of the company.</p>
+
+<p>Who could it be? Naturally Ruth considered this unknown must be one of the
+company who wished Mr. Hammond to accept and produce a scenario.</p>
+
+<p><span class='pagenum'>[Pg 126]</span>
+Ruth finally fell into a troubled sleep with the determination in her mind
+to take more interest in the proposed scenario-writing contest than she
+had at first intended.</p>
+
+<p>She could not imagine how anybody could take her work and change it so
+that she would not recognize it! The plot of the story was too well
+wrought and the working out of it too direct.</p>
+
+<p>She did not think that she had it perfect. Only that she had perfected the
+idea as well as she was able. But changing it would not hide from her the
+recognition of her own brain-child.</p>
+
+<p>So after breakfast she went to Mr. Hammond to make inquiry about the
+scenario contest.</p>
+
+<p>&ldquo;Ha, ha! So you are coming to yourself, Miss Ruth!&rdquo; he chuckled. &ldquo;I told
+you you would feel different. I only wish <em>you</em> would get a real smart
+idea for a picture.&rdquo;</p>
+
+<p>&ldquo;Nothing like that!&rdquo; she told him, shaking her head. &ldquo;I could not think of
+writing a new scenario. You don&#8217;t know what it means to me&mdash;the loss of
+that picture I had struggled so long with and thought so much about. I&mdash;&mdash;</p>
+
+<p>&ldquo;But let us not talk of it,&rdquo; she hastened to add. &ldquo;I am curious regarding
+the stories that have been offered to you.&rdquo;</p>
+
+<p>&ldquo;You need not fear competition,&rdquo; he replied. &ldquo;Just as I told you, all
+these perfectly good acting people base their scenarios on dramas they
+have<span class='pagenum'>[Pg 127]</span>
+played or seen played. They haven&#8217;t got the idea of writing for the
+screen at all, although they work before the camera.&rdquo;</p>
+
+<p>&ldquo;And that is no wonder!&rdquo; exclaimed Ruth. &ldquo;The way the directors take
+scenes, the actors never get much of an idea of the continuity of the
+story they are making. But these stories?&rdquo;</p>
+
+<p>&ldquo;So far, I haven&#8217;t found a possible scenario. And I have looked at more
+than a score.&rdquo;</p>
+
+<p>&ldquo;You don&#8217;t mean it!&rdquo;</p>
+
+<p>&ldquo;I most certainly do,&rdquo; he assured her. &ldquo;Want to look at them?&rdquo;</p>
+
+<p>&ldquo;Why&mdash;yes,&rdquo; confessed Ruth. &ldquo;I am curious, as I tell you.&rdquo;</p>
+
+<p>&ldquo;Go to it!&rdquo; exclaimed Mr. Hammond, opening a drawer of his desk and
+pointing to the pile of manuscripts within. &ldquo;Consider yourself at home
+here. I am going over to the port with Director Hooley and most of the
+members of the company. We have found just the location for the shooting
+of that scene in your &lsquo;Seaside Idyl&rsquo; where the ladies&#8217; aid society holds
+its &lsquo;gossip session&rsquo; in the grove&mdash;remember?&rdquo;</p>
+
+<p>&ldquo;Oh, yes,&rdquo; Ruth replied, not much interested, as she took the first
+scenario out of the drawer.</p>
+
+<p>&ldquo;And Hooley&#8217;s found some splendid types, too, around the village. They
+really have a sewing circle connected with the Herringport Union Church,
+and I have agreed to help the ladies pay<span class='pagenum'>[Pg 128]</span>
+for having the church edifice
+painted if they will let us film a session of the society with our
+principal character actors mixed in with the local group. The sun is good
+to-day.&rdquo;</p>
+
+<p>He went away, and a little later Ruth heard the automobiles start for
+Herringport. She had the forenoon to herself, for the rest of her party
+had gone out in a motor boat fishing&mdash;a party from which she had excused
+herself.</p>
+
+<p>Eagerly she began to examine the scenarios submitted to Mr. Hammond. The
+possibility that she might find one of them near enough like her own lost
+story to suggest that it had been plagiarized, made Ruth&#8217;s heart beat
+faster.</p>
+
+<p>She could not forget the quotation on the scrap of brown paper. Somebody
+on this Point&mdash;and it seemed that the &ldquo;somebody&rdquo; must be one of the moving
+picture company&mdash;had written that quotation from her scenario. She felt
+that this could not be denied.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 129]</span><a name="XVI" id="XVI"></a></p>
+<h2>CHAPTER XVI</h2>
+
+<p class="center"><strong>RUTH SOLVES ONE PROBLEM</strong></p>
+
+<p>Had Ruth Fielding been confronted with the question: &ldquo;Did she expect to
+find a clue to the identity of the person who had stolen her scenario
+before she left the Red Mill?&rdquo; she could have made no confident answer.
+She did not know what she would find when she sat down at Mr. Hammond&#8217;s
+desk for the purpose of looking over the submitted stories.</p>
+
+<p>Doubt and suspicion, however, enthralled her mind. She was both curious
+and anxious.</p>
+
+<p>Ruth had no particular desire to read the manuscripts. In any case she did
+not presume Mr. Hammond desired her advice about selecting a script for
+filming.</p>
+
+<p>She skimmed through the first story. It had not a thing in it that would
+suggest in the faintest way any familiarity of the author with her own
+lost scenario.</p>
+
+<p>For two hours she fastened her attention upon one after another of the
+scenarios, often by main<span class='pagenum'>[Pg 130]</span>
+will-power, because of the utter lack of
+interest in the stories the writers had tried to put over.</p>
+
+<p>Without being at all egotistical, Ruth Fielding felt confident that had
+any one of these scenario writers come into possession of her lost script,
+and been dishonest enough to use it, he would have turned out a much
+better story.</p>
+
+<p>But not a trace of her original idea and its development was to be found
+in these manuscripts. Her suspicion had been needlessly roused.</p>
+
+<p>Ruth could not deny that the scrap of paper found in the sand was quite as
+mysterious as ever. The quotation on it seemed to be taken directly from
+her own scenario. But there was absolutely nothing in this pile of
+manuscripts to justify her suspicions.</p>
+
+<p>She was just as dissatisfied after scanning all the submitted scenarios as
+Mr. Hammond seemed to be with the day&#8217;s work when the company came back
+from Herringport in the late afternoon.</p>
+
+<p>&ldquo;I suppose it is a sanguine disposition that keeps me at this game, Miss
+Ruth,&rdquo; he sighed. &ldquo;I always expect much more than I can possibly get out
+of a situation; and when I fail I go on hoping just the same.&rdquo;</p>
+
+<p>&ldquo;I am sure that is a commendable disposition to possess,&rdquo; she laughed.
+&ldquo;What has gone so wrong?&rdquo;</p>
+
+<p>&ldquo;It is the old story of leading the horse to
+<span class='pagenum'>[Pg 131]</span> water, and the inability of
+making him drink. This is a balky horse, and no mistake!&rdquo;</p>
+
+<p>&ldquo;Do tell me what you mean, Mr. Hammond?&rdquo;</p>
+
+<p>&ldquo;Why, I told you we had got what the ladies call &lsquo;perfectly lovely&rsquo; types
+for that scene to-day. You ought to see them, Miss Ruth! You would be
+charmed. Just what the dear public expects a back-country sewing circle
+should look like.&rdquo;</p>
+
+<p>&ldquo;Oh!&rdquo;</p>
+
+<p>&ldquo;And they all promised to be on hand at the location&mdash;and they were. I
+have had my experiences with amateurs before. I had begged the ladies to
+dress just as they would were they going to an actual meeting of their
+sewing society&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;And they all dressed up?&rdquo; laughed Ruth, clasping her hands.</p>
+
+<p>&ldquo;Well, that I expected to contend with. And most of them even in their
+best bib and tucker were not out of the picture. Not at all! That was not
+the main difficulty and the one that has spoiled our day&#8217;s work.&rdquo;</p>
+
+<p>&ldquo;Indeed?&rdquo;</p>
+
+<p>&ldquo;I am afraid Jim Hooley will have to fake the whole scene after all,&rdquo;
+continued the manager. &ldquo;Those women came all dressed up &lsquo;to have their
+pictures took,&rsquo; it is true. But the worst of it is, they could not be
+natural. It was impossible. They showed in every move and every glance
+that they were sitting with a bunch of actors and were
+<span class='pagenum'>[Pg 132]</span> not at all sure
+that what they were doing was altogether the right thing.</p>
+
+<p>&ldquo;We worked over them as though it were a &lsquo;mob scene&rsquo; and there were five
+hundred in it instead of twenty. But twenty wooden dummies would have
+filmed no more unnaturally. You know, in your story, they are supposed to
+be discussing the bit of gossip about your heroine&#8217;s elopement with the
+schoolteacher. I could not work up a mite of enthusiasm in their minds
+about such a topic.&rdquo;</p>
+
+<p>Ruth laughed. But she saw that the matter was really serious for Mr.
+Hammond and the director. She became sympathetic.</p>
+
+<p>&ldquo;I fancy that if they had had a real scandal to discuss,&rdquo; she observed,
+&ldquo;their faces would have registered more poignant interest.&rdquo;</p>
+
+<p>&ldquo;&lsquo;Poignant interest&rsquo;!&rdquo; scoffed the manager in disgust. &ldquo;If these
+Herringport tabbies had the toothache they would register only polite
+anguish&mdash;in public. They are the most insular and self-contained and
+self-suppressed women I ever saw. These Down-Easters! They could walk over
+fiery ploughshares and only wanly smile&mdash;&mdash;&rdquo;</p>
+
+<p>Ruth went off into a gale of laughter at this. Mr. Hammond was a Westerner
+by birth, and he found the Yankee character as hard to understand as did
+Henri Marchand.</p>
+
+<p>&ldquo;Have you quite given up hope, Mr. Hammond?&rdquo; Ruth asked.</p>
+
+<p><span class='pagenum'>[Pg 133]</span>
+&ldquo;Well, we&#8217;ll try again to-morrow. Oh, they promised to come again! They
+are cutting out rompers, or flannel undervests, I suppose, for the South
+Sea Island children; or something like that. They are interested in that
+job, no doubt.</p>
+
+<p>&ldquo;I wanted them to &lsquo;let go all holts,&rsquo; as these fishermen say, and be eager
+and excited. They are about as eager as they would be doing their washing,
+or cleaning house&mdash;if as much!&rdquo; and Mr. Hammond&#8217;s disappointment became
+too deep for further audible expression.</p>
+
+<p>Ruth suddenly awoke to the fact that one of her best scenes in the
+&ldquo;Seaside Idyl&rdquo; was likely to be spoiled. She talked with Mr. Hooley about
+it, and when the day&#8217;s run was developed and run off in one of the shacks
+which was used for a try-out room, Ruth saw that the manager had not put
+the matter too strongly. The sewing circle scene lacked all that snap and
+go needed to make it a realistic piece of action.</p>
+
+<p>Of course, there were enough character actors in the company to use in the
+scene; but naturally an actor caricatures such parts as were called for in
+this scene. The professional would be likely to make the characters seem
+grotesque. That was not the aim of the story.</p>
+
+<p>&ldquo;I thought you were not going to take any interest in this &lsquo;Seaside Idyl,&rsquo;
+at all,&rdquo; suggested<span class='pagenum'>[Pg 134]</span>
+Helen, when Ruth was talking about the failure of the
+scene after supper that night.</p>
+
+<p>&ldquo;I can&#8217;t help it. My reputation as a scenario writer is at stake, just as
+much as is Mr. Hooley&#8217;s reputation as director,&rdquo; Ruth said, smiling. &ldquo;I
+really didn&#8217;t mean to have a thing to do with the old picture. But I can
+see that somebody has got to put a breath of naturalness into those
+ladies&#8217; aid society women, or this part of the picture will be a fizzle.&rdquo;</p>
+
+<p>&ldquo;And our Ruth,&rdquo; drawled Jennie, &ldquo;is going to prescribe one of her famous
+cure-alls, is she?&rdquo;</p>
+
+<p>&ldquo;I believe I can make them look less like a lot of dummies while they are
+cutting out rompers for cannibal island pickaninnies,&rdquo; laughed Ruth. &ldquo;Tom,
+I am going to the port with you the first thing in the morning.&rdquo;</p>
+
+<p>&ldquo;By all means,&rdquo; said Captain Cameron. &ldquo;I am yours to command.&rdquo;</p>
+
+<p>Her newly aroused interest in the scenario at present being filmed, was a
+good thing for Ruth Fielding. Having found nothing at all in the submitted
+stories that suggested her own lost story, the girl of the Red Mill tried
+to put aside again the thing that so troubled her mind. And this new
+interest helped.</p>
+
+<p>In the morning before breakfast she and Tom ran over to the port in the
+maroon roadster. While they were having breakfast at the inn, Ruth
+<span class='pagenum'>[Pg 135]</span> asked
+the waitress, who was a native of this part of the country, about the
+Union Church and some of the more intimate life-details of the members of
+its congregation.</p>
+
+<p>It is not hard to uncover neighborhood gossip of a kind not altogether
+unkindly in any similar community. The Union Church had a new minister,
+and he was young. He was now away on his vacation, and more than one local
+beauty and her match-making mamma would have palpitation of the heart
+before he returned for fear that the young clergyman would have his heart
+interests entangled by some designing &ldquo;foreigner.&rdquo;</p>
+
+<p>Tom had no idea as to what Ruth Fielding was getting at through this
+questioning of the beaming Hebe who waited on them at breakfast. And he
+was quite as much in the dark as to his friend&#8217;s motive when Ruth
+announced their first visit to be to the office of the Herringport
+<em>Harpoon</em>, the local news sheet.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 136]</span><a name="XVII" id="XVII"></a></p>
+<h2>CHAPTER XVII</h2>
+
+<p class="center"><strong>JOHN, THE HERMIT&#8217;S, CONTRIBUTION</strong></p>
+
+<p>A man with bushy hair, a pencil stuck over his ear, and wearing an
+ink-stained apron, met them in the office of the <em>Harpoon</em>. This was Ezra
+Payne, editor and publisher of the weekly news-sheet, and this was his
+busiest day. The <em>Harpoon</em>, Ruth had learned, usually went into the mails
+on this day.</p>
+
+<p>&ldquo;Tut, tut! I see. Is this a joke?&rdquo; Mr. Payne pursed his lips and wrinkled
+his brow in uncertainty.</p>
+
+<p>&ldquo;A whole edition, Miss? Wall, I dunno. I do have hard work selling all the
+edition some weeks. But I have reg&#8217;lar subscribers&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;This will not interfere with your usual edition of the <em>Harpoon</em>,&rdquo; she
+hastened to assure him.</p>
+
+<p>&ldquo;How&#8217;s that, Miss?&rdquo;</p>
+
+<p>&ldquo;I want to buy an edition of one copy.&rdquo;</p>
+
+<p>&ldquo;One copy!&rdquo;</p>
+
+<p>&ldquo;Yes, sir. I want something special printed in one paper. Then you can
+take it out and print your regular edition.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 137]</span>
+&ldquo;Tut, tut! I see. Is this a joke?&rdquo; Mr. Payne asked, his eyes beginning to
+twinkle.</p>
+
+<p>&ldquo;It is the biggest joke you ever heard of,&rdquo; declared Ruth.</p>
+
+<p>&ldquo;And who&#8217;s the joke on?&rdquo;</p>
+
+<p>&ldquo;Wait and see what I write,&rdquo; Ruth said, sitting down at the battered old
+desk where he labored over his editorials and proofsheets.</p>
+
+<p>Opening a copy of the last week&#8217;s <em>Harpoon</em> that lay there, she was able
+to see the whole face of the paper.</p>
+
+<p>&ldquo;I&#8217;ve got the inside run off,&rdquo; said Mr. Payne, still doubtfully. &ldquo;So you
+can&#8217;t run anything on the second and third pages.&rdquo;</p>
+
+<p>&ldquo;Oh, I want the most prominent place for my item,&rdquo; laughed Ruth. &ldquo;Front
+page, top column&mdash;&mdash;&nbsp;Here it is!&rdquo;</p>
+
+<p>He bent over her. Tom stared in wonder, too, as Ruth pointed to an item
+under a certain heading at the top of the middle column of the front page
+of the sheet.</p>
+
+<p>&ldquo;That is just where I want my item to appear,&rdquo; she said briskly to the
+editor. &ldquo;You run that&mdash;that department there every week?&rdquo;</p>
+
+<p>&ldquo;Oh, yes, Miss. The people expect it. You know how folks are. They look
+for those items first of all in a country paper.&rdquo;</p>
+
+<p>&ldquo;Yes. It is so. One of the New York dailies is still printed with that
+human foible in mind. It<span class='pagenum'>[Pg 138]</span>
+caters to this very curiosity that your
+<em>Harpoon</em> caters to.&rdquo;</p>
+
+<p>&ldquo;Yes, Miss. You&#8217;re right. Most folks have the same curiosity, city or
+country. Shakespeare spoke of the &lsquo;seven ages of man&rsquo;; but there are only
+three of particular interest&mdash;to womankind, anyway; and they are all
+<em>here</em>.&rdquo;</p>
+
+<p>&ldquo;There you go! Slurring the women,&rdquo; she laughed. &ldquo;Or do you speak
+compliments?&rdquo;</p>
+
+<p>&ldquo;I guess the women have it right,&rdquo; chuckled Mr. Payne. &ldquo;Now, what is it
+you want me to print in one paper for you?&rdquo;</p>
+
+<p>Ruth drew a scratch pad to her and scribbled rapidly for a couple of
+minutes. Then she passed the page to the newspaper proprietor.</p>
+
+<p>Mr. Payne read it, stared at her, pursed his lips, and then read it again.
+Suddenly he burst into a cackle of laughter, slapping his thigh in high
+delight.</p>
+
+<p>&ldquo;By gravy!&rdquo; he chortled, &ldquo;that&#8217;s a good one on the dominie. By gravy! wait
+till I tell&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Don&#8217;t you tell anybody, Mr. Payne,&rdquo; interrupted Ruth, smiling, but
+firmly. &ldquo;I am buying your secrecy as well as your edition of <em>one copy</em>.&rdquo;</p>
+
+<p>&ldquo;I get you! I get you!&rdquo; declared the old fellow. &ldquo;This is to be on the
+q.t.?&rdquo;</p>
+
+<p>&ldquo;Positively.&rdquo;</p>
+
+<p>&ldquo;You sit right here. The front page is all made up on the stone,
+Marriages, Births, Death Notices,
+<span class='pagenum'>[Pg 139]</span> and all. I&#8217;ll set the paragraph and
+slip it in at the top o&#8217; the column. My boy is out, but this young man can
+help me lift the page into the press. She&#8217;s all warmed up, and I was going
+to start printing when Edgar comes back from breakfast.&rdquo;</p>
+
+<p>He grabbed the piece of copy and went off into the printing room,
+chuckling. Half an hour later the first paper came from the press, and
+Ruth and Tom bent over it. The item the girl had written was plainly
+printed in the position she had chosen on the front page of the <em>Harpoon</em>.</p>
+
+<p>&ldquo;Now, you are to keep still about this,&rdquo; Ruth said, threatening Mr. Payne
+with a raised finger.</p>
+
+<p>&ldquo;I don&#8217;t know a thing about it,&rdquo; he promised, pocketing the bill she took
+from her purse, and in high good humor over the joke.</p>
+
+<p>Tom helped him take the front page from the press again. The printer
+unlocked the chase, and removed and distributed the three lines he had set
+up at Ruth&#8217;s direction.</p>
+
+<p>The crowd from Beach Plum Point came over in the cars about noontime. Aunt
+Kate had remained at the inn on this morning, and she and Ruth walked to
+the &ldquo;location,&rdquo; which was a beautiful old shaded front yard at the far end
+of the village.</p>
+
+<p>Helen and Jennie had come with the real actors, and were to appear in the
+picture. The story <span class='pagenum'>[Pg 140]</span>
+related incidents at a Sunday-school picnic, and most
+of the comedy had already been filmed on the lot.</p>
+
+<p>The scene around the long sewing table under the trees, when the ladies&#8217;
+aid was at work with needle and tongue, should be the principal incident
+of this reel devoted to the picnic.</p>
+
+<p>The heroine, to the amazement of the village gossips, has run away with
+the schoolmaster and married him in the next county. A certain character
+in the picture runs in with this bombshell of news and explodes it in the
+midst of the group about the sewing table.</p>
+
+<p>The day before this point had failed to make much impression upon the
+amateur members of the company engaged in this typical scene. The
+Herringport ladies were not at all interested in such a thing happening to
+the town&#8217;s schoolmaster, for to tell the truth the local schoolmaster was
+an old married man with a house full of children and nothing at all
+romantic about him.</p>
+
+<p>Ruth took Mr. Hooley aside and showed him the copy of the <em>Harpoon</em> she
+had had printed, and whispered to him her idea of the change in the action
+of the scenario. He seized upon the scheme&mdash;and the paper&mdash;with gusto.</p>
+
+<p>&ldquo;You are a jewel, Miss Fielding!&rdquo; he declared. &ldquo;If this doesn&#8217;t make those
+old tabbies come to life and act naturally, nothing ever will!&rdquo;</p>
+
+<p>Ruth left the matter in the director&#8217;s hands and
+<span class='pagenum'>[Pg 141]</span> retired from the
+location. She had no intention herself of appearing in the picture. She
+found Mr. Hammond sitting in his automobile in a state of good-humor.</p>
+
+<p>&ldquo;You seem quite sure that the work will go better to-day, Mr. Hammond,&rdquo;
+Ruth observed, with curiosity as to the reason for his apparent enjoyment.</p>
+
+<p>&ldquo;Whether it does or not, Miss Ruth,&rdquo; he responded. &ldquo;There is something
+that I fancy is going to be more than a little amusing.&rdquo;</p>
+
+<p>He tapped a package wrapped in a soiled newspaper which lay on the seat
+beside him. &ldquo;Thank goodness, I can still enjoy a joke.&rdquo;</p>
+
+<p>&ldquo;What is the joke? Let me enjoy it, too,&rdquo; she said.</p>
+
+<p>&ldquo;With the greatest of pleasure. I&#8217;ll let you read it, if you like&mdash;as you
+did those other scenarios.&rdquo;</p>
+
+<p>&ldquo;What! Is it a movie story?&rdquo; she asked.</p>
+
+<p>&ldquo;So I am assured. It is the contribution of John, the hermit. He brought
+it to me just before we started over here this morning. Poor old codger!
+Just look here, Miss Ruth.&rdquo;</p>
+
+<p>Mr. Hammond turned back the loose covering of the package on the
+automobile seat. Ruth saw a packet of papers, seemingly of roughly trimmed
+sheets of wrapping paper and of several sizes. At the top of the upper
+sheet was the title of the<span class='pagenum'>[Pg 142]</span>
+hermit&#8217;s scenario. It was called &ldquo;Plain Mary.&rdquo;
+She glanced down the page, noting that it was written in a large, upright,
+hand and with an indelible pencil.</p>
+
+<p>Ruth Fielding had not the least idea that she was to take any particular
+interest in this picture-story. She smiled more because Mr. Hammond seemed
+so amused than for any other reason. Secretly she thought that most of
+these moving picture people were rather unkind to the strange old man who
+lived alone on the seaward side of the Beach Plum Point.</p>
+
+<p>&ldquo;Want to read it over?&rdquo; Mr. Hammond asked her. &ldquo;I would consider it a
+favor, for I&#8217;ve got to go back and try to catch up with my correspondence.
+I expect this is worse than those you skimmed through yesterday.&rdquo;</p>
+
+<p>Ruth did not hear him. Suddenly she had seen something that had not at
+first interested her. She read the first few lines of the opening, and saw
+nothing in them of importance. It was the writing itself that struck her.</p>
+
+<p>&ldquo;Why!&rdquo; she suddenly gasped.</p>
+
+<p>She was reminded of something that she had seen before. This writing&mdash;&mdash;</p>
+
+<p>&ldquo;Let me go back to the camp with you, Mr. Hammond,&rdquo; she said, slipping
+into the seat and taking the packet of written sheets into her lap. &ldquo;I&mdash;I
+will look through this scenario, if you like.
+<span class='pagenum'>[Pg 143]</span> There is something down
+there on the Point that I want.&rdquo;</p>
+
+<p>&ldquo;Sure. Be glad to have your company,&rdquo; he said, letting in his clutch after
+pushing the starter. &ldquo;We&#8217;re off.&rdquo;</p>
+
+<p>Ruth did not speak again just then. With widening eyes she began to devour
+the first pages of the hermit&#8217;s manuscript.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 144]</span><a name="XVIII" id="XVIII"></a></p>
+<h2>CHAPTER XVIII</h2>
+
+<p class="center"><strong>UNCERTAINTIES</strong></p>
+
+<p>The automobile purred along the shell road, past the white-sided,
+green-blinded houses of the retired ship captains and the other well-to-do
+people of Herringport. The car ran so smoothly that Ruth might have read
+all the way.</p>
+
+<p>But after the first page or two&mdash;those containing the opening scenes of
+&ldquo;Plain Mary&rdquo;&mdash;she dared not read farther.</p>
+
+<p>Not yet. It was not that there was a familiar phrase in the upright
+chirography of the old hermit. The story merely suggested a familiar
+situation to Ruth&#8217;s mind. Thus far it was only a suggestion.</p>
+
+<p>There was something else she felt she must prove or disprove first of all.
+She sat beside Mr. Hammond quite speechless until they came to the camp on
+the harbor shore of Beach Plum Point.</p>
+
+<p>He went off cheerfully to his letter writing, and Ruth entered the shack
+she occupied with Helen<span class='pagenum'>[Pg 145]</span> and Jennie.
+She opened her locked writing-case.
+Under the first flap she inserted her fingers and drew forth the wrinkled
+scrap of paper she had picked up on the sands.</p>
+
+<p>A glance at the blurred writing assured her that it was the same as that
+of the hermit&#8217;s scenario.</p>
+
+<div class="blockquot"><p>&ldquo;Flash:&mdash;</p>
+
+<p>&ldquo;As in the beginning, is now, and ever shall be&mdash;&mdash;&rdquo;</p></div>
+
+<p>Shakingly Ruth sat down before the cheap little maple table. She spread
+open the newspaper wrapper and stared again at the title page of &ldquo;Plain
+Mary.&rdquo;</p>
+
+<p>That title was nothing at all like the one she had given her lost
+scenario. But a title, after all, meant very little.</p>
+
+<p>The several scenes suggested in the beginning of the hermit&#8217;s story did
+not conflict with the plot she had evolved, although they were not her
+own. She had read nothing so far that would make this story different from
+her own. The names of the characters were changed and the locations for
+the first scene were different from those in her script. Nevertheless the
+action and development of the story might prove to be exactly like hers.</p>
+
+<p>She shrank from going deeper into the hermit&#8217;s
+<span class='pagenum'>[Pg 146]</span> script. She feared to find
+her suspicions true; yet she <em>must</em> know.</p>
+
+<p>Finally she began to read. Page after page of the large and sprawling
+writing she turned over, face down upon the table. Ruth grew so absorbed
+in the story that she did not note the passing of time. She was truly
+aware of but one thing. And that seized upon her mind to wring from it
+both bitterness and anger.</p>
+
+<p>&ldquo;Want to go back to the port, Miss Ruth?&rdquo; asked Mr. Hammond. &ldquo;I want to
+mail my letters.&rdquo;</p>
+
+<p>His question startled her. She sprang up, a spot of crimson in either
+cheek. Had he looked at her, the manager would certainly have noted her
+strange look.</p>
+
+<p>&ldquo;I&#8217;ll come in a minute,&rdquo; she called to him in a half-stifled voice.</p>
+
+<p>She laved her eyes and cheeks in cool water, removing such marks of her
+emotion as she could. Then she bundled up the hermit&#8217;s scenario and joined
+Mr. Hammond in the car.</p>
+
+<p>&ldquo;Did you look at this?&rdquo; she asked the producer as he started the motor.</p>
+
+<p>&ldquo;Bless you, no! What is it? As crazy as the old codger himself?&rdquo;</p>
+
+<p>&ldquo;Do you really think that man is crazy?&rdquo; she asked sharply.</p>
+
+<p>&ldquo;Why, I don&#8217;t really know. Just queer
+<span class='pagenum'>[Pg 147]</span>perhaps. It doesn&#8217;t seem as though
+a sane man would live all stark alone over on that sea-beaten point.&rdquo;</p>
+
+<p>&ldquo;He is an actor,&rdquo; declared Ruth. &ldquo;Your director says so.&rdquo;</p>
+
+<p>&ldquo;At least, he does not claim to be, and they usually do, you know,&rdquo;
+chuckled Mr. Hammond. &ldquo;But about this thing&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;You read it! Then I will tell you something,&rdquo; said the girl soberly, and
+she refused to explain further.</p>
+
+<p>&ldquo;You amaze me,&rdquo; said the puzzled manager. &ldquo;If that old codger has
+succeeded in turning out anything worth while, I certainly shall believe
+that &lsquo;wonders never cease.&rsquo;&rdquo;</p>
+
+<p>&ldquo;He has got you all fooled. He <em>is</em> a good actor,&rdquo; declared Ruth bitterly.
+Then, as Mr. Hammond turned a puzzled frown upon her, she added, &ldquo;Tell me
+what you think of the script, Mr. Hammond, before you speak to&mdash;er&mdash;John,
+or whatever his name may be.&rdquo;</p>
+
+<p>&ldquo;I certainly am curious now,&rdquo; he declared.</p>
+
+<p>They got back to the place where the director had arranged to &ldquo;shoot&rdquo; the
+sewing circle scene just as everything was all set for it. Mother Paisley
+dominated the half circle of women about the long table under the trees.
+Ruth marveled at the types Mr. Hooley had found in the village.
+<span class='pagenum'>[Pg 148]</span> And she
+marveled further that any group of human beings could appear so wooden.</p>
+
+<p>&ldquo;Oh, Ruth!&rdquo; murmured Helen, who was not in this scene, but was an
+interested spectator, &ldquo;they will surely spoil the picture again. Poor Mr.
+Hooley! He takes <em>such</em> pains.&rdquo;</p>
+
+<p>It was like playing a child&#8217;s game for most of the members of the
+Herringport Union congregation. They were selfconscious, and felt that
+they were in a silly situation. Those who were not too serious of demeanor
+were giggling like schoolgirls.</p>
+
+<p>Yet everything was ready for the cameras. Mr. Hooley&#8217;s keen eye ran over
+all the group. He waved a hand to the camera men.</p>
+
+<p>&ldquo;Ready camera&mdash;action&mdash;go!&rdquo;</p>
+
+<p>The women remained speechless. They merely looked at each other in a
+helpless way. It was evident they had forgotten all the instructions the
+director had given them.</p>
+
+<p>But suddenly into the focus of the cameras ran a barefooted urchin waving
+a newspaper. This was the Alectrion Company&#8217;s smartest &ldquo;kid&rdquo; actor and a
+favorite wherever his tousled head, freckled face, and wide grin appeared
+on the screen. He plunged right at Mother Paisley and thrust the paper
+into her hand, while he pointed at a certain place on the front page.</p>
+
+<p><span class='pagenum'>[Pg 149]</span>
+&ldquo;Read <em>that</em>, Ma Bassett!&rdquo; cried the news vender.</p>
+
+<p>Mrs. Paisley gave expression first to wonder, then utter amazement, as she
+read the item Ruth had had inserted in this particular &ldquo;edition&rdquo; of the
+<em>Harpoon</em>. She was a fine old actress and her facial registering of
+emotion was a marvel. Mr. Hooley had seldom to advise her.</p>
+
+<p>Now his voice was heard above the clack of the cameras:</p>
+
+<p>&ldquo;Pass it to the lady at your left. That&#8217;s it! Cling to the paper. Get your
+heads together&mdash;three of you now!&rdquo;</p>
+
+<p>The amateur players looked at each other and began to grin. The scene
+promised to be as big a &ldquo;fizzle&rdquo; as the one shot the previous day.</p>
+
+<p>But the woman next to Mrs. Paisley, after looking carelessly at the paper,
+of a sudden came to life. She seized the <em>Harpoon</em> with both hands, fairly
+snatching it out of the actress&#8217; hands. She was too startled to be polite.</p>
+
+<p>&ldquo;What under the canopy is this here?&rdquo; she sputtered.</p>
+
+<p>She was a small, wiry, vigorous woman, and she had an expressive, if a
+vinegary, face. She rose from her seat and forgot all about her
+&ldquo;play-acting.&rdquo;</p>
+
+<p>&ldquo;What d&#8217;you think it says here?&rdquo; she demanded of her sister-members of the
+ladies&#8217; aid.</p>
+
+<p><span class='pagenum'>[Pg 150]</span>&ldquo;Sh!&rdquo;</p>
+
+<p>&ldquo;Ella Painter, you&#8217;re a-bustin&#8217; up the show!&rdquo; admonished a motherly old
+person at the end of the table.</p>
+
+<p>But Mrs. Painter did not notice these hushed remarks. She read the item in
+the paper aloud&mdash;and so extravagantly did she mouth the astonishing words
+that Ruth feared they might be read on her lips when shown on the screen.</p>
+
+<p>&ldquo;Listen!&rdquo; Mrs. Painter cried. &ldquo;Right at the top of the marriage notices!
+&lsquo;Garside&mdash;Smythe. At Perleyvale, Maine, on August twenty-second, the
+Reverend Elton Garside, of Herringport, and Miss Amy Smythe, of
+Perleyvale.&rsquo; What do you know about that?&rdquo;</p>
+
+<p>The gasp of amazement that went up from the women of the Herringport Union
+Church was almost a chorus of anguish. The paper was snatched from hand to
+hand. Nobody could accuse the amateurs now of being &ldquo;wooden.&rdquo;</p>
+
+<p>Not until Mrs. Paisley in the character of <em>Ma Bassett</em>, at the signal
+from Mr. Hooley, fell back in her chair, exclaiming: &ldquo;My mercy me! Luella
+Sprague and the teacher! Who&#8217;d have thought it?&rdquo; did the company in
+general suspect that something had been &ldquo;put over on them.&rdquo;</p>
+
+<p>&ldquo;All right! All right!&rdquo; shouted Jim Hooley in high delight, stopping his
+camera men. &ldquo;That&#8217;s<span class='pagenum'>[Pg 151]</span> fine!
+It&#8217;s great! Miss Fielding, your scheme worked
+like a charm.&rdquo;</p>
+
+<p>The members of the sewing circle began to ask questions.</p>
+
+<p>&ldquo;Do you mean to say this is in the play?&rdquo; demanded Mrs. Ella Painter,
+waving the newspaper and inclined to be indignant.</p>
+
+<p>&ldquo;Yes, Mrs. Painter. That marriage notice is just a joke,&rdquo; the director
+told her. &ldquo;It certainly gave you ladies a start and&mdash;&mdash;&nbsp;Well, wait
+till you see this scene on the screen!&rdquo;</p>
+
+<p>&ldquo;But ain&#8217;t it <em>so</em>?&rdquo; cried another. &ldquo;Why, Mr. Garside&mdash;&mdash;&nbsp;Why! it&#8217;s
+in the <em>Harpoon</em>.&rdquo;</p>
+
+<p>&ldquo;But you won&#8217;t find it in another <em>Harpoon</em>,&rdquo; laughed the director,
+recovering possession of the newspaper. &ldquo;It&#8217;s only a joke. But I
+positively had to give you ladies a real shock or we&#8217;d never have got this
+scene right.&rdquo;</p>
+
+<p>&ldquo;Well, of all the impudence!&rdquo; began Mrs. Painter.</p>
+
+<p>However, she joined in the laughter a minute later. At best, the women had
+won from Mr. Hammond enough money to pay for the painting of their church
+edifice, and they were willing to sacrifice their dignity for that.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 152]</span><a name="XIX" id="XIX"></a></p>
+<h2>CHAPTER XIX</h2>
+
+<p class="center"><strong>COUNTERCLAIMS</strong></p>
+
+<p>&ldquo;I declare, Ruth! that was a ridiculous thing to do,&rdquo; exclaimed Helen,
+when they were on their way back to the Point. &ldquo;But it certainly brought
+the sewing circle women all up standing.&rdquo;</p>
+
+<p>&ldquo;I&#8217;ve been wondering all day what Ruth was up to,&rdquo; said Tom, who was
+steering the big car. &ldquo;I was in on it without understanding her game.&rdquo;</p>
+
+<p>&ldquo;Well, it was just what the directer needed,&rdquo; chuckled Jennie. &ldquo;Oh, it
+takes our Ruth to do things.&rdquo;</p>
+
+<p>&ldquo;I wonder?&rdquo; sighed the girl of the Red Mill, in no responsive mood.</p>
+
+<p>She had something very unpleasant before her that she felt she must do,
+and nothing could raise her spirits. She did not speak to anybody about
+the hermit&#8217;s scenario. She waited for Mr. Hammond to express his opinion
+of it.</p>
+
+<p>At the camp she found a letter for her from the doctor&#8217;s wife who had
+promised to keep her informed regarding Arabella Montague Fitzmaurice
+<span class='pagenum'>[Pg 153]</span>
+Pike. That young person was doing well and getting fat at the Perkins&#8217;
+farm. But Mrs. Holmes was quite sure that she had not heard from her
+father.</p>
+
+<p>&ldquo;You&#8217;ve got another half-orphan on your hands, Ruth,&rdquo; said Helen. She made
+it a point always to object to Ruth&#8217;s charities. &ldquo;I don&#8217;t believe that man
+will ever show up again. If he went away with a medicine show&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;No, no,&rdquo; said Ruth firmly. &ldquo;No child would ever respect and love her
+father as Bella does if he was not good to her. He will turn up.&rdquo;</p>
+
+<p>Just then Tom called from outside the door of the girls&#8217; shack.</p>
+
+<p>&ldquo;What say to a moonlight dip off the Point?&rdquo; he asked. &ldquo;The tide is not
+very low. And I missed my splash this morning.&rdquo;</p>
+
+<p>&ldquo;We&#8217;re with you, Tommy,&rdquo; responded his sister. &ldquo;Wait till we get into
+bathing suits.&rdquo;</p>
+
+<p>Even Ruth was enthusiastic&mdash;to a degree&mdash;over this. In twenty minutes they
+were running up the beach with Tom and Henri toward the end of the Point.</p>
+
+<p>&ldquo;Let&#8217;s go over and get the surf,&rdquo; suggested Jennie. &ldquo;I do love surf
+bathing. All you have to do is to bob up and down in one place.&rdquo;</p>
+
+<p>&ldquo;Heavy is lazy even in her sport,&rdquo; scoffed Helen. &ldquo;But I&#8217;m game for the
+rough stuff.&rdquo;</p>
+
+<p>They crossed the neck of land near the hermit&#8217;s
+<span class='pagenum'>[Pg 154]</span> hut. There was a hard
+beach almost in front of the hut, and up this the breakers rolled and
+foamed delightfully. The so-called hermit, hearing their voices, came out
+and sat on a rock to watch them. But he did not offer to speak until Ruth
+went over to him.</p>
+
+<p>&ldquo;Mr. Hammond let me read your script, John,&rdquo; she said coldly.</p>
+
+<p>&ldquo;Indeed?&rdquo; he rejoined without emotion.</p>
+
+<p>&ldquo;Where did you get the idea for that scenario?&rdquo;</p>
+
+<p>He tapped his head with a long forefinger. &ldquo;Right inside of that skull. I
+do my own thinking,&rdquo; he said.</p>
+
+<p>&ldquo;You did not have any help about it? You originated the idea of &lsquo;Plain
+Mary?&rsquo;&rdquo;</p>
+
+<p>He nodded. &ldquo;You ain&#8217;t the only person who can write a picture,&rdquo; he
+observed. &ldquo;And I think that this one they are filming for you is silly.&rdquo;</p>
+
+<p>Ruth stared down at him, but said nothing more. She was ready to go back
+to camp as soon as the others would, and she remained very silent. Mr.
+Hammond had been asking for her, Miss Loder said. When Ruth had got into
+something more presentable than a wet bathing suit, she went to his
+office.</p>
+
+<p>&ldquo;What do you know about this?&rdquo; he demanded in plain amazement. &ldquo;This story
+the old man gave me to read is a wonder! It is one of the best ideas I
+ever saw for the screen. Of course, it
+<span class='pagenum'>[Pg 155]</span> needs fixing up a bit, but it&#8217;s
+great! What did you think of it, Miss Ruth?&rdquo;</p>
+
+<p>&ldquo;I am glad you like it, Mr. Hammond,&rdquo; she said, steadying her voice with
+difficulty.</p>
+
+<p>&ldquo;I do like it, I assure you.&rdquo;</p>
+
+<p>&ldquo;It is <em>my</em> story, Mr. Hammond!&rdquo; she exclaimed. &ldquo;It is the very scenario
+that was stolen from me at home. He&#8217;s just changed the names of the
+characters and given it a different title, and spoiled some of the scenes.
+But a large part of it is copied word for word from my manuscript!&rdquo;</p>
+
+<p>&ldquo;Miss Fielding!&rdquo; gasped the president of the Alectrion Film Corporation.</p>
+
+<p>&ldquo;I am telling you the truth,&rdquo; Ruth cried, rather wildly, it must be
+confessed, and then she broke down and wept.</p>
+
+<p>&ldquo;My goodness! It can&#8217;t be possible! You&mdash;you&#8217;ve let your mind dwell upon
+your loss so much&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Do you think I am crazy?&rdquo; she demanded, flaring up at him, her anger
+drying her tears.</p>
+
+<p>&ldquo;Certainly not,&rdquo; he returned gently; yet he looked at her oddly. &ldquo;But
+mistakes have been made&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Mistakes, indeed! It is no mistake when I recognize my own work.&rdquo;</p>
+
+<p>&ldquo;But&mdash;but how could this old man have stolen your work&mdash;and away back
+there at the Red Mill?<span class='pagenum'>[Pg 156]</span> I believe he has lived here on the Point for
+years. At least, every summer.&rdquo;</p>
+
+<p>&ldquo;Then somebody else stole it and he got the script from them. I tell you
+it is mine!&rdquo; cried Ruth.</p>
+
+<p>&ldquo;Miss Fielding! Let us be calm&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;You would not be calm if you discovered somebody trying to make use of
+something you had originated, and calling it theirs&mdash;no you wouldn&#8217;t, Mr.
+Hammond!&rdquo;</p>
+
+<p>&ldquo;But it seems impossible,&rdquo; he said weakly.</p>
+
+<p>&ldquo;That old man is an actor&mdash;an old-school actor. You can see that easily
+enough,&rdquo; she declared. &ldquo;There was such a person about the Red Mill the day
+my script was lost. Oh, it&#8217;s plain enough.&rdquo;</p>
+
+<p>&ldquo;Not so plain, Miss Ruth,&rdquo; said Mr. Hammond firmly. &ldquo;And you must not make
+wild accusations. That will do no good&mdash;and may do harm in the end. It
+does not seem probable to me that this old hermit could have actually
+stolen your story. A longshore character like him&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;He&#8217;s not!&rdquo; cried Ruth. &ldquo;Don&#8217;t you see that he is playing a part? He is no
+fisherman. No longshore character, as you call him, would be as afraid of
+the sea as he is. He is playing a part&mdash;and he plays it just as well as
+the parts Mr. Hooley gives him to play.&rdquo;</p>
+
+<p>&ldquo;Jove! There may be something in that,&rdquo; murmured the manager.</p>
+
+<p><span class='pagenum'>[Pg 157]</span>
+&ldquo;He got my script some way, I tell you!&rdquo; declared Ruth. &ldquo;I am not going to
+let anybody maul my story and put it over as his own. No, sir!&rdquo;</p>
+
+<p>&ldquo;But&mdash;but, Miss Ruth!&rdquo; exclaimed Mr. Hammond. &ldquo;How are you going to prove
+what you say is true?&rdquo;</p>
+
+<p>&ldquo;Prove it?&rdquo;</p>
+
+<p>&ldquo;Yes. You see, the burden of proof must be on you.&rdquo;</p>
+
+<p>&ldquo;But&mdash;but don&#8217;t you believe me?&rdquo; she murmured.</p>
+
+<p>&ldquo;Does it matter what I believe?&rdquo; he asked her gently. &ldquo;Remember, this man
+has entrusted me with a manuscript that he says is original. At least it
+is written in his own hand. I cannot go back of that unless you have some
+means of proof that his story is your story. Who did you tell about your
+plot, and how you worked it out? Did you read the finished manuscript&mdash;or
+any part of it&mdash;to any person who can corroborate your statements?&rdquo;</p>
+
+<p>&ldquo;Oh, Mr. Hammond!&rdquo; she cried, with sudden anguish in her voice. &ldquo;Not a
+soul! Never to a single, solitary person. The girls, nor Aunt Alvirah, nor
+Tom&mdash;&mdash;&rdquo;</p>
+
+<p>She broke down again and he could not soothe her. She wept with abandon,
+and Mr. Hammond was really anxious for her. He went to the door,
+<span class='pagenum'>[Pg 158]</span> whistled
+for one of the boys, and sent for Mrs. Paisley.</p>
+
+<p>But Ruth recovered her composure&mdash;to a degree, at least&mdash;before the
+motherly old actress came.</p>
+
+<p>&ldquo;Don&#8217;t tell anybody! Don&#8217;t tell anybody!&rdquo; she sobbed to Mr. Hammond. &ldquo;They
+will think I am crazy! I haven&#8217;t a word of proof. Only my word&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Against his,&rdquo; said the manager gravely. &ldquo;I would accept your word, Miss
+Ruth, against the world! But we must have some proof before we
+deliberately accuse this old man of robbing you.&rdquo;</p>
+
+<p>&ldquo;Yes, yes. I see. I will be patient&mdash;if I can.&rdquo;</p>
+
+<p>&ldquo;The thing to do is to find out who this hermit really is,&rdquo; said Mr.
+Hammond. &ldquo;Through discovering his private history we may put our finger on
+the thing that will aid you with proof. Good-night, my dear. Try to get
+calm again.&rdquo;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 159]</span><a name="XX" id="XX"></a></p>
+<h2>CHAPTER XX</h2>
+
+<p class="center"><strong>THE GRILL</strong></p>
+
+<p>Ruth did not go back to her chums until, under Mother Paisley&#8217;s comforting
+influence, she had recovered a measure of her self-possession. The old
+actress asked no questions as to the cause of Ruth&#8217;s state of mind. She
+had seen too many hysterical girls to feel that the cause of her patient&#8217;s
+breakdown was at all important.</p>
+
+<p>&ldquo;You just cry all you want to, deary. Right here on Mother Paisley&#8217;s
+shoulder. Crying will do you good. It is the Good Lord&#8217;s way of giving us
+women an outlet for all our troubles. When the last tear is squeezed out
+much of the pain goes with it.&rdquo;</p>
+
+<p>Ruth was not ordinarily a crying girl. She had wept more of late,
+beginning with that day at the Red Mill when her scenario manuscript had
+been stolen, than in all her life before.</p>
+
+<p>Her tears were now in part an expression of anger and indignation. She was
+as mad as she could be at this man who called himself &ldquo;John, the
+<span class='pagenum'>[Pg 160]</span> hermit.&rdquo;
+For, whether he was the person who had actually stolen her manuscript, he
+very well knew that his scenario offered to Mr. Hammond was not original
+with him.</p>
+
+<p>The worst of it was, he had mangled her scenario. Ruth could look upon it
+in no other way. His changes had merely muddied the plot and cheapened her
+main idea. She could not forgive that!</p>
+
+<p>The other girls were drowsy when Ruth kissed Mother Paisley good-night and
+entered the small shack. She was glad to escape any interrogation. By
+morning she had gained control of herself, but her eyes betrayed the fact
+that she had not slept.</p>
+
+<p>&ldquo;You certainly do not look as though you were enjoying yourself down
+here,&rdquo; Tom Cameron said to her at breakfast time, and with suspicion.
+&ldquo;Maybe we did come to the wrong place for our vacation after all. How
+about it, Ruth? Shall we start off in the cars again and seek pastures
+new?&rdquo;</p>
+
+<p>&ldquo;Not now, Tom,&rdquo; she told him, hastily. &ldquo;I must stay right here.&rdquo;</p>
+
+<p>&ldquo;Why?&rdquo;</p>
+
+<p>&ldquo;Because&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;That is no sensible reason.&rdquo;</p>
+
+<p>&ldquo;Let me finish,&rdquo; she said rather crossly. &ldquo;Because I must see what sort of
+scenario Mr. Hammond finds&mdash;if he finds any&mdash;in this contest.&rdquo;</p>
+
+<p>&ldquo;Humph! And you said you and scenarios
+<span class='pagenum'>[Pg 161]</span> were done forever! I fancy Mr.
+Hammond is taking advantage of your good nature.&rdquo;</p>
+
+<p>&ldquo;He is not.&rdquo;</p>
+
+<p>&ldquo;You are positively snappish, Ruth,&rdquo; complained Tom. &ldquo;You&#8217;ve changed your
+mind&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Isn&#8217;t that a girl&#8217;s privilege?&rdquo;</p>
+
+<p>&ldquo;Very well, Miladi!&rdquo; he said, with a deep bow as they rose from the table.
+&ldquo;However, you need not give all your attention to these prize stories,
+need you? Let&#8217;s do something besides follow these sun-worshippers around
+to-day.&rdquo;</p>
+
+<p>&ldquo;All right, Tommy-boy,&rdquo; acclaimed his sister. &ldquo;What do you suggest?&rdquo;</p>
+
+<p>&ldquo;A run along the coast to Reef Harbor where there are a lot of folks we
+know,&rdquo; Tom promptly replied.</p>
+
+<p>&ldquo;Not in that old <em>Tocsin</em>,&rdquo; cried Jennie. &ldquo;She&#8217;s so small I can&#8217;t take off
+my sweater without tipping her over.&rdquo;</p>
+
+<p>&ldquo;Oh, what a whopper!&rdquo; gasped Helen.</p>
+
+<p>&ldquo;Never mind,&rdquo; grinned her twin. &ldquo;Let Jennie run to the superlatives if she
+likes. Anyway, I would not dream of going so far as the Harbor in that
+dinky little <em>Tocsin</em>. I&#8217;ve got my eye on just the craft, and I can get
+her over here in an hour by telephoning to the port. It&#8217;s the <em>Stazy</em>.&rdquo;</p>
+
+<p>&ldquo;Goody!&rdquo; exclaimed Jennie Stone. &ldquo;That big blue yacht! And she&#8217;s got a
+regular crew&mdash;and<span class='pagenum'>[Pg 162]</span> everything. Aunty won&#8217;t be afraid to go with us in
+her.&rdquo;</p>
+
+<p>&ldquo;That&#8217;s fine, Tom,&rdquo; said his sister with appreciation.</p>
+
+<p>Even Ruth seemed to take some interest. But she suggested:</p>
+
+<p>&ldquo;Be sure there is gasoline enough, Tom. That <em>Stazy</em> doesn&#8217;t spread a foot
+of canvas, and we are not likely to find a gas station out there in the
+ocean, the way we did in the hills of Massachusetts.&rdquo;</p>
+
+<p>&ldquo;Don&#8217;t fear, Miss Fidget,&rdquo; he rejoined. &ldquo;Are you all game?&rdquo;</p>
+
+<p>They were. The girls went to &ldquo;doll up,&rdquo; to quote the slangy Tom, for Reef
+Harbor was one of the most fashionable of Maine coast resorts and the
+knockabout clothing they had been wearing at Beach Plum Point would never
+do at the Harbor hotels.</p>
+
+<p>The <em>Stazy</em> was a comfortable and fast motor-yacht. As to her
+sea-worthiness even Tom could not say, but she looked all right. And to
+the eyes of the members of Ruth Fielding&#8217;s party there was no threat of
+bad weather. So why worry about the pleasure-craft&#8217;s balance and her
+ability to sail the high seas?</p>
+
+<p>&ldquo;It is only a short run, anyway,&rdquo; Tom said.</p>
+
+<p>As for Colonel Marchand, he had not the first idea about ships or sailing.
+He admitted that only<span class='pagenum'>[Pg 163]</span> continued fair weather and a smooth sea had kept
+him on deck coming over from France with Jennie and Helen.</p>
+
+<p>At the present time he and Jennie Stone were much too deeply engrossed in
+each other to think of anything but their own two selves. In a fortnight
+now, both the Frenchman and Tom would have to return to the battle lines.
+And they were, deep in their hearts, eager to go back; for they did not
+dream at this time that the German navy would revolt, that the High
+Command and the army had lost their morale, and that the end of the Great
+War was near.</p>
+
+<p>Within Tom&#8217;s specified hour the party got under way, boarding the <em>Stazy</em>
+from a small boat that came to the camp dock for them. It was not until
+the yacht was gone with Ruth Fielding and her party that Mr. Hammond set
+on foot the investigation he had determined upon the night before.</p>
+
+<p>The president of the Alectrion Film Corporation thought a great deal of
+the girl of the Red Mill. Their friendship was based on something more
+than a business association. But he knew, too, that after her recent
+experiences in France and elsewhere, her health was in rather a precarious
+state.</p>
+
+<p>At least, he was quite sure that Ruth&#8217;s nerves were &ldquo;all out of tune,&rdquo; as
+he expressed it, and he<span class='pagenum'>[Pg 164]</span> believed she was not entirely responsible for
+what she had said.</p>
+
+<p>The girl had allowed her mind to dwell so much upon that scenario she had
+lost that it might be she was not altogether clear upon the subject. Mr.
+Hammond had talked with Tom about the robbery at the Red Mill, and it
+looked to the moving picture producer as though there might be some
+considerable doubt of Ruth&#8217;s having been robbed at all.</p>
+
+<p>In that terrific wind and rain storm almost anything might have blown
+away. Tom admitted he had seen a barrel sailing through the air at the
+height of the storm.</p>
+
+<p>&ldquo;Why couldn&#8217;t the papers and note books have been caught up by a gust of
+wind and carried into the river?&rdquo; Mr. Hammond asked himself. &ldquo;The river
+was right there, and it possesses a strong current.&rdquo;</p>
+
+<p>The president of the Alectrion Film Corporation knew the Lumano, and the
+vicinity of the Red Mill as well. It seemed to him very probable that the
+scenario had been lost. And the gold-mounted fountain pen? Why, that might
+have easily rolled down a crack in the summer-house floor.</p>
+
+<p>The whole thing was a matter so fortuitous that Mr. Hammond could not
+accept Ruth&#8217;s version of the loss without some doubt, in any case. And
+then, her suddenly finding in the only good scenario
+<span class='pagenum'>[Pg 165]</span> submitted to him by
+any of his company, one that she believed was plagiarized from her lost
+story, seemed to put a cap on the whole matter. Ruth might be just a
+little &ldquo;off soundings,&rdquo; as the fishermen about Herringport would say. Mr.
+Hammond was afraid that she had been carried into a situation of mind
+where suspicion took the place of certainty.</p>
+
+<p>She had absolutely nothing with which to corroborate her statement. Nobody
+had seen Ruth&#8217;s scenario nor had she discussed the plot with any person.
+Secrecy necessary to the successful production of anything new in the line
+of picture plays was all right. Mr. Hammond advised it. But in this case
+it seemed that the scenario writer had been altogether too secret.</p>
+
+<p>Had Ruth not chanced to read the hermit&#8217;s script before making her
+accusation, Mr. Hammond would have felt differently. Better, had she been
+willing to relate to him in the first place the story of the plot of her
+scenario and how she had treated it, her present accusation might have
+seemed more reasonable.</p>
+
+<p>But, having read the really good story scrawled on the scraps of brown
+paper that John, the hermit, had put in the manager&#8217;s hands, the girl had
+suddenly claimed the authorship of the story. There was nothing to prove
+her claim. It looked dubious at the best.</p>
+
+<p><span class='pagenum'>[Pg 166]</span>
+John, the hermit, was a grim old man. No matter whether he was some old
+actor hiding away here on Beach Plum Point or not, he was not a man to
+give up easily anything that he had once said was his.</p>
+
+<p>The manager was far too wise to accuse the hermit openly, as Ruth had
+accused him. They would not get far with the old fellow that way, he was
+sure.</p>
+
+<p>First of all he called the company together and asked if there were any
+more scenarios to be submitted. &ldquo;No,&rdquo; being the answer, he told them
+briefly that out of the twenty-odd stories he had accepted one that might
+be whipped into shape for filming&mdash;and one only.</p>
+
+<p>Each story submitted had been numbered and the number given to its author.
+The scripts could now be obtained by the presentation of the numbers. He
+did not tell them which number had proved successful. Nor did he let it be
+known that he proposed to try to film the hermit&#8217;s production.</p>
+
+<p>Mr. Hooley was using old John on this day in a character part. For these
+&ldquo;types&rdquo; the director usually paid ten or fifteen dollars a day; but John
+was so successful in every part he was given that Mr. Hooley always paid
+him an extra five dollars for his work. Money seemed to make no difference
+in the hermit&#8217;s appearance, however. He
+<span class='pagenum'>[Pg 167]</span> wore just as shabby clothing and
+lived just as plainly as he had when the picture company had come on to
+the lot.</p>
+
+<p>When work was over for the day, Hooley sent the old man to Mr. Hammond&#8217;s
+office. The president of the company invited the hermit into his shack and
+gave him a seat. He scrutinized the man sharply as he thus greeted him. It
+was quite true that the hermit did not wholly fit the character he assumed
+as a longshore waif.</p>
+
+<p>In the first place, his skin was not tanned to the proper leathery look.
+His eyes were not those of a man used to looking off over the sea. His
+hands were too soft and unscarred for a sailor&#8217;s. He had never pulled on
+ropes and handled an oar!</p>
+
+<p>Now that Ruth Fielding had suggested that his character was a disguise,
+Mr. Hammond saw plainly that she must be right. As he was a good actor of
+other parts before the camera, so he was a good actor in his part of
+&ldquo;hermit.&rdquo;</p>
+
+<p>&ldquo;How long have you lived over there on the point, John?&rdquo; asked Mr. Hammond
+carelessly.</p>
+
+<p>&ldquo;A good many years, sir, in summer.&rdquo;</p>
+
+<p>&ldquo;How did you come to live there first?&rdquo;</p>
+
+<p>&ldquo;I wandered down this way, found the hut empty, turned to and fixed it up,
+and stayed on.&rdquo;</p>
+
+<p>He said it quite simply and without the first show of confusion. But this
+tale of his occupancy<span class='pagenum'>[Pg 168]</span>
+of the seaside hut he had repeated frequently, as
+Mr. Hammond very well knew.</p>
+
+<p>&ldquo;Where do you go in the winter, John?&rdquo; the latter asked.</p>
+
+<p>&ldquo;To where it&#8217;s a sight warmer. I don&#8217;t have to ask anybody where I shall
+go,&rdquo; and now the man&#8217;s tone was a trifle defiant.</p>
+
+<p>&ldquo;I would like to know something more about you,&rdquo; Mr. Hammond said, quite
+frankly. &ldquo;I may be able to do something with your story. We like to know
+about the person who submits a scenario&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;That don&#8217;t go!&rdquo; snapped the hermit grimly. &ldquo;You offered five hundred for
+a story you could use. If you can use mine, I want the five hundred. And I
+don&#8217;t aim to give you the history of my past along with the story. It&#8217;s
+nobody&#8217;s business what or who I am, or where I came from, or where I am
+going.&rdquo;</p>
+
+<p>&ldquo;Hoity-toity!&rdquo; exclaimed Mr. Hammond. &ldquo;You are quite sudden, aren&#8217;t you?
+Now, just calm yourself. I haven&#8217;t got to take your scenario and pay you
+five hundred dollars for it&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Then somebody else will,&rdquo; said the hermit, getting up.</p>
+
+<p>&ldquo;Ah! You are quite sure you have a good story here, are you?&rdquo;</p>
+
+<p>&ldquo;I know I have.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 169]</span>
+&ldquo;And how do you know so much?&rdquo; sharply demanded the moving picture
+magnate.</p>
+
+<p>&ldquo;I&#8217;ve seen enough of this thing you are doing, now&mdash;this &lsquo;Seaside Idyl&rsquo;
+stuff&mdash;to know that mine is a hundred per cent. better,&rdquo; sneered the
+hermit.</p>
+
+<p>&ldquo;Whew! You&#8217;ve a good opinion of your story, haven&#8217;t you?&rdquo; asked Mr.
+Hammond. &ldquo;Did you ever write a scenario before?&rdquo;</p>
+
+<p>&ldquo;What is that to you?&rdquo; returned the other. &ldquo;I don&#8217;t get you at all, Mr.
+Hammond. All this cross-examination&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;That will do now!&rdquo; snapped the manager. &ldquo;I am not obliged to take your
+story. You can try it elsewhere if you like,&rdquo; and he shoved the
+newspaper-wrapped package toward the end of his desk and nearer the
+hermit&#8217;s hand. &ldquo;I tell you frankly that I won&#8217;t take any story without
+knowing all about the author. There are too many comebacks in this game.&rdquo;</p>
+
+<p>&ldquo;What do you mean?&rdquo; demanded the other stiffly.</p>
+
+<p>&ldquo;I don&#8217;t <em>know</em> that your story is original. Frankly, I have some doubt
+about that very point.&rdquo;</p>
+
+<p>The old man did not change color at all. His gray eyes blazed and he was
+not at all pleasant looking. But the accusation did not seem to surprise
+him.</p>
+
+<p>&ldquo;Are you trying to get it away from me for less than you offered?&rdquo; he
+demanded.</p>
+
+<p><span class='pagenum'>[Pg 170]</span>
+&ldquo;You are an old man,&rdquo; said Mr. Hammond hotly, &ldquo;and that lets you get away
+with such a suggestion as that without punishment. I begin to believe that
+there is something dead wrong with you, John&mdash;or whatever your name is.&rdquo;</p>
+
+<p>He drew back the packet of manuscript, opened a drawer, put it within, and
+locked the drawer.</p>
+
+<p>&ldquo;I&#8217;ll think this over a little longer,&rdquo; he said grimly. &ldquo;At least, until
+you are willing to be a little more communicative about yourself. I would
+be glad to use your story with some fixing up, if I was convinced you
+really wrote it all. But you have got to show me&mdash;or give me proper
+references.&rdquo;</p>
+
+<p>&ldquo;Give me back the scenario, then!&rdquo; exclaimed the old man, his eyes blazing
+hotly.</p>
+
+<p>&ldquo;No. Not yet. I can take my time in deciding upon the manuscripts
+submitted in this contest. You will have to wait until I decide,&rdquo; said Mr.
+Hammond, waving the man out of his office.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 171]</span><a name="XXI" id="XXI"></a></p>
+<h2>CHAPTER XXI</h2>
+
+<p class="center"><strong>A HERMIT FOR REVENUE ONLY</strong></p>
+
+<p>The bays and inlets of the coast of Maine have the bluest water dotted by
+the greenest islands that one can imagine. And such wild and romantic
+looking spots as some of these islands are!</p>
+
+<p>Just at this time, too, a particular tang of romance was in the air. The
+Germans had threatened to devastate our Atlantic coast from Eastport to
+Key West with a flock of submersibles. There actually were a few
+submarines lurking about the pathways of our coastwise shipping; but, as
+usual, the Hun&#8217;s boast came to naught.</p>
+
+<p>The young people on the <em>Stazy</em> scarcely expected to see a German
+periscope during the run to Reef Harbor. Yet they did not neglect watching
+out for something of the kind. Skipper Phil Gordon, a young man with one
+arm but a full and complete knowledge of this coast and how to coax speed
+out of a gasoline engine, ordered his &ldquo;crew&rdquo; of one boy to remain sharply
+on the lookout, as well.</p>
+
+<p><span class='pagenum'>[Pg 172]</span>
+The <em>Stazy</em> did not, however, run far outside. The high and rocky headland
+that marked the entrance to Reef Harbor came into view before they had
+more than dropped the hazy outline of Beach Plum Point astern.</p>
+
+<p>But until they rounded the promontory and entered the narrow inlet to Reef
+Harbor the town and the summer colony was entirely invisible.</p>
+
+<p>&ldquo;If a German sub should stick its nose in here,&rdquo; sighed Helen, &ldquo;it would
+make everybody ashore get up and dust. Don&#8217;t you think so?&rdquo;</p>
+
+<p>&ldquo;Is it the custom to do so when the enemy, he arrive?&rdquo; asked Colonel
+Marchand, to whom the idiomatic speech of the Yankee was still a puzzle.</p>
+
+<p>&ldquo;Sure!&rdquo; replied Tom, grinning. &ldquo;Sure, Henri! These New England women would
+clean house, no matter what catastrophe arrived.&rdquo;</p>
+
+<p>&ldquo;Oh, don&#8217;t suggest such horrid possibilities,&rdquo; cried Jennie. &ldquo;And they are
+only fooling you, Henri.&rdquo;</p>
+
+<p>&ldquo;Look yonder!&rdquo; exclaimed Captain Tom, waving an instructive hand. &ldquo;Behold!
+Let the Kaiser&#8217;s underseas boat come. That little tin lizzie of the sea is
+ready for it. Depth bombs and all!&rdquo;</p>
+
+<p>The grim looking drab submarine chaser lay at the nearest dock, the faint
+spiral of smoke rising from her stack proclaiming that she was ready for
+immediate work. There was a tower, too, on
+<span class='pagenum'>[Pg 173]</span> the highest point on the
+headland from which a continual watch was kept above the town.</p>
+
+<p>&ldquo;O-o-oh!&rdquo; gurgled Jennie, snuggling up to Henri. &ldquo;Suppose one of those
+German subs shelled the movie camp back there on Beach Plum Point!&rdquo;</p>
+
+<p>&ldquo;They would likely spoil a perfectly good picture, then,&rdquo; said Helen
+practically. &ldquo;Think of Ruthie&#8217;s &lsquo;Seaside Idyl!&rsquo;.</p>
+
+<p>&ldquo;Oh, say!&rdquo; Helen went on. &ldquo;They tell me that old hermit has submitted a
+story in the contest. What do you suppose it is like, Ruth?&rdquo;</p>
+
+<p>The girl of the Red Mill was sitting beside Aunt Kate. She flushed when
+she said:</p>
+
+<p>&ldquo;Why shouldn&#8217;t he submit one?&rdquo;</p>
+
+<p>&ldquo;But that hermit isn&#8217;t quite right in his head, is he?&rdquo; demanded Ruth&#8217;s
+chum.</p>
+
+<p>&ldquo;I don&#8217;t know that it is his head that is wrong,&rdquo; murmured Ruth, shaking
+her own head doubtfully.</p>
+
+<p>Here Jennie broke in. &ldquo;Is auntie letting you read her story, Ruth?&rdquo; she
+asked slyly.</p>
+
+<p>&ldquo;Now, Jennie Stone!&rdquo; exclaimed their chaperon, blushing.</p>
+
+<p>&ldquo;Well, you are writing one. You know you are,&rdquo; laughed her niece.</p>
+
+<p>&ldquo;I&mdash;I am just trying to see if I can write such a story,&rdquo; stammered Aunt
+Kate.</p>
+
+<p>&ldquo;Well, I am sure you could make up a better
+<span class='pagenum'>[Pg 174]</span> scenario than that old grouch
+of a hermit,&rdquo; Helen declared, warmly.</p>
+
+<p>Ruth did not add anything to this discussion. What she had discovered
+regarding the hermit&#8217;s scenario was of too serious a nature to be publicly
+discussed.</p>
+
+<p>Her interview the evening before with Mr. Hammond regarding the matter had
+left Ruth in a most uncertain frame of mind. She did not know what to do
+about the stolen scenario. She shrank from telling even Helen or Tom of
+her discovery.</p>
+
+<p>To tell the truth, Mr. Hammond&#8217;s seeming doubt&mdash;not of her truthfulness
+but of her wisdom&mdash;had shaken the girl&#8217;s belief in herself. It was a
+strange situation, indeed. She thought of the woman she had found
+wandering about the mountain in the storm who had lost control of both her
+nerves and her mind, and Ruth wondered if it could be possible that she,
+too, was on the verge of becoming a nervous wreck.</p>
+
+<p>Had she deceived herself about this hermit&#8217;s story? Had she allowed her
+mind to dwell on her loss until she was quite unaccountable for her mental
+decisions? To tell the truth, this thought frightened the girl of the Red
+Mill a little.</p>
+
+<p>Practical as Ruth Fielding ordinarily was, she must confess that the shock
+she had received when the hospital in France was partly wrecked, an
+<span class='pagenum'>[Pg 175]</span>
+account of which is given in &ldquo;Ruth Fielding Homeward Bound,&rdquo; had shaken
+the very foundations of her being. She shuddered even now when she thought
+of what she had been through in France and on the voyage coming back to
+America.</p>
+
+<p>She realized that even Tom and Helen looked at her sometimes when she
+spoke of her lost scenario in a most peculiar way. Was it a fact that she
+had allowed her loss to unbalance&mdash;well, her judgment? Suppose she was
+quite wrong about that scenario the hermit had submitted to Mr. Hammond?
+The thought frightened her!</p>
+
+<p>At least, she had nothing to say upon the puzzling subject, not even to
+her best and closest friends. She was sorry indeed two hours later when
+they were at lunch on the porch of the Reef Harbor House with some of the
+Camerons&#8217; friends that Helen brought the conversation around again to the
+Beach Plum Point &ldquo;hermit.&rdquo;</p>
+
+<p>&ldquo;A <em>real</em> hermit?&rdquo; cried Cora Grimsby, a gay, blonde, irresponsible little
+thing, but with a heart of gold. &ldquo;And is he a hermit for revenue only,
+too?&rdquo;</p>
+
+<p>&ldquo;What do you mean by that?&rdquo; Helen demanded.</p>
+
+<p>&ldquo;Why, we have a hermit here, you see. Over on Reef Island itself. If you
+give us a sail in your motor yacht after lunch I&#8217;ll introduce our hermit
+to you. But you must buy something of
+<span class='pagenum'>[Pg 176]</span> him, or otherwise &lsquo;cross his palm
+with silver.&rsquo; He told me one day that he was not playing a nut for summer
+folks to laugh at just for the good of his health.&rdquo;</p>
+
+<p>&ldquo;Frank, I must say,&rdquo; laughed Tom Cameron.</p>
+
+<p>&ldquo;I guess he&#8217;s been in the hermit business before,&rdquo; said Cora, sparkling at
+Tom in his uniform. &ldquo;But this is his first season at the Harbor.&rdquo;</p>
+
+<p>&ldquo;I wonder if he belongs to the hermit&#8217;s union and carries a union card,&rdquo;
+suggested Jennie Stone soberly. &ldquo;I don&#8217;t think we should patronize
+non-union hermits.&rdquo;</p>
+
+<p>&ldquo;Goody!&rdquo; cried Cora, clapping her hands. &ldquo;Let&#8217;s ask him.&rdquo;</p>
+
+<p>Ruth said nothing. She rather wished she might get out of the trip to Reef
+Island without offending anybody. But that seemed impossible. She really
+had seen all the hermits she cared to see!</p>
+
+<p>She could not, however, be morose and absent-minded in a party of which
+Cora Grimsby and Jennie Stone were the moving spirits. It was a gay crowd
+that crossed the harbor in the <em>Stazy</em> to land at a roughly built dock
+under the high bluff of the wooded island.</p>
+
+<p>&ldquo;There&#8217;s the hermit!&rdquo; Cora cried, as they landed. &ldquo;See him sitting on the
+rock before the door of his cabin?&rdquo;</p>
+
+<p>&ldquo;Right on the job,&rdquo; suggested Tom.</p>
+
+<p><span class='pagenum'>[Pg 177]</span>
+&ldquo;No unlucky city fly shall escape that spider&#8217;s web,&rdquo; cried Jennie.</p>
+
+<p>He was a patriarchal looking man. His beard swept his breast. He wore
+shabby garments, was barefooted, and carried a staff as though he were
+lame or rheumatic.</p>
+
+<p>&ldquo;Dresses the part much better than our hermit does,&rdquo; Helen said, in
+comment.</p>
+
+<p>The man met the party from the <em>Stazy</em> with a broad smile that displayed a
+toothless cavity of a mouth. His red-rimmed eyes were moist looking, not
+to say bleary. Ruth smelled a distinct alcoholic odor on his breath. A
+complete drouth had evidently not struck this part of the State of Maine.</p>
+
+<p>&ldquo;Good day to ye!&rdquo; said the hermit. &ldquo;Some o&#8217; you young folks I ain&#8217;t never
+seed before.&rdquo;</p>
+
+<p>&ldquo;They are my friends,&rdquo; Cora hastened to explain, &ldquo;and they come from Beach
+Plum Point.&rdquo;</p>
+
+<p>&ldquo;Do tell! If you air goin&#8217; back to-night, better make a good v&#8217;y&#8217;ge of it.
+We&#8217;re due for a blow, I allow. You folks ain&#8217;t stoppin&#8217; right on the
+p&#8217;int, be ye?&rdquo;</p>
+
+<p>Ruth, to whom he addressed this last question, answered that they were,
+and explained that there was a large camp there this season, and why.</p>
+
+<p>&ldquo;Wal, wal! I want to know! Somebody did say something to me about a gang
+of movin&#8217; <span class='pagenum'>[Pg 178]</span>
+picture folks comin&#8217; there; but I reckoned they was a-foolin&#8217;
+me.&rdquo;</p>
+
+<p>&ldquo;There is a good sized party of us,&rdquo; acknowledged Ruth.</p>
+
+<p>&ldquo;Wal, wal! Mebbe that fella I let my shack to will make out well, then,
+after all. Warn&#8217;t no sign of ye on the beach when I left three weeks ago&rdquo;.</p>
+
+<p>&ldquo;Did you live there on the point?&rdquo; asked Ruth.</p>
+
+<p>&ldquo;Allus do winters. But the pickin&#8217;s is better over here at the Harbor at
+this time of year.&rdquo;</p>
+
+<p>&ldquo;And the man you left in your place? Where is your house on the point?&rdquo;</p>
+
+<p>The hermit &ldquo;for revenue only&rdquo; described the hut on the eastern shore in
+which the other &ldquo;hermit&rdquo; lived. Ruth became much interested.</p>
+
+<p>&ldquo;Tell me,&rdquo; she said, while the others examined the curios the hermit had
+for sale, &ldquo;what kind of man is this you left in your house? And who is
+he?&rdquo;</p>
+
+<p>&ldquo;Law bless ye!&rdquo; said the old man. &ldquo;I don&#8217;t know him from Adam&#8217;s off ox.
+Never seed him afore. But he was trampin&#8217; of it; and he didn&#8217;t have much
+money. An&#8217; to tell you the truth, Miss, that hutch of mine ain&#8217;t wuth much
+money.&rdquo;</p>
+
+<p>She described the man who had been playing the hermit since the Alectrion
+Film Corporation crowd had come to Beach Plum Point.</p>
+
+<p>&ldquo;That&#8217;s the fella,&rdquo; said the old man, nodding.</p>
+
+<p><span class='pagenum'>[Pg 179]</span>
+Ruth stood aside while he waited on his customers and digested these
+statements regarding the man who claimed the authorship of the scenario of
+&ldquo;Plain Mary.&rdquo;</p>
+
+<p>Not that Ruth would have desired to acknowledge the scenario in its
+present form. She felt angry every time she thought of how her plot had
+been mangled.</p>
+
+<p>But she was glad to learn all that was known about the Beach Plum Point
+hermit. And she had learned one most important fact.</p>
+
+<p>He was not a regular hermit. As Jennie Stone suggested, he was not a
+&ldquo;union hermit&rdquo; at all. And he was a stranger to the neighborhood of
+Herringport. If he had been at the Point only three weeks, as this old man
+said, &ldquo;John, the hermit,&rdquo; might easily have come since Ruth&#8217;s scenario was
+stolen back there at the Red Mill!</p>
+
+<p>Her thoughts began to mill again about this possibility. She wished she
+was back at the camp so as to put the strange old man through a
+cross-examination regarding himself and where he had come from. She had no
+suspicion as to how Mr. Hammond had so signally failed in this very
+matter.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 180]</span><a name="XXII" id="XXII"></a></p>
+<h2>CHAPTER XXII</h2>
+
+<p class="center"><strong>AN ARRIVAL</strong></p>
+
+<p>Mr. Hammond was in no placid state of mind himself after the peculiarly
+acting individual who called himself &ldquo;John, the hermit,&rdquo; left his office.
+The very fact that the man refused to tell anything about his personal
+affairs&mdash;who he really was, or where he came from&mdash;induced the moving
+picture producer to believe there must be something wrong about him.</p>
+
+<p>Mr. Hammond went to the door of the shack and watched the man tramping up
+the beach toward the end of the point. What a dignified stride he had!
+Rather, it was the stride of a poseur&mdash;like nothing so much as that of the
+old-time tragedian, made famous by the Henry Irving school of actors.</p>
+
+<p>&ldquo;An ancient &lsquo;ham&rsquo; sure enough, just as the boys say,&rdquo; muttered the
+manager.</p>
+
+<p>The so-called hermit disappeared. The moving picture people were gathering
+for dinner. The sun, although still above the horizon, was dimmed
+<span class='pagenum'>[Pg 181]</span> by
+cloud-banks which were rising steadily to meet clouds over the sea.</p>
+
+<p>A wan light played upon the heaving &ldquo;graybacks&rdquo; outside the mouth of the
+harbor. The wind whined among the pines which grew along the ridge of
+Beach Plum Point.</p>
+
+<p>A storm was imminent. Just as Mr. Hammond took note of this and wished
+that Ruth Fielding and her party had returned, a snorting automobile
+rattled along the shell road and halted near the camp.</p>
+
+<p>&ldquo;Is this the Alectrion Film Company?&rdquo; asked a shrill voice.</p>
+
+<p>&ldquo;This is the place, Miss,&rdquo; said the driver of the small car.</p>
+
+<p>The chauffeur ran his jitney from the railroad station and was known to
+Mr. Hammond. The latter went nearer.</p>
+
+<p>Out of the car stepped a girl&mdash;a very young girl to be traveling alone.
+She was dressed in extreme fashion, but very cheaply. Her hair was bobbed
+and she wore a Russian blouse of cheap silk. Her skirt was very narrow,
+her cloth boots very high, and the heels of them were like those of
+Jananese clogs.</p>
+
+<p>What with the skimpy skirt and the high heels she could scarcely walk. She
+was laden with two bags&mdash;one an ancient carpet-bag that must have been
+seventy-five years old, and the other a bright
+<span class='pagenum'>[Pg 182]</span> tan one of imitation
+leather with brass clasps. She wore a coal-scuttle hat pulled down over
+her eyes so that her face was quite extinguished.</p>
+
+<p>Altogether her get-up was rather startling. Mr. Hammond saw Jim Hooley
+come out of his tent to stare at the new arrival. She certainly was a
+&ldquo;type.&rdquo;</p>
+
+<p>There was a certain kind of prettiness about the girl, and aside from her
+incongruous garments she was not unattractive&mdash;when her face was revealed.
+Mr. Hammond&#8217;s interest increased. He approached the spot where the girl
+had been left by the jitney driver.</p>
+
+<p>&ldquo;You came to see somebody?&rdquo; he asked kindly. &ldquo;Who is it you wish to see?&rdquo;</p>
+
+<p>&ldquo;Is this the moving picture camp, Mister?&rdquo; she returned.</p>
+
+<p>&ldquo;Yes,&rdquo; said the manager, smiling. &ldquo;Are you acquainted with somebody who
+works here?&rdquo;</p>
+
+<p>&ldquo;Yes. I am Arabella Montague Fitzmaurice,&rdquo; said the girl, with an air that
+seemed to show that she expected to be recognized when she had recited her
+name.</p>
+
+<p>Mr. Hammond refrained from open laughter. He only said:</p>
+
+<p>&ldquo;Why&mdash;that is nice. I am glad to meet you, my dear. Who are you looking
+for?&rdquo;</p>
+
+<p>&ldquo;I want to see my pa, of course. I guess you know who <em>he</em> is?&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 183]</span>
+&ldquo;I am not sure that I do, my dear.&rdquo;</p>
+
+<p>&ldquo;You don&#8217;t&mdash;Say! who are you?&rdquo; demanded Bella, with some sharpness.</p>
+
+<p>&ldquo;I am only the manager of the company. Who is your father, child?&rdquo;</p>
+
+<p>&ldquo;Well, of all the&mdash;&mdash;&nbsp;Wouldn&#8217;t that give you your nevergitovers!&rdquo;
+exclaimed Bella, in broad amazement. &ldquo;Say! I guess my pa is your leading
+man.&rdquo;</p>
+
+<p>&ldquo;Mr. Hasbrouck? Impossible!&rdquo;</p>
+
+<p>&ldquo;Never heard of him,&rdquo; said Bella, promptly. &ldquo;Montague Fitzmaurice, I
+mean.&rdquo;</p>
+
+<p>&ldquo;And I never heard of him,&rdquo; declared Mr. Hammond, both puzzled and amused.</p>
+
+<p>&ldquo;What?&rdquo; gasped the girl, almost stunned by this statement. &ldquo;Maybe you know
+him as Mr. Pike. That is our honest-to-goodness name&mdash;Pike.&rdquo;</p>
+
+<p>&ldquo;I am sorry that you are disappointed, my dear,&rdquo; said the manager kindly.
+&ldquo;But don&#8217;t be worried. If you expected to meet your father here, perhaps
+he will come later. But really, I have no such person as that on my staff
+at the present time.&rdquo;</p>
+
+<p>&ldquo;I don&#8217;t know&mdash;&mdash;&nbsp;Why!&rdquo; cried Bella, &ldquo;he sent me money and said he
+was working here. I&mdash;I didn&#8217;t tell him I was coming. I just got sick of
+those Perkinses, and I took the money and went to Boston and got dressed
+up, and then came on<span class='pagenum'>[Pg 184]</span>
+here. I&mdash;I just about spent all the money he sent me
+to get here.&rdquo;</p>
+
+<p>&ldquo;Well, that was perhaps unwise,&rdquo; said Mr. Hammond. &ldquo;But don&#8217;t worry. Come
+along now to Mother Paisley. She will look out for you&mdash;and you can stay
+with us until your father appears. There is some mistake somewhere.&rdquo;</p>
+
+<p>By this speech he warded off tears. Bella hastily winked them back and
+squared her thin shoulders.</p>
+
+<p>&ldquo;All right, sir,&rdquo; she said, picking up the bags again. &ldquo;Pa will make it
+all right with you. He wrote in his letter as if he had a good
+engagement.&rdquo;</p>
+
+<p>Mr. Hammond might have learned something further about this surprising
+girl at the time, but just as he introduced her to Mother Paisley one of
+the men came running from the point and hailed him:</p>
+
+<p>&ldquo;Mr. Hammond! There&#8217;s a boat in trouble off the point. I think she was
+making for this harbor. Have you got a pair of glasses?&rdquo;</p>
+
+<p>Mr. Hammond had a fine pair of opera glasses, and he produced them from
+his desk while he asked:</p>
+
+<p>&ldquo;What kind of boat is it, Maxwell?&rdquo;</p>
+
+<p>&ldquo;Looks like that blue motor that Miss Fielding and her friends went off in
+this morning. We saw<span class='pagenum'>[Pg 185]</span>
+it coming along at top speed. And suddenly it
+stopped. They can&#8217;t seem to manage it&mdash;&mdash;&rdquo;</p>
+
+<p>The manager hurried with Maxwell along the sands. The sky was completely
+overcast now, and the wind whipped the spray from the wave tops into their
+faces. The weather looked dubious indeed, and the manager of the film
+corporation was worried before even he focused his glasses upon the
+distant motor-boat.</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 186]</span><a name="XXIII" id="XXIII"></a></p>
+<h2>CHAPTER XXIII</h2>
+
+<p class="center"><strong>TROUBLE&mdash;PLENTY</strong></p>
+
+<p>Even Ruth Fielding had paid no attention to the warning of the Reef Island
+hermit regarding a change in the weather, in spite of the fact that she
+was anxious to return to the camp near Herringport. It was not until the
+<em>Stazy</em> was outside the inlet late in the afternoon that Skipper Phil
+Gordon noted the threatening signs in sea and sky.</p>
+
+<p>&ldquo;That&#8217;s how it goes,&rdquo; the one-armed mariner said. &ldquo;When we aren&#8217;t
+dependent on the wind to fill our canvas, we neglect watching every little
+weather change. She&#8217;s going to blow by and by.&rdquo;</p>
+
+<p>&ldquo;Do you think it will be a real storm?&rdquo; asked Ruth, who sat beside him at
+the steering wheel and engine, watching how he managed the mechanism.</p>
+
+<p>&ldquo;Maybe. But with good luck we will make Beach Plum Point long before it
+amounts to anything.&rdquo;</p>
+
+<p>The long graybacks were rather pleasant to ride over at first. Even Aunt
+Kate was not troubled<span class='pagenum'>[Pg 187]</span>
+by the prospect. It was so short a run to the
+anchorage behind the Point that nobody expressed fear.</p>
+
+<p>When the spray began to fly over the bows the girls merely squealed a bit,
+although they hastily found extra wraps. If the <em>Stazy</em> plunged and
+shipped half a sea now and then, nobody was made anxious. And soon the
+Point was in plain view.</p>
+
+<p>To make the run easier, however, Skipper Gordon had sailed the motor-yacht
+well out to sea. When he shifted the helm to run for the entrance to the
+bay, the waves began to slap against the <em>Stazy&#8217;s</em> side. She rolled
+terrifically and the aspect of affairs was instantly changed.</p>
+
+<p>&ldquo;Oh, dear me!&rdquo; moaned Jennie Stone. &ldquo;How do you feel, Henri? I did not
+bargain for this rough stuff, did you? Oh!&rdquo;</p>
+
+<p>&ldquo;&lsquo;Mister Captain, stop the ship, I want to get off and walk!&rsquo;&rdquo; sang Helen
+gaily. &ldquo;Don&#8217;t lose all hope, Heavy. You&#8217;ll never sink if you do go
+overboard.&rdquo;</p>
+
+<p>&ldquo;Isn&#8217;t she mean?&rdquo; sniffed the plump girl. &ldquo;And I am only afraid for
+Henri&#8217;s sake.&rdquo;</p>
+
+<p>&ldquo;I don&#8217;t like this for my own sake,&rdquo; murmured Aunt Kate.</p>
+
+<p>&ldquo;Are you cold, dear?&rdquo; her niece asked, with quick sympathy. &ldquo;Here! I don&#8217;t
+really need this cape with my heavy sweater.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 188]</span>
+She removed the heavy cloth garment from her own shoulders and with a
+flirt sought to place it around Aunt Kate. The wind swooped down just then
+with sudden force. The <em>Stazy</em> rolled to leeward.</p>
+
+<p>&ldquo;Oh! Stop it!&rdquo;</p>
+
+<p>Bulging under pressure of the wind, the cape flew over the rail. Jennie
+tried to clutch it again; Henri plunged after it, too. Colliding, the two
+managed between them to miss the garment altogether. It dropped into the
+water just under the rail.</p>
+
+<p>&ldquo;Of all the clumsy fingers!&rdquo; ejaculated Helen. But she could not seize the
+wrap, although she darted for it. Nor could Ruth help, she being still
+farther forward.</p>
+
+<p>&ldquo;Now, you&#8217;ve done it!&rdquo; complained Aunt Kate.</p>
+
+<p>The boat began to rise on another roller. The cape was sucked out of sight
+under the rail. The next moment the whirling propeller was stopped&mdash;so
+abruptly that the <em>Stazy</em> shook all over.</p>
+
+<p>&ldquo;Oh! what has happened?&rdquo; shrieked Helen.</p>
+
+<p>Ruth started up, and Tom seized her arm to steady her. But the girl of the
+Red Mill did not express any fear. The shock did not seem to affect her so
+much as it did the other girls. Here was a real danger, and Ruth did not
+lose her self-possession.</p>
+
+<p>Phil Gordon had shut off the power, and the
+<span class='pagenum'>[Pg 189]</span> motor-boat began to swing
+broadside to the rising seas.</p>
+
+<p>&ldquo;The propeller is broken!&rdquo; cried Tom.</p>
+
+<p>&ldquo;She&#8217;s jammed. That cape!&rdquo; gasped the one-armed skipper. &ldquo;Here! Tend to
+this till I see what can be done. Jack!&rdquo; he shouted to his crew. &ldquo;This
+way&mdash;lively, now!&rdquo;</p>
+
+<p>But Ruth slipped into his place before Tom could do so.</p>
+
+<p>&ldquo;I know how to steer, Tommy,&rdquo; she declared. &ldquo;And I understand the engine.
+Give him a hand if he needs you.&rdquo;</p>
+
+<p>&ldquo;Oh, we&#8217;ll turn turtle!&rdquo; shrieked Jennie, as the boat rolled again.</p>
+
+<p>&ldquo;You&#8217;ll never become a turtle, Jen,&rdquo; declared Tom, plunging aft. &ldquo;Turtles
+are dumb!&rdquo;</p>
+
+<p>The <em>Stazy</em> was slapped by a big wave, &ldquo;just abaft the starboard bow,&rdquo; to
+be real nautical, and half a ton of sea-water washed over the forward deck
+and spilled into the standing-room of the craft.</p>
+
+<p>Henri had wisely closed the door of the cabin. The water foamed about
+their feet. Ruth found herself knee deep for a moment in this flood. She
+whirled the wheel over, trying to bring up the head of the craft to meet
+the next wave.</p>
+
+<p>&ldquo;Oh, my dear!&rdquo; groaned Jennie Stone. &ldquo;We are going to be drowned.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 190]</span>
+&ldquo;Drowned, your granny!&rdquo; snapped Helen angrily. &ldquo;Don&#8217;t be such a silly,
+Jennie.&rdquo;</p>
+
+<p>Ruth stood at the wheel with more apparent calmness than any of them. Her
+hair had whipped out of its fastenings and streamed over her shoulders.
+Her eyes were bright and her cheeks aglow.</p>
+
+<p>Helen, staring at her, suddenly realized that this was the old Ruth
+Fielding. Her chum had not looked so much alive, so thoroughly competent
+and ready for anything, before for weeks.</p>
+
+<p>&ldquo;Why&mdash;why, Ruthie!&rdquo; Helen murmured, &ldquo;I believe you like this.&rdquo;</p>
+
+<p>Her chum did not hear the words, but she suddenly flashed Helen a
+brilliant smile. &ldquo;Keep up your pluck, child!&rdquo; she shouted. &ldquo;We&#8217;ll come out
+all right.&rdquo;</p>
+
+<p>Again the <em>Stazy</em> staggered under the side swipe of a big wave.</p>
+
+<p>&ldquo;Ye-ow!&rdquo; yelped Tom in the stern, almost diving overboard.</p>
+
+<p>&ldquo;Steady!&rdquo; shouted Skipper Gordon, excitedly.</p>
+
+<p>&ldquo;Steady she is, Captain!&rdquo; rejoined Ruth Fielding, and actually laughed.</p>
+
+<p>&ldquo;How can you, Ruth?&rdquo; complained Jennie, clinging to Henri Marchand. &ldquo;And
+when we are about to drown.&rdquo;</p>
+
+<p>&ldquo;Weeping will not save us,&rdquo; flung back Ruth.</p>
+
+<p>Her strong hands held the wheel-spokes with
+<span class='pagenum'>[Pg 191]</span> a grip unbreakable. She could
+force the <em>Stazy&#8217;s</em> head to the seas.</p>
+
+<p>&ldquo;Can you start the engine on the reverse, Miss?&rdquo; bawled Gordon.</p>
+
+<p>&ldquo;I can try!&rdquo; flashed Ruth. &ldquo;Say when.&rdquo;</p>
+
+<p>In a moment the cry came: &ldquo;Ready!&rdquo;</p>
+
+<p>&ldquo;Aye, aye!&rdquo; responded Ruth, spinning the flywheel.</p>
+
+<p>The spark caught almost instantly. The exhaust sputtered.</p>
+
+<p>&ldquo;Now!&rdquo; yelled the skipper.</p>
+
+<p>Ruth threw the lever. The boat trembled like an automobile under the
+propulsion of the engine. The propeller shaft groaned.</p>
+
+<p>&ldquo;Ye-ow!&rdquo; shouted the excited Tom again.</p>
+
+<p>This time he sprawled back into the bottom of the boat, tearing away a
+good half of Jennie&#8217;s cape in his grip. The rest of the garment floated to
+the surface. It was loose from the propeller.</p>
+
+<p>&ldquo;Full speed ahead!&rdquo; shouted the one-armed captain of the motor-boat.</p>
+
+<p>Ruth obeyed the command. The <em>Stazy</em> staggered into the next wave. The
+water that came in over her bow almost drowned them, but Ruth, hanging to
+the steering wheel, brought the craft through the roller without swamping
+her.</p>
+
+<p>&ldquo;Good for our Ruth!&rdquo; shouted Helen, as soon as she could get her breath.</p>
+
+<p><span class='pagenum'>[Pg 192]</span>
+&ldquo;Oh, Ruth! you always come to our rescue,&rdquo; declared Jennie gratefully.</p>
+
+<p>&ldquo;Hi! I thought you were a nervous wreck, young lady,&rdquo; Tom sputtered,
+scrambling forward to relieve her. &ldquo;Get you into a tight corner, and you
+show what you are made of, all right.&rdquo;</p>
+
+<p>The girl of the Red Mill smiled at them. She had done something! Nor did
+she feel at all overcome by the effort. The danger through which they had
+passed had inspired rather than frightened her.</p>
+
+<p>&ldquo;Why, I&#8217;m all right,&rdquo; she told Tom when he reached her. &ldquo;This is great!
+We&#8217;ll be behind the shelter of the Point in a few minutes. There&#8217;s nothing
+to worry about.&rdquo;</p>
+
+<p>&ldquo;You&#8217;re all right, Ruth,&rdquo; Tom repeated, admiringly. &ldquo;I thought you&#8217;d lost
+your grip, but I see you haven&#8217;t. You are the same old Ruthie Fielding,
+after all.&rdquo;</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 193]</span><a name="XXIV" id="XXIV"></a></p>
+<h2>CHAPTER XXIV</h2>
+
+<p class="center"><strong>ABOUT &ldquo;PLAIN MARY&rdquo;</strong></p>
+
+<p>Mr. Hammond and the actors with him had no idea of the nature of the
+accident that had happened to the <em>Stazy</em>. From the extreme end of Beach
+Plum Point they could merely watch proceedings aboard the craft, and
+wonder what it was all about.</p>
+
+<p>The manager could, however, see through his glasses that Ruth Fielding was
+at the wheel. Her face came out clear as a cameo when he focused the opera
+glasses upon her. And at the change in the girl&#8217;s expression he marveled.</p>
+
+<p>Those ashore could do nothing to aid the party on the motor-yacht; and
+until it got under way again Mr. Hammond was acutely anxious. It rolled so
+that he expected it to turn keel up at almost any moment.</p>
+
+<p>Before the blasts of rain began to sweep across the sea, however, the
+<em>Stazy</em> was once more under control. At that most of the spectators made
+for the camp and shelter. But the manager of the
+<span class='pagenum'>[Pg 194]</span> film corporation waited
+to see the motor-yacht inside the shelter of Beach Plum Point.</p>
+
+<p>The rain was falling heavily, and not merely in gusts, when Ruth and her
+friends came ashore in the small boat. The lamps were lit and dinner was
+over at the main camp. Therefore the automobile touring party failed to
+see Bella Pike or hear about her arrival. By this time the girl had gone
+off to the main dormitory with Mother Paisley, and even Mr. Hammond did
+not think of her.</p>
+
+<p>Nor did the manager speak that evening to Ruth about the hermit&#8217;s scenario
+or his interview with the old man regarding it.</p>
+
+<p>The three girls and Aunt Kate changed their clothing in the little shack
+and then joined the young men in the dining room for a late supper. Aunt
+Kate was to stay this night at the camp. There was a feeling of much
+thankfulness in all their hearts over their escape from what might have
+been a serious accident.</p>
+
+<p>&ldquo;Providence was good to us,&rdquo; said Aunt Kate. &ldquo;I hope we are all properly
+grateful.&rdquo;</p>
+
+<p>&ldquo;And properly proud of Ruthie!&rdquo; exclaimed Helen, squeezing her chum&#8217;s
+hand.</p>
+
+<p>&ldquo;Don&#8217;t throw too many bouquets,&rdquo; laughed Ruth. &ldquo;It was not I that tore
+Jennie&#8217;s cape out of the propeller. I merely obeyed the skipper&#8217;s
+orders.&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 195]</span>
+&ldquo;She is a regular Cheerful Grig again, isn&#8217;t she?&rdquo; demanded Jennie,
+beaming on Ruth.</p>
+
+<p>&ldquo;I have been a wet blanket on this party long enough. I just begin to
+realize how very unpleasant I have been&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Not that, Mademoiselle!&rdquo; objected Henri.</p>
+
+<p>&ldquo;But yes! Hereafter I will be cheerful. Life is worth living after all!&rdquo;</p>
+
+<p>Tom, who sat next to her at table (he usually managed to do that) smiled
+at Ruth approvingly.</p>
+
+<p>&ldquo;Bravo!&rdquo; he whispered. &ldquo;There are other scenarios to write.&rdquo;</p>
+
+<p>&ldquo;Tom!&rdquo; she whispered sharply, &ldquo;I want to tell you something about that.&rdquo;</p>
+
+<p>&ldquo;About what?&rdquo;</p>
+
+<p>&ldquo;My scenario.&rdquo;</p>
+
+<p>&ldquo;You don&#8217;t mean&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;I mean I know what has become of it.&rdquo;</p>
+
+<p>&ldquo;Never!&rdquo; gasped Tom. &ldquo;Are you&mdash;are&mdash;you&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;I am not &lsquo;<em>non compos</em>,&rsquo; and-so-forth,&rdquo; laughed Ruth. &ldquo;Oh, there is
+nothing foolish about this, Tom. Let me tell you.&rdquo;</p>
+
+<p>She spoke in so low a tone that the others could not have heard had they
+desired to. She and Tom put their heads together and within the next few
+minutes Ruth had told him all about the hermit&#8217;s scenario and her
+conviction that he had stolen his
+<span class='pagenum'>[Pg 196]</span> idea and a large part of his story from
+Ruth&#8217;s lost manuscript.</p>
+
+<p>&ldquo;It seems almost impossible, Ruth,&rdquo; gasped her friend.</p>
+
+<p>&ldquo;No. Not impossible or improbable. Listen to what that man on Reef Island
+told me about this hermit, so-called.&rdquo; And she repeated it all to the
+excited Tom. &ldquo;I am convinced,&rdquo; pursued Ruth, &ldquo;that this hermit could
+easily have been in the vicinity of the Red Mill on the day my manuscript
+disappeared.&rdquo;</p>
+
+<p>&ldquo;But to prove it!&rdquo; cried Tom.</p>
+
+<p>&ldquo;We&#8217;ll see about that,&rdquo; said Ruth confidently. &ldquo;You know, Ben told us he
+had seen and spoken to a tramp-actor that day. Uncle Jabez saw him, too.
+And you, Tom, followed his trail to the Cheslow railroad yards.&rdquo;</p>
+
+<p>&ldquo;So I did,&rdquo; admitted her friend.</p>
+
+<p>&ldquo;I believe,&rdquo; went on Ruth earnestly, &ldquo;that this man who came here to live
+on Beach Plum Point only three weeks ago, is that very vagrant. It is
+plain that this fellow is playing the part of a hermit, just as he plays
+the parts Mr. Hooley casts him for.&rdquo;</p>
+
+<p>&ldquo;Whew!&rdquo; whistled Tom. &ldquo;Almost do you convince me, Ruth Fielding. But to
+prove it is another thing.&rdquo;</p>
+
+<p>&ldquo;We <em>will</em> prove it. If this man was at the Red
+<span class='pagenum'>[Pg 197]</span> Mill on that particular
+day, we can make sure of the fact.&rdquo;</p>
+
+<p>&ldquo;How will you do it, Ruth?&rdquo;</p>
+
+<p>&ldquo;By getting one of the camera men to take a &lsquo;still&rsquo; of the hermit, develop
+it for us, and send the negative to Ben. He and Uncle Jabez must remember
+how that traveling actor looked&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Hurrah!&rdquo; exclaimed Tom, jumping up to the amazement of the rest of the
+party. &ldquo;That&#8217;s a bully idea.&rdquo;</p>
+
+<p>&ldquo;What is it?&rdquo; demanded Helen. &ldquo;Let us in on it, too.&rdquo;</p>
+
+<p>But Ruth shook her head and Tom calmed down.</p>
+
+<p>&ldquo;Can&#8217;t tell the secret yet,&rdquo; Helen&#8217;s twin declared. &ldquo;That would spoil it.&rdquo;</p>
+
+<p>&ldquo;Oh! A surprise! I love surprises,&rdquo; said Jennie Stone.</p>
+
+<p>&ldquo;I don&#8217;t. Not when my chum and my brother have a secret from me and won&#8217;t
+let me in on it,&rdquo; and Helen turned her back upon them in apparent
+indignation.</p>
+
+<p>After that Ruth and Tom discussed the matter with more secrecy. Ruth said
+in conclusion:</p>
+
+<p>&ldquo;If he was there at the mill the day my story was stolen, and now submits
+this scenario to Mr. Hammond&mdash;and it is merely a re-hash of mine, Tom, I
+assure you&mdash;&mdash;&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 198]</span>
+&ldquo;Of course I believe you, Ruth,&rdquo; rejoined the young fellow.</p>
+
+<p>&ldquo;Mr. Hammond should be convinced, too,&rdquo; said the girl.</p>
+
+<p>But there was a point that Tom saw very clearly and which Ruth Fielding
+did not seem to appreciate. She still had no evidence to corroborate her
+claim that the hermit&#8217;s story of &ldquo;Plain Mary&rdquo; was plagiarized from her
+manuscript.</p>
+
+<p>For, after all, nobody but Ruth herself knew what her scenario had been
+like!</p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'>[Pg 199]</span><a name="XXV" id="XXV"></a></p>
+<h2>CHAPTER XXV</h2>
+
+<p class="center"><strong>LIFTING THE CURTAIN</strong></p>
+
+<p>Ruth slept peacefully and awoke the next morning in a perfectly serene
+frame of mind. She was quite as convinced as ever that she had been robbed
+of her scenario; and she was, as well, sure that &ldquo;John, the hermit,&rdquo; had
+produced his picture play from her manuscript. But Ruth no longer felt
+anxious and excited about it.</p>
+
+<p>She clearly saw her way to a conclusion of the matter. If the old actor
+was identified by Ben and Uncle Jabez as the tramp they had seen and
+conversed with, the girl of the Red Mill was pretty sure she would get the
+best of the thief.</p>
+
+<p>In the first place she considered her idea and her scenario worth much
+more than five hundred dollars. If by no other means, she would buy the
+hermit&#8217;s story at the price Mr. Hammond was willing to pay for it&mdash;and a
+little more if necessary. And if possible she would force the old actor to
+hand over to her the script that she had lost.</p>
+
+<p><span class='pagenum'>[Pg 200]</span>
+Thus was her mind made up, and she approached the matter in all
+cheerfulness. She had said nothing to anybody but Tom, and she did not see
+him early in the morning. One of the stewards brought the girls&#8217; breakfast
+to the shack; so they knew little of what went on about the camp at that
+time.</p>
+
+<p>The rain had ceased. The storm had passed on completely. Soon after
+breakfast Ruth saw the man who called himself &ldquo;John, the hermit,&rdquo; making
+straight for Mr. Hammond&#8217;s office.</p>
+
+<p>That was where Ruth wished to be. She wanted to confront the man before
+the president of the film corporation. She started over that way and ran
+into the most surprising incident!</p>
+
+<p>Coming out of the cook tent with a huge apron enveloping her queer, tight
+dress and tilting forward upon her high heels, appeared Bella Pike! Ruth
+Fielding might have met somebody whose presence here would have surprised
+her more, but at the moment she could not imagine who it could be.</p>
+
+<p>&ldquo;Ara-bella!&rdquo; gasped Ruth.</p>
+
+<p>The child turned to stare her own amazement. She changed color, too, for
+she knew she had done wrong to run away; but she smiled with both eyes and
+lips, for she was glad to see Ruth.</p>
+
+<p>&ldquo;My mercy!&rdquo; she ejaculated. &ldquo;If it ain&#8217;t Miss Fielding! How-do, Miss
+Fielding? Ain&#8217;t it<span class='pagenum'>[Pg 201]</span>
+enough to give one their nevergitovers to see you here?&rdquo;</p>
+
+<p>&ldquo;And how do you suppose I feel to find you here at Beach Plum Point,&rdquo;
+demanded Ruth, &ldquo;when we all thought you were so nicely fixed with Mr. and
+Mrs. Perkins? And Mrs. Holmes wrote to me only the other day that you
+seemed contented.&rdquo;</p>
+
+<p>&ldquo;That&#8217;s right, Miss Fielding,&rdquo; sighed the actor&#8217;s child. &ldquo;I was. And Miz
+Perkins was always nice to me. Nothing at all like Aunt Suse Timmins. But,
+you see, they ain&#8217;t like pa.&rdquo;</p>
+
+<p>&ldquo;Did your father bring you here?&rdquo;</p>
+
+<p>&ldquo;No&#8217;m.&rdquo;</p>
+
+<p>&ldquo;Nor send for you?&rdquo;</p>
+
+<p>&ldquo;Not exactly,&rdquo; confessed Bella.</p>
+
+<p>&ldquo;Well!&rdquo;</p>
+
+<p>&ldquo;You see, he sent me money. Only on Tuesday. Forty dollars.&rdquo;</p>
+
+<p>&ldquo;Forty dollars! And to a child like you?&rdquo;</p>
+
+<p>&ldquo;Well, Miss Fielding, if he had sent it to Aunt Suse I&#8217;d never have seen a
+penny of it. And pa didn&#8217;t know what you&#8217;d done for me and how you&#8217;d put
+me with Miz Perkins.&rdquo;</p>
+
+<p>&ldquo;I suppose that is so,&rdquo; admitted the surprised Ruth. &ldquo;But why did you come
+here?&rdquo;</p>
+
+<p>&ldquo;&#8217;Cause pa wrote he had an engagement here. I came through Boston, an&#8217; got
+me a dress,<span class='pagenum'>[Pg 202]</span> and some shoes,
+and a hat&mdash;all up to date&mdash;and I thought I&#8217;d
+surprise pa&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;But, Bella! I haven&#8217;t seen your father here, have I?&rdquo;</p>
+
+<p>&ldquo;No. There&#8217;s a mistake somehow. But this nice Miz Paisley says for me not
+to worry. That like enough pa will come here yet.&rdquo;</p>
+
+<p>&ldquo;I never!&rdquo; ejaculated Ruth. &ldquo;Come right along with me, Bella, and see Mr.
+Hammond. Something must be done. Of course, Mrs. Perkins and the doctor&#8217;s
+wife have no idea where you have gone?&rdquo;</p>
+
+<p>&ldquo;Oh, yes&#8217;m. I left a note telling &#8217;em I&#8217;d gone to meet pa.&rdquo;</p>
+
+<p>&ldquo;But we must send them a message that you are all right. Come on, Bella!&rdquo;
+and with her arm about the child&#8217;s thin shoulders, Ruth urged her to Mr.
+Hammond&#8217;s office&mdash;and directly into her father&#8217;s arms!</p>
+
+<p>This was how Arabella Montague Fitzmaurice Pike came to meet her
+father&mdash;in a most amazing fashion!</p>
+
+<p>&ldquo;Pa! I never did!&rdquo; half shrieked the queer child.</p>
+
+<p>&ldquo;Arabella! Here? How strange!&rdquo; observed the man who had been acting the
+part of the Beach Plum Point hermit. &ldquo;My child!&rdquo;</p>
+
+<p>Mr. Pike could do nothing save in a dramatic way. He seized Bella and
+hugged her to his<span class='pagenum'>[Pg 203]</span>
+bosom in a most stagy manner. But Ruth saw that the
+man&#8217;s gray eyes were moist, that his hands when he seized the girl really
+trembled, and he kissed Bella with warmth.</p>
+
+<p>&ldquo;I declare!&rdquo; exclaimed Mr. Hammond. &ldquo;So your name is
+something-or-other-Fitzmaurice Pike?&rdquo;</p>
+
+<p>&ldquo;John Pike, if it please you. The other is for professional purposes
+only,&rdquo; said Bella&#8217;s father. &ldquo;If you do not mind, sir,&rdquo; he added, &ldquo;we will
+postpone our discussion until a later time. I&mdash;I would take my daughter to
+my poor abode and learn of her experience in getting here to Beach Plum
+Point.&rdquo;</p>
+
+<p>&ldquo;Go as far as you like, Mr. Pike. But remember there has got to be a
+settlement later of this matter we were discussing,&rdquo; said the manager
+sternly.</p>
+
+<p>The actor and his daughter departed, the former giving Ruth a very curious
+look indeed. Mr. Hammond turned a broad smile upon the girl of the Red
+Mill.</p>
+
+<p>&ldquo;What do you know about <em>that</em>?&rdquo; Mr. Hammond demanded. &ldquo;Why, Miss Ruth,
+yours seems to have been a very good guess. That fellow is an old-timer
+and no mistake.&rdquo;</p>
+
+<p>&ldquo;My guess was good in more ways than one,&rdquo; said Ruth. &ldquo;I believe I can
+prove that this Pike<span class='pagenum'>[Pg 204]</span>
+was at the Red Mill on the day my scenario was stolen.&rdquo;</p>
+
+<p>She told the manager briefly of the discovery she had made through the
+patriarchal old fellow on Reef Island the day before, and of her intention
+of sending a photograph of Pike back home for identification.</p>
+
+<p>&ldquo;Good idea!&rdquo; declared Mr. Hammond. &ldquo;I will speak to Mr. Hooley. There are
+&lsquo;stills&rsquo; on file of all the people he is using here on the lot at the
+present time. If you are really sure this man&#8217;s story is a plagiarism on
+your own&mdash;&mdash;&rdquo;</p>
+
+<p>She smiled at him. &ldquo;I can prove that, too, I think, to your satisfaction.
+I feel now that I can sit down and roughly sketch my whole scenario again.
+I must confess that in two places in this &lsquo;Plain Mary&rsquo; this man Pike has
+really improved on my idea. But as a whole his manuscript does not flatter
+my story. You&#8217;ll see!&rdquo;</p>
+
+<p>&ldquo;Truly, you are a different young woman this morning, Miss Ruth!&rdquo;
+exclaimed her friend. &ldquo;I hope this matter will be settled in a way
+satisfactory to you. I really think there is the germ of a splendid
+picture in this &lsquo;Plain Mary.&rsquo;&rdquo;</p>
+
+<p>&ldquo;And believe me!&rdquo; laughed Ruth, &ldquo;the germ is mine. You&#8217;ll see,&rdquo; she
+repeated.</p>
+
+<p>She proved her point, and Mr. Hammond did see; but the outcome was through
+quite unexpected channels. Ruth did not have to threaten the man
+<span class='pagenum'>[Pg 205]</span> who had
+made her all the trouble. John M. F. Pike made his confession of his own
+volition when they discussed the matter that very day.</p>
+
+<p>&ldquo;I feel, Miss Fielding, after all that you did for my child, that I cannot
+go on with this subterfuge that, for Bella&#8217;s sake, I was tempted to engage
+in. I did seize upon your manuscript in that summer-house near the mill
+where they say you live, and I was prepared to make the best use of it
+possible for Bella&#8217;s sake.</p>
+
+<p>&ldquo;We have had such bad luck! Poverty for one&#8217;s self is bad enough. I have
+withstood the slings and arrows of outrageous fortune for years. But my
+child is growing up&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Would you want her to grow up to know that her father is a thief?&rdquo; Ruth
+demanded hotly.</p>
+
+<p>&ldquo;Hunger under the belt gnaws more potently than conscience,&rdquo; said Pike,
+with a grandiloquent gesture. &ldquo;I had sought alms and been refused at that
+mill. Lurking about I saw you leave the summer-house and spied the gold
+pen. I can give you a pawn ticket for that,&rdquo; said Mr. Pike sadly. &ldquo;But I
+saw, too, the value of your scenario and notes. Desperately I had
+determined to try to enter this field of moving pictures. It is a terrible
+come down, Miss Fielding, for an artist&mdash;this mugging before the camera.&rdquo;</p>
+
+<p>He went on in his roundabout way to tell her that he had no idea of the
+ownership of the<span class='pagenum'>[Pg 206]</span> scenario.
+Her name was not on it, and he had not
+observed her face that day at the Red Mill. And in his mind all the time
+had been his own and his child&#8217;s misery.</p>
+
+<p>&ldquo;It was a bold attempt to forge success through dishonesty,&rdquo; he concluded
+with humility.</p>
+
+<p>Whether Ruth was altogether sure that Pike was quite honest in his
+confession or not, for Bella&#8217;s sake she could not be harsh with the old
+actor. Nor could he, Ruth believed, be wholly bad when he loved his child
+so much.</p>
+
+<p>As he turned over to Ruth every scrap of manuscript, as well as the
+notebooks she had lost, she need not worry about establishing her
+ownership of the script.</p>
+
+<p>When Mr. Hammond had examined her material he agreed with Ruth that in two
+quite important places Bella&#8217;s father had considerably improved the
+original idea of the story.</p>
+
+<p>This gave Ruth the lead she had been looking for. Mr. Hammond admitted
+that the story was much too fine and too important to be filmed here at
+this summer camp. He decided to make a great spectacular production of it
+at the company&#8217;s main studio later in the fall.</p>
+
+<p>So Ruth proceeded to force Bella&#8217;s father to accept two hundred dollars in
+payment for what he had done on the story. As her contract with Mr.
+Hammond called for a generous royalty, she
+<span class='pagenum'>[Pg 207]</span> would make much more out of
+the scenario than the sum John Pike had hoped to get by selling the stolen
+idea to Mr. Hammond.</p>
+
+<p>The prospects of Bella and her father were vastly improved, too. His work
+as a &ldquo;type&rdquo; for picture makers would gain him a much better livelihood
+than he had been able to earn in the legitimate field. And when Ruth and
+her party left Beach Plum Point camp for home in their automobiles, Bella
+herself was working in a two-reel comedy that Mr. Hooley was directing.</p>
+
+<p>&ldquo;Well, thank goodness!&rdquo; sighed Helen, &ldquo;Ruth has settled affairs for two
+more of her &lsquo;waifs and strays.&rsquo; Now don&#8217;t, I beg, find anybody else to
+become interested in during our trip back to the Red Mill, Ruthie.&rdquo;</p>
+
+<p>Ruth was sitting beside Tom on the front seat of the big touring car. He
+looked at her sideways with a whimsical little smile.</p>
+
+<p>&ldquo;I wish you would turn over a new leaf, Ruthie,&rdquo; he whispered.</p>
+
+<p>&ldquo;And what is to be on that new leaf?&rdquo; she asked brightly.</p>
+
+<p>&ldquo;Just me. Pay a little attention to yours truly. Remember that in a week I
+shall go aboard the transport again, and then&mdash;&mdash;&rdquo;</p>
+
+<p>&ldquo;Oh, Tom!&rdquo; she murmured, clasping her hands, &ldquo;I don&#8217;t want to think of it.
+If this awful war would only end!&rdquo;</p>
+
+<p><span class='pagenum'>[Pg 208]</span>
+&ldquo;It&#8217;s the only war so far that hasn&#8217;t ended,&rdquo; he said. &ldquo;And I have a
+feeling, anyway, that it may not last long. Henri and I have got to hurry
+back to finish it up. Leave it to us, Ruth,&rdquo; and he smiled.</p>
+
+<p>But Ruth sighed. &ldquo;I suppose I shall have to, Tommy-boy,&rdquo; she said. &ldquo;And do
+finish it quickly! I do not feel as though I could return to college, or
+write another scenario, or do a single, solitary thing until peace is
+declared.&rdquo;</p>
+
+<p>&ldquo;And <em>then</em>?&rdquo; asked Tom, significantly.</p>
+
+<p>Ruth gave him an understanding smile.</p>
+
+<p>&nbsp;</p>
+<p class="center"><strong>THE END</strong></p>
+
+<hr style="width: 95%;" />
+
+
+<p><span class='pagenum'>[Pg 209]</span></p>
+<h2><strong>THE RUTH FIELDING SERIES</strong></h2>
+
+<p class="center">
+&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;<br />
+<span class="smcap">By</span> ALICE B. EMERSON<br />
+&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;</p>
+
+<p class="indent"><em><strong>12mo. Illustrated.
+<span class="ralign">Price per volume, 65 cents, postpaid</span></strong></em></p>
+
+<p class="center"><em>Ruth Fielding will live in juvenile Fiction</em>.</p>
+
+<div class="figleft" style="width: 111px;">
+<img src="images/img214.png" width="111" height="150" alt="cover" title="" />
+</div>
+<p class="indent"><strong>RUTH FIELDING OF THE RED MILL</strong><br />
+<span style="margin-left: 2em;"><em>or Jasper Parloe&#8217;s Secret</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING AT BRIARWOOD HALL</strong><br />
+<span style="margin-left: 2em;"><em>or Solving the Campus Mystery</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING AT SNOW CAMP</strong><br />
+<span style="margin-left: 2em;"><em>or Lost in the Backwoods</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING AT LIGHTHOUSE POINT</strong><br />
+<span style="margin-left: 2em;"><em>or Nita, the Girl Castaway</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING AT SILVER RANCH</strong><br />
+<span style="margin-left: 2em;"><em>or Schoolgirls Among the Cowboys</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING ON CLIFF ISLAND</strong><br />
+<span style="margin-left: 2em;"><em>or The Old Hunter&#8217;s Treasure Box</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING AT SUNRISE FARM</strong><br />
+<span style="margin-left: 2em;"><em>or What Became of the Raby Orphans</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING AND THE GYPSIES</strong><br />
+<span style="margin-left: 2em;"><em>or The Missing Pearl Necklace</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING IN MOVING PICTURES</strong><br />
+<span style="margin-left: 2em;"><em>or Helping the Dormitory Fund</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING DOWN IN DIXIE</strong><br />
+<span style="margin-left: 2em;"><em>or Great Days in the Land of Cotton</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING AT COLLEGE</strong><br />
+<span style="margin-left: 2em;"><em>or The Missing Examination Papers</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING IN THE SADDLE</strong><br />
+<span style="margin-left: 2em;"><em>or College Girls in the Land of Gold</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING IN THE RED CROSS</strong><br />
+<span style="margin-left: 2em;"><em>or Doing Her Bit for Uncle Sam</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING AT THE WAR FRONT</strong><br />
+<span style="margin-left: 2em;"><em>or The Hunt for a Lost Soldier</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING HOMEWARD BOUND</strong><br />
+<span style="margin-left: 2em;"><em>or A Red Cross Worker&#8217;s Ocean Perils</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING DOWN EAST</strong><br />
+<span style="margin-left: 2em;"><em>or The Hermit of Beach Plum Point</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING IN THE GREAT NORTHWEST</strong><br />
+<span style="margin-left: 2em;"><em>or The Indian Girl Star of the Movies</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING ON THE ST. LAWRENCE</strong><br />
+<span style="margin-left: 2em;"><em>or The Queer Old Man of the Thousand Islands</em></span></p>
+
+<p class="indent"><strong>RUTH FIELDING TREASURE HUNTING</strong><br />
+<span style="margin-left: 2em;"><em>or A Moving Picture that Became Real</em></span></p>
+
+<hr class="line" />
+<p class="indent"><strong>CUPPLES &amp; LEON COMPANY, Publishers <span class="ralign">New York</span></strong></p>
+
+
+
+<hr style="width: 95%;" />
+<p><span class='pagenum'>[Pg 210]</span></p>
+
+<h2><strong>THE BETTY GORDON SERIES</strong></h2>
+
+<p class="center">
+&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;<br />
+<span class="smcap">By</span> ALICE B. EMERSON<br />
+&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;</p>
+
+
+<p class="center"><em><strong>Author of the Famous &ldquo;Ruth Fielding&rdquo; Series</strong></em></p>
+
+<p class="center"><em>12mo.&nbsp;&nbsp;&nbsp; Cloth.&nbsp;&nbsp;&nbsp; Illustrated.&nbsp;&nbsp;&nbsp; Jacket in full colors</em></p>
+
+<p class="center"><em><strong>Price per volume, 65 cents, postpaid</strong></em></p>
+
+<div class="figleft" style="width: 112px;">
+<img src="images/img215.png" width="112" height="150" alt="cover" title="" />
+</div>
+<p class="indent"><em>A series of stories by Alice B. Emerson which
+are bound to make this writer more popular
+than ever with her host of girl readers.</em></p>
+
+<p class="indent"><strong>1.&nbsp;&nbsp;  BETTY GORDON AT BRAMBLE FARM</strong><br />
+<span style="margin-left: 2em;"><em>or The Mystery of a Nobody</em></span><br />
+At the age of twelve Betty is left an orphan.
+Her uncle sends her to live on a farm.</p>
+
+<p class="indent"><strong>2.&nbsp;&nbsp;  BETTY GORDON IN WASHINGTON</strong><br />
+<span style="margin-left: 2em;"><em>or Strange Adventures in a Great City</em></span><br />
+In this volume Betty goes to the National Capitol to find her
+uncle and has several unusual adventures.</p>
+
+<p class="indent"><strong>3.&nbsp;&nbsp;  BETTY GORDON IN THE LAND OF OIL</strong><br />
+<span style="margin-left: 2em;"><em>or The Farm That Was Worth a Fortune</em></span><br />
+From Washington the scene is shifted to the great oil fields of
+our country. A splendid picture of the oil field operations of to-day.</p>
+
+<p class="indent"><strong>4.&nbsp;&nbsp;  BETTY GORDON AT BOARDING SCHOOL</strong><br />
+<span style="margin-left: 2em;"><em>or The Treasure of Indian Chasm</em></span><br />
+Seeking the treasure of Indian Chasm makes an exceedingly interesting
+incident.</p>
+
+<p class="indent"><strong>5.&nbsp;&nbsp;  BETTY GORDON AT MOUNTAIN CAMP</strong><br />
+<span style="margin-left: 2em;"><em>or The Mystery of Ida Bellethorne</em></span><br />
+At Mountain Camp Betty found herself in the midst of a mystery
+involving a girl whom she had previously met in Washington.</p>
+
+<p class="indent"><strong>6.&nbsp;&nbsp;  BETTY GORDON AT OCEAN PARK</strong><br />
+<span style="margin-left: 2em;"><em>or Gay Days on the Boardwalk</em></span><br />
+Adventure in high society let loose on the seashore.</p>
+
+<p class="center"><em>Send For Our Free Illustrated Catalogue</em></p>
+
+<hr class="line" />
+<p class="indent"><strong>CUPPLES &amp; LEON COMPANY, Publishers <span class="ralign">New York</span></strong></p>
+
+
+
+<hr style="width: 95%;" />
+<p><span class='pagenum'>[Pg 211]</span></p>
+
+<h2><strong>THE GIRL SCOUT SERIES</strong></h2>
+
+<p class="center">
+&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;<br />
+<span class="smcap">By</span> LILIAN GARIS<br />
+&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;</p>
+
+
+<p class="center"><em>12mo.&nbsp;&nbsp;&nbsp; Cloth.&nbsp;&nbsp;&nbsp; Illustrated.&nbsp;&nbsp;&nbsp; Jacket in full colors</em></p>
+
+<p class="center"><em><strong>Price per volume, 65 cents, postpaid</strong></em></p>
+
+<div class="figleft" style="width: 105px;">
+<img src="images/img216.png" width="105" height="150" alt="cover" title="" />
+</div>
+<p class="indent"><em>The highest ideals of girlhood as advocated
+by the foremost organizations of America
+form the background for these stories and while
+unobtrusive there is a message in every volume.</em></p>
+
+<p class="indent"><strong>1.&nbsp;&nbsp; THE GIRL SCOUT PIONEERS</strong><br />
+<span style="margin-left: 2em;"><em>or Winning the First B. C.</em></span><br />
+A story of the True Tred Troop in a Pennsylvania
+town. Two runaway girls, who
+want to see the city, are reclaimed through
+troop influence. The story is correct in scout
+detail.</p>
+
+<p class="indent"><strong>2.&nbsp;&nbsp;  THE GIRL SCOUTS AT BELLAIRE</strong><br />
+<span style="margin-left: 2em;"><em>or Maid Mary&#8217;s Awakening</em></span><br />
+The story of a timid little maid who is afraid to take part in
+other girls&#8217; activities, while working nobly alone for high ideals.
+How she was discovered by the Bellaire Troop and came into her
+own as &ldquo;Maid Mary&rdquo; makes a fascinating story.</p>
+
+<p class="indent"><strong>3.&nbsp;&nbsp;  THE GIRL SCOUTS AT SEA CREST</strong><br />
+<span style="margin-left: 2em;"><em>or The Wig Wag Rescue</em></span><br />
+Luna Land, a little island by the sea, is wrapt in a mysterious
+seclusion, and Kitty Scuttle, a grotesque figure, succeeds in keeping
+all others at bay until the Girl Scouts come.</p>
+
+<p class="indent"><strong>4.&nbsp;&nbsp;  THE GIRL SCOUTS AT CAMP COMALONG</strong><br />
+<span style="margin-left: 2em;"><em>or Peg of Tamarack Hills</em></span><br />
+The girls of Bobolink Troop spend their summer on the shores of
+Lake Hocomo. Their discovery of Peg, the mysterious rider, and
+the clearing up of her remarkable adventures afford a vigorous plot.</p>
+
+<p class="indent"><strong>5.&nbsp;&nbsp;  THE GIRL SCOUTS AT ROCKY LEDGE</strong><br />
+<span style="margin-left: 2em;"><em>or Nora&#8217;s Real Vacation</em></span><br />
+Nora Blair is the pampered daughter of a frivolous mother. Her
+dislike for the rugged life of Girl Scouts is eventually changed to
+appreciation, when the rescue of little Lucia, a woodland waif,
+becomes a problem for the girls to solve.</p>
+
+<p class="center"><em>Send For Our Free Illustrated Catalogue</em></p>
+
+<hr class="line" />
+<p class="indent"><strong>CUPPLES &amp; LEON COMPANY, Publishers <span class="ralign">New York</span></strong></p>
+
+
+<hr style="width: 95%;" />
+<p><span class='pagenum'>[Pg 212]</span></p>
+
+<h2><strong>THE RADIO GIRLS SERIES</strong></h2>
+
+<p class="center">
+&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;<br />
+<span class="smcap">By</span> MARGARET PENROSE<br />
+&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;&mdash;</p>
+
+
+<p class="center"><em>12mo.&nbsp;&nbsp;&nbsp; Cloth.&nbsp;&nbsp;&nbsp; Illustrated.&nbsp;&nbsp;&nbsp; Jacket in full colors</em></p>
+
+<p class="center"><em><strong>Price per volume, 65 cents, postpaid</strong></em></p>
+
+<div class="figleft" style="width: 103px;">
+<img src="images/img217.png" width="103" height="150" alt="cover" title="" />
+</div>
+<p class="indent"><em>A new and up-to-date series, taking in the
+activities of several bright girls who become
+interested in radio. The stories tell of thrilling
+exploits, out-door life and the great part the
+Radio plays in the adventures of the girls and
+in solving their mysteries. Fascinating books
+that girls of all ages will want to read.</em></p>
+
+<p class="indent"><strong>1.&nbsp;&nbsp;  THE RADIO GIRLS OF ROSELAWN</strong><br />
+<span style="margin-left: 2em;"><em>or A Strange Message from the Air</em></span><br />
+Showing how Jessie Norwood and her chums became interested
+in radiophoning, how they gave a concert for a worthy local charity,
+and how they received a sudden and unexpected call for help out
+of the air. A girl who was wanted as a witness in a celebrated law
+case had disappeared, and how the radio girls went to the rescue is
+told in an absorbing manner.</p>
+
+<p class="indent"><strong>2.&nbsp;&nbsp;  THE RADIO GIRLS ON THE PROGRAM</strong><br />
+<span style="margin-left: 2em;"><em>or Singing and Reciting at the Sending Station</em></span><br />
+When listening in on a thrilling recitation or a superb concert
+number who of us has not longed to &ldquo;look behind the scenes&rdquo; to see
+how it was done? The girls had made the acquaintance of a sending
+station manager and in this volume are permitted to get on the program,
+much to their delight. A tale full of action and not a little
+fun.</p>
+
+<p class="indent"><strong>3.&nbsp;&nbsp;  THE RADIO GIRLS ON STATION ISLAND</strong><br />
+<span style="margin-left: 2em;"><em>or The Wireless from the Steam Yacht</em></span><br />
+In this volume the girls travel to the seashore and put in a vacation
+on an island where is located a big radio sending station. The big
+brother of one of the girls owns a steam yacht and while out with a
+pleasure party those on the island receive word by radio that the
+yacht is on fire. A tale thrilling to the last page.</p>
+
+<p class="center"><em>Send For Our Free Illustrated Catalogue</em></p>
+
+<hr class="line" />
+<p class="indent"><strong>CUPPLES &amp; LEON COMPANY, Publishers <span class="ralign">New York</span></strong></p>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK RUTH FIELDING DOWN EAST***</p>
+<p>******* This file should be named 23116-h.txt or 23116-h.zip *******</p>
+<p>This and all associated files of various formats will be found in:<br />
+<a href="http://www.gutenberg.org/dirs/2/3/1/1/23116">http://www.gutenberg.org/2/3/1/1/23116</a></p>
+<p>Updated editions will replace the previous one--the old editions
+will be renamed.</p>
+
+<p>Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.</p>
+
+
+
+<pre>
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+<a href="http://www.gutenberg.org/license">http://www.gutenberg.org/license)</a>.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://www.gutenberg.org/about/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://www.gutenberg.org/fundraising/pglaf
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+<a href="http://www.gutenberg.org">http://www.gutenberg.org</a>
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+<a href="http://www.gutenberg.org/dirs/etext06/">http://www.gutenberg.org/dirs/etext06/</a>
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+http://www.gutenberg.org/dirs/1/0/2/3/10234
+
+or filename 24689 would be found at:
+http://www.gutenberg.org/dirs/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+<a href="http://www.gutenberg.org/dirs/GUTINDEX.ALL">http://www.gutenberg.org/dirs/GUTINDEX.ALL</a>
+
+*** END: FULL LICENSE ***
+</pre>
+</body>
+</html>
diff --git a/23116-h/images/books.jpg b/23116-h/images/books.jpg
new file mode 100644
index 0000000..203cf39
--- /dev/null
+++ b/23116-h/images/books.jpg
diff --git a/23116-h/images/img214.png b/23116-h/images/img214.png
new file mode 100644
index 0000000..9beee03
--- /dev/null
+++ b/23116-h/images/img214.png
diff --git a/23116-h/images/img215.png b/23116-h/images/img215.png
new file mode 100644
index 0000000..573e07a
--- /dev/null
+++ b/23116-h/images/img215.png
diff --git a/23116-h/images/img216.png b/23116-h/images/img216.png
new file mode 100644
index 0000000..9cb36a1
--- /dev/null
+++ b/23116-h/images/img216.png
diff --git a/23116-h/images/img217.png b/23116-h/images/img217.png
new file mode 100644
index 0000000..231ae2a
--- /dev/null
+++ b/23116-h/images/img217.png
diff --git a/23116-h/images/imgfrontis.jpg b/23116-h/images/imgfrontis.jpg
new file mode 100644
index 0000000..c6f278a
--- /dev/null
+++ b/23116-h/images/imgfrontis.jpg
diff --git a/23116-page-images/f001.jpg b/23116-page-images/f001.jpg
new file mode 100644
index 0000000..7ef5505
--- /dev/null
+++ b/23116-page-images/f001.jpg
diff --git a/23116-page-images/f002.png b/23116-page-images/f002.png
new file mode 100644
index 0000000..8909fab
--- /dev/null
+++ b/23116-page-images/f002.png
diff --git a/23116-page-images/f003.png b/23116-page-images/f003.png
new file mode 100644
index 0000000..8ce55b5
--- /dev/null
+++ b/23116-page-images/f003.png
diff --git a/23116-page-images/f004.png b/23116-page-images/f004.png
new file mode 100644
index 0000000..555b0c7
--- /dev/null
+++ b/23116-page-images/f004.png
diff --git a/23116-page-images/f005.png b/23116-page-images/f005.png
new file mode 100644
index 0000000..1c50103
--- /dev/null
+++ b/23116-page-images/f005.png
diff --git a/23116-page-images/p001.png b/23116-page-images/p001.png
new file mode 100644
index 0000000..a0cceea
--- /dev/null
+++ b/23116-page-images/p001.png
diff --git a/23116-page-images/p002.png b/23116-page-images/p002.png
new file mode 100644
index 0000000..7beafae
--- /dev/null
+++ b/23116-page-images/p002.png
diff --git a/23116-page-images/p003.png b/23116-page-images/p003.png
new file mode 100644
index 0000000..ee914de
--- /dev/null
+++ b/23116-page-images/p003.png
diff --git a/23116-page-images/p004.png b/23116-page-images/p004.png
new file mode 100644
index 0000000..d55e7b6
--- /dev/null
+++ b/23116-page-images/p004.png
diff --git a/23116-page-images/p005.png b/23116-page-images/p005.png
new file mode 100644
index 0000000..483af95
--- /dev/null
+++ b/23116-page-images/p005.png
diff --git a/23116-page-images/p006.png b/23116-page-images/p006.png
new file mode 100644
index 0000000..d6edda5
--- /dev/null
+++ b/23116-page-images/p006.png
diff --git a/23116-page-images/p007.png b/23116-page-images/p007.png
new file mode 100644
index 0000000..e21866a
--- /dev/null
+++ b/23116-page-images/p007.png
diff --git a/23116-page-images/p008.png b/23116-page-images/p008.png
new file mode 100644
index 0000000..ea9cc50
--- /dev/null
+++ b/23116-page-images/p008.png
diff --git a/23116-page-images/p009.png b/23116-page-images/p009.png
new file mode 100644
index 0000000..626be37
--- /dev/null
+++ b/23116-page-images/p009.png
diff --git a/23116-page-images/p010.png b/23116-page-images/p010.png
new file mode 100644
index 0000000..4d339e7
--- /dev/null
+++ b/23116-page-images/p010.png
diff --git a/23116-page-images/p011.png b/23116-page-images/p011.png
new file mode 100644
index 0000000..8fa5b1f
--- /dev/null
+++ b/23116-page-images/p011.png
diff --git a/23116-page-images/p012.png b/23116-page-images/p012.png
new file mode 100644
index 0000000..36f689d
--- /dev/null
+++ b/23116-page-images/p012.png
diff --git a/23116-page-images/p013.png b/23116-page-images/p013.png
new file mode 100644
index 0000000..0bed495
--- /dev/null
+++ b/23116-page-images/p013.png
diff --git a/23116-page-images/p014.png b/23116-page-images/p014.png
new file mode 100644
index 0000000..504a8a7
--- /dev/null
+++ b/23116-page-images/p014.png
diff --git a/23116-page-images/p015.png b/23116-page-images/p015.png
new file mode 100644
index 0000000..f893813
--- /dev/null
+++ b/23116-page-images/p015.png
diff --git a/23116-page-images/p016.png b/23116-page-images/p016.png
new file mode 100644
index 0000000..0045852
--- /dev/null
+++ b/23116-page-images/p016.png
diff --git a/23116-page-images/p017.png b/23116-page-images/p017.png
new file mode 100644
index 0000000..d572dbc
--- /dev/null
+++ b/23116-page-images/p017.png
diff --git a/23116-page-images/p018.png b/23116-page-images/p018.png
new file mode 100644
index 0000000..f3f099a
--- /dev/null
+++ b/23116-page-images/p018.png
diff --git a/23116-page-images/p019.png b/23116-page-images/p019.png
new file mode 100644
index 0000000..4ce32d9
--- /dev/null
+++ b/23116-page-images/p019.png
diff --git a/23116-page-images/p020.png b/23116-page-images/p020.png
new file mode 100644
index 0000000..338a112
--- /dev/null
+++ b/23116-page-images/p020.png
diff --git a/23116-page-images/p021.png b/23116-page-images/p021.png
new file mode 100644
index 0000000..3fcc120
--- /dev/null
+++ b/23116-page-images/p021.png
diff --git a/23116-page-images/p022.png b/23116-page-images/p022.png
new file mode 100644
index 0000000..40ee778
--- /dev/null
+++ b/23116-page-images/p022.png
diff --git a/23116-page-images/p023.png b/23116-page-images/p023.png
new file mode 100644
index 0000000..91e24eb
--- /dev/null
+++ b/23116-page-images/p023.png
diff --git a/23116-page-images/p024.png b/23116-page-images/p024.png
new file mode 100644
index 0000000..82e746a
--- /dev/null
+++ b/23116-page-images/p024.png
diff --git a/23116-page-images/p025.png b/23116-page-images/p025.png
new file mode 100644
index 0000000..baf832f
--- /dev/null
+++ b/23116-page-images/p025.png
diff --git a/23116-page-images/p026.png b/23116-page-images/p026.png
new file mode 100644
index 0000000..17be7e8
--- /dev/null
+++ b/23116-page-images/p026.png
diff --git a/23116-page-images/p027.png b/23116-page-images/p027.png
new file mode 100644
index 0000000..c55a8c3
--- /dev/null
+++ b/23116-page-images/p027.png
diff --git a/23116-page-images/p028.png b/23116-page-images/p028.png
new file mode 100644
index 0000000..19e9e32
--- /dev/null
+++ b/23116-page-images/p028.png
diff --git a/23116-page-images/p029.png b/23116-page-images/p029.png
new file mode 100644
index 0000000..4332e48
--- /dev/null
+++ b/23116-page-images/p029.png
diff --git a/23116-page-images/p030.png b/23116-page-images/p030.png
new file mode 100644
index 0000000..97e1466
--- /dev/null
+++ b/23116-page-images/p030.png
diff --git a/23116-page-images/p031.png b/23116-page-images/p031.png
new file mode 100644
index 0000000..0468e11
--- /dev/null
+++ b/23116-page-images/p031.png
diff --git a/23116-page-images/p032.png b/23116-page-images/p032.png
new file mode 100644
index 0000000..ce77996
--- /dev/null
+++ b/23116-page-images/p032.png
diff --git a/23116-page-images/p033.png b/23116-page-images/p033.png
new file mode 100644
index 0000000..ef9ea75
--- /dev/null
+++ b/23116-page-images/p033.png
diff --git a/23116-page-images/p034.png b/23116-page-images/p034.png
new file mode 100644
index 0000000..9946e55
--- /dev/null
+++ b/23116-page-images/p034.png
diff --git a/23116-page-images/p035.png b/23116-page-images/p035.png
new file mode 100644
index 0000000..87752c6
--- /dev/null
+++ b/23116-page-images/p035.png
diff --git a/23116-page-images/p036.png b/23116-page-images/p036.png
new file mode 100644
index 0000000..10225b4
--- /dev/null
+++ b/23116-page-images/p036.png
diff --git a/23116-page-images/p037.png b/23116-page-images/p037.png
new file mode 100644
index 0000000..0834607
--- /dev/null
+++ b/23116-page-images/p037.png
diff --git a/23116-page-images/p038.png b/23116-page-images/p038.png
new file mode 100644
index 0000000..76138d0
--- /dev/null
+++ b/23116-page-images/p038.png
diff --git a/23116-page-images/p039.png b/23116-page-images/p039.png
new file mode 100644
index 0000000..071e91e
--- /dev/null
+++ b/23116-page-images/p039.png
diff --git a/23116-page-images/p040.png b/23116-page-images/p040.png
new file mode 100644
index 0000000..4f83d0c
--- /dev/null
+++ b/23116-page-images/p040.png
diff --git a/23116-page-images/p041.png b/23116-page-images/p041.png
new file mode 100644
index 0000000..d9a1ac2
--- /dev/null
+++ b/23116-page-images/p041.png
diff --git a/23116-page-images/p042.png b/23116-page-images/p042.png
new file mode 100644
index 0000000..aff789d
--- /dev/null
+++ b/23116-page-images/p042.png
diff --git a/23116-page-images/p043.png b/23116-page-images/p043.png
new file mode 100644
index 0000000..4bd7924
--- /dev/null
+++ b/23116-page-images/p043.png
diff --git a/23116-page-images/p044.png b/23116-page-images/p044.png
new file mode 100644
index 0000000..80b34ff
--- /dev/null
+++ b/23116-page-images/p044.png
diff --git a/23116-page-images/p045.png b/23116-page-images/p045.png
new file mode 100644
index 0000000..c468fff
--- /dev/null
+++ b/23116-page-images/p045.png
diff --git a/23116-page-images/p046.png b/23116-page-images/p046.png
new file mode 100644
index 0000000..d53f436
--- /dev/null
+++ b/23116-page-images/p046.png
diff --git a/23116-page-images/p047.png b/23116-page-images/p047.png
new file mode 100644
index 0000000..c26e390
--- /dev/null
+++ b/23116-page-images/p047.png
diff --git a/23116-page-images/p048.png b/23116-page-images/p048.png
new file mode 100644
index 0000000..4dc64e9
--- /dev/null
+++ b/23116-page-images/p048.png
diff --git a/23116-page-images/p049.png b/23116-page-images/p049.png
new file mode 100644
index 0000000..cfdf21e
--- /dev/null
+++ b/23116-page-images/p049.png
diff --git a/23116-page-images/p050.png b/23116-page-images/p050.png
new file mode 100644
index 0000000..971576a
--- /dev/null
+++ b/23116-page-images/p050.png
diff --git a/23116-page-images/p051.png b/23116-page-images/p051.png
new file mode 100644
index 0000000..cb3fa6a
--- /dev/null
+++ b/23116-page-images/p051.png
diff --git a/23116-page-images/p052.png b/23116-page-images/p052.png
new file mode 100644
index 0000000..ce40969
--- /dev/null
+++ b/23116-page-images/p052.png
diff --git a/23116-page-images/p053.png b/23116-page-images/p053.png
new file mode 100644
index 0000000..ec2fc18
--- /dev/null
+++ b/23116-page-images/p053.png
diff --git a/23116-page-images/p054.png b/23116-page-images/p054.png
new file mode 100644
index 0000000..6405a2d
--- /dev/null
+++ b/23116-page-images/p054.png
diff --git a/23116-page-images/p055.png b/23116-page-images/p055.png
new file mode 100644
index 0000000..5ff3fa7
--- /dev/null
+++ b/23116-page-images/p055.png
diff --git a/23116-page-images/p056.png b/23116-page-images/p056.png
new file mode 100644
index 0000000..0e8326d
--- /dev/null
+++ b/23116-page-images/p056.png
diff --git a/23116-page-images/p057.png b/23116-page-images/p057.png
new file mode 100644
index 0000000..10d005b
--- /dev/null
+++ b/23116-page-images/p057.png
diff --git a/23116-page-images/p058.png b/23116-page-images/p058.png
new file mode 100644
index 0000000..68ad144
--- /dev/null
+++ b/23116-page-images/p058.png
diff --git a/23116-page-images/p059.png b/23116-page-images/p059.png
new file mode 100644
index 0000000..b07de85
--- /dev/null
+++ b/23116-page-images/p059.png
diff --git a/23116-page-images/p060.png b/23116-page-images/p060.png
new file mode 100644
index 0000000..a9ec169
--- /dev/null
+++ b/23116-page-images/p060.png
diff --git a/23116-page-images/p061.png b/23116-page-images/p061.png
new file mode 100644
index 0000000..da84d2d
--- /dev/null
+++ b/23116-page-images/p061.png
diff --git a/23116-page-images/p062.png b/23116-page-images/p062.png
new file mode 100644
index 0000000..0dc1861
--- /dev/null
+++ b/23116-page-images/p062.png
diff --git a/23116-page-images/p063.png b/23116-page-images/p063.png
new file mode 100644
index 0000000..3f16abf
--- /dev/null
+++ b/23116-page-images/p063.png
diff --git a/23116-page-images/p064.png b/23116-page-images/p064.png
new file mode 100644
index 0000000..dc6708a
--- /dev/null
+++ b/23116-page-images/p064.png
diff --git a/23116-page-images/p065.png b/23116-page-images/p065.png
new file mode 100644
index 0000000..4f3e494
--- /dev/null
+++ b/23116-page-images/p065.png
diff --git a/23116-page-images/p066.png b/23116-page-images/p066.png
new file mode 100644
index 0000000..b3d2078
--- /dev/null
+++ b/23116-page-images/p066.png
diff --git a/23116-page-images/p067.png b/23116-page-images/p067.png
new file mode 100644
index 0000000..e9f5d59
--- /dev/null
+++ b/23116-page-images/p067.png
diff --git a/23116-page-images/p068.png b/23116-page-images/p068.png
new file mode 100644
index 0000000..aa83560
--- /dev/null
+++ b/23116-page-images/p068.png
diff --git a/23116-page-images/p069.png b/23116-page-images/p069.png
new file mode 100644
index 0000000..ac55790
--- /dev/null
+++ b/23116-page-images/p069.png
diff --git a/23116-page-images/p070.png b/23116-page-images/p070.png
new file mode 100644
index 0000000..9c63f5b
--- /dev/null
+++ b/23116-page-images/p070.png
diff --git a/23116-page-images/p071.png b/23116-page-images/p071.png
new file mode 100644
index 0000000..80e1557
--- /dev/null
+++ b/23116-page-images/p071.png
diff --git a/23116-page-images/p072.png b/23116-page-images/p072.png
new file mode 100644
index 0000000..4699684
--- /dev/null
+++ b/23116-page-images/p072.png
diff --git a/23116-page-images/p073.png b/23116-page-images/p073.png
new file mode 100644
index 0000000..ff6c93f
--- /dev/null
+++ b/23116-page-images/p073.png
diff --git a/23116-page-images/p074.png b/23116-page-images/p074.png
new file mode 100644
index 0000000..3e53fe3
--- /dev/null
+++ b/23116-page-images/p074.png
diff --git a/23116-page-images/p075.png b/23116-page-images/p075.png
new file mode 100644
index 0000000..1433346
--- /dev/null
+++ b/23116-page-images/p075.png
diff --git a/23116-page-images/p076.png b/23116-page-images/p076.png
new file mode 100644
index 0000000..fb42092
--- /dev/null
+++ b/23116-page-images/p076.png
diff --git a/23116-page-images/p077.png b/23116-page-images/p077.png
new file mode 100644
index 0000000..7c9ca60
--- /dev/null
+++ b/23116-page-images/p077.png
diff --git a/23116-page-images/p078.png b/23116-page-images/p078.png
new file mode 100644
index 0000000..c2b877f
--- /dev/null
+++ b/23116-page-images/p078.png
diff --git a/23116-page-images/p079.png b/23116-page-images/p079.png
new file mode 100644
index 0000000..bc3acb4
--- /dev/null
+++ b/23116-page-images/p079.png
diff --git a/23116-page-images/p080.png b/23116-page-images/p080.png
new file mode 100644
index 0000000..816f852
--- /dev/null
+++ b/23116-page-images/p080.png
diff --git a/23116-page-images/p081.png b/23116-page-images/p081.png
new file mode 100644
index 0000000..c4020d0
--- /dev/null
+++ b/23116-page-images/p081.png
diff --git a/23116-page-images/p082.png b/23116-page-images/p082.png
new file mode 100644
index 0000000..195f1f8
--- /dev/null
+++ b/23116-page-images/p082.png
diff --git a/23116-page-images/p083.png b/23116-page-images/p083.png
new file mode 100644
index 0000000..e97cf84
--- /dev/null
+++ b/23116-page-images/p083.png
diff --git a/23116-page-images/p084.png b/23116-page-images/p084.png
new file mode 100644
index 0000000..0d50e09
--- /dev/null
+++ b/23116-page-images/p084.png
diff --git a/23116-page-images/p085.png b/23116-page-images/p085.png
new file mode 100644
index 0000000..b3fb5af
--- /dev/null
+++ b/23116-page-images/p085.png
diff --git a/23116-page-images/p086.png b/23116-page-images/p086.png
new file mode 100644
index 0000000..c8d3c91
--- /dev/null
+++ b/23116-page-images/p086.png
diff --git a/23116-page-images/p087.png b/23116-page-images/p087.png
new file mode 100644
index 0000000..69e7483
--- /dev/null
+++ b/23116-page-images/p087.png
diff --git a/23116-page-images/p088.png b/23116-page-images/p088.png
new file mode 100644
index 0000000..95b7dc0
--- /dev/null
+++ b/23116-page-images/p088.png
diff --git a/23116-page-images/p089.png b/23116-page-images/p089.png
new file mode 100644
index 0000000..f6acc2e
--- /dev/null
+++ b/23116-page-images/p089.png
diff --git a/23116-page-images/p090.png b/23116-page-images/p090.png
new file mode 100644
index 0000000..bd99854
--- /dev/null
+++ b/23116-page-images/p090.png
diff --git a/23116-page-images/p091.png b/23116-page-images/p091.png
new file mode 100644
index 0000000..a528efa
--- /dev/null
+++ b/23116-page-images/p091.png
diff --git a/23116-page-images/p092.png b/23116-page-images/p092.png
new file mode 100644
index 0000000..6600303
--- /dev/null
+++ b/23116-page-images/p092.png
diff --git a/23116-page-images/p093.png b/23116-page-images/p093.png
new file mode 100644
index 0000000..6ee1124
--- /dev/null
+++ b/23116-page-images/p093.png
diff --git a/23116-page-images/p094.png b/23116-page-images/p094.png
new file mode 100644
index 0000000..3cb71bc
--- /dev/null
+++ b/23116-page-images/p094.png
diff --git a/23116-page-images/p095.png b/23116-page-images/p095.png
new file mode 100644
index 0000000..e4ef783
--- /dev/null
+++ b/23116-page-images/p095.png
diff --git a/23116-page-images/p096.png b/23116-page-images/p096.png
new file mode 100644
index 0000000..a09c329
--- /dev/null
+++ b/23116-page-images/p096.png
diff --git a/23116-page-images/p097.png b/23116-page-images/p097.png
new file mode 100644
index 0000000..f4038dc
--- /dev/null
+++ b/23116-page-images/p097.png
diff --git a/23116-page-images/p098.png b/23116-page-images/p098.png
new file mode 100644
index 0000000..9eecbd5
--- /dev/null
+++ b/23116-page-images/p098.png
diff --git a/23116-page-images/p099.png b/23116-page-images/p099.png
new file mode 100644
index 0000000..6aa3c82
--- /dev/null
+++ b/23116-page-images/p099.png
diff --git a/23116-page-images/p100.png b/23116-page-images/p100.png
new file mode 100644
index 0000000..6db8b37
--- /dev/null
+++ b/23116-page-images/p100.png
diff --git a/23116-page-images/p101.png b/23116-page-images/p101.png
new file mode 100644
index 0000000..2540cb8
--- /dev/null
+++ b/23116-page-images/p101.png
diff --git a/23116-page-images/p102.png b/23116-page-images/p102.png
new file mode 100644
index 0000000..70bb8a6
--- /dev/null
+++ b/23116-page-images/p102.png
diff --git a/23116-page-images/p103.png b/23116-page-images/p103.png
new file mode 100644
index 0000000..191beba
--- /dev/null
+++ b/23116-page-images/p103.png
diff --git a/23116-page-images/p104.png b/23116-page-images/p104.png
new file mode 100644
index 0000000..ff8bc48
--- /dev/null
+++ b/23116-page-images/p104.png
diff --git a/23116-page-images/p105.png b/23116-page-images/p105.png
new file mode 100644
index 0000000..77c8f9a
--- /dev/null
+++ b/23116-page-images/p105.png
diff --git a/23116-page-images/p106.png b/23116-page-images/p106.png
new file mode 100644
index 0000000..d9663aa
--- /dev/null
+++ b/23116-page-images/p106.png
diff --git a/23116-page-images/p107.png b/23116-page-images/p107.png
new file mode 100644
index 0000000..601080c
--- /dev/null
+++ b/23116-page-images/p107.png
diff --git a/23116-page-images/p108.png b/23116-page-images/p108.png
new file mode 100644
index 0000000..3b48532
--- /dev/null
+++ b/23116-page-images/p108.png
diff --git a/23116-page-images/p109.png b/23116-page-images/p109.png
new file mode 100644
index 0000000..34e9bc6
--- /dev/null
+++ b/23116-page-images/p109.png
diff --git a/23116-page-images/p110.png b/23116-page-images/p110.png
new file mode 100644
index 0000000..4d72d26
--- /dev/null
+++ b/23116-page-images/p110.png
diff --git a/23116-page-images/p111.png b/23116-page-images/p111.png
new file mode 100644
index 0000000..23314c5
--- /dev/null
+++ b/23116-page-images/p111.png
diff --git a/23116-page-images/p112.png b/23116-page-images/p112.png
new file mode 100644
index 0000000..ad58257
--- /dev/null
+++ b/23116-page-images/p112.png
diff --git a/23116-page-images/p113.png b/23116-page-images/p113.png
new file mode 100644
index 0000000..49efeca
--- /dev/null
+++ b/23116-page-images/p113.png
diff --git a/23116-page-images/p114.png b/23116-page-images/p114.png
new file mode 100644
index 0000000..d85becd
--- /dev/null
+++ b/23116-page-images/p114.png
diff --git a/23116-page-images/p115.png b/23116-page-images/p115.png
new file mode 100644
index 0000000..f373914
--- /dev/null
+++ b/23116-page-images/p115.png
diff --git a/23116-page-images/p116.png b/23116-page-images/p116.png
new file mode 100644
index 0000000..eedaf24
--- /dev/null
+++ b/23116-page-images/p116.png
diff --git a/23116-page-images/p117.png b/23116-page-images/p117.png
new file mode 100644
index 0000000..01aaad0
--- /dev/null
+++ b/23116-page-images/p117.png
diff --git a/23116-page-images/p118.png b/23116-page-images/p118.png
new file mode 100644
index 0000000..8370dec
--- /dev/null
+++ b/23116-page-images/p118.png
diff --git a/23116-page-images/p119.png b/23116-page-images/p119.png
new file mode 100644
index 0000000..650ff39
--- /dev/null
+++ b/23116-page-images/p119.png
diff --git a/23116-page-images/p120.png b/23116-page-images/p120.png
new file mode 100644
index 0000000..eb8aedf
--- /dev/null
+++ b/23116-page-images/p120.png
diff --git a/23116-page-images/p121.png b/23116-page-images/p121.png
new file mode 100644
index 0000000..cd7f351
--- /dev/null
+++ b/23116-page-images/p121.png
diff --git a/23116-page-images/p122.png b/23116-page-images/p122.png
new file mode 100644
index 0000000..a30a669
--- /dev/null
+++ b/23116-page-images/p122.png
diff --git a/23116-page-images/p123.png b/23116-page-images/p123.png
new file mode 100644
index 0000000..a55b8c6
--- /dev/null
+++ b/23116-page-images/p123.png
diff --git a/23116-page-images/p124.png b/23116-page-images/p124.png
new file mode 100644
index 0000000..a6658be
--- /dev/null
+++ b/23116-page-images/p124.png
diff --git a/23116-page-images/p125.png b/23116-page-images/p125.png
new file mode 100644
index 0000000..461197b
--- /dev/null
+++ b/23116-page-images/p125.png
diff --git a/23116-page-images/p126.png b/23116-page-images/p126.png
new file mode 100644
index 0000000..40948c9
--- /dev/null
+++ b/23116-page-images/p126.png
diff --git a/23116-page-images/p127.png b/23116-page-images/p127.png
new file mode 100644
index 0000000..1b6549b
--- /dev/null
+++ b/23116-page-images/p127.png
diff --git a/23116-page-images/p128.png b/23116-page-images/p128.png
new file mode 100644
index 0000000..00b1832
--- /dev/null
+++ b/23116-page-images/p128.png
diff --git a/23116-page-images/p129.png b/23116-page-images/p129.png
new file mode 100644
index 0000000..1d05c4a
--- /dev/null
+++ b/23116-page-images/p129.png
diff --git a/23116-page-images/p130.png b/23116-page-images/p130.png
new file mode 100644
index 0000000..03c9035
--- /dev/null
+++ b/23116-page-images/p130.png
diff --git a/23116-page-images/p131.png b/23116-page-images/p131.png
new file mode 100644
index 0000000..525a59b
--- /dev/null
+++ b/23116-page-images/p131.png
diff --git a/23116-page-images/p132.png b/23116-page-images/p132.png
new file mode 100644
index 0000000..f4a62be
--- /dev/null
+++ b/23116-page-images/p132.png
diff --git a/23116-page-images/p133.png b/23116-page-images/p133.png
new file mode 100644
index 0000000..e4451d2
--- /dev/null
+++ b/23116-page-images/p133.png
diff --git a/23116-page-images/p134.png b/23116-page-images/p134.png
new file mode 100644
index 0000000..bdc7889
--- /dev/null
+++ b/23116-page-images/p134.png
diff --git a/23116-page-images/p135.png b/23116-page-images/p135.png
new file mode 100644
index 0000000..f382774
--- /dev/null
+++ b/23116-page-images/p135.png
diff --git a/23116-page-images/p136.png b/23116-page-images/p136.png
new file mode 100644
index 0000000..2b60a77
--- /dev/null
+++ b/23116-page-images/p136.png
diff --git a/23116-page-images/p137.png b/23116-page-images/p137.png
new file mode 100644
index 0000000..95cbcde
--- /dev/null
+++ b/23116-page-images/p137.png
diff --git a/23116-page-images/p138.png b/23116-page-images/p138.png
new file mode 100644
index 0000000..7663a41
--- /dev/null
+++ b/23116-page-images/p138.png
diff --git a/23116-page-images/p139.png b/23116-page-images/p139.png
new file mode 100644
index 0000000..693e5f6
--- /dev/null
+++ b/23116-page-images/p139.png
diff --git a/23116-page-images/p140.png b/23116-page-images/p140.png
new file mode 100644
index 0000000..96add40
--- /dev/null
+++ b/23116-page-images/p140.png
diff --git a/23116-page-images/p141.png b/23116-page-images/p141.png
new file mode 100644
index 0000000..9bd589e
--- /dev/null
+++ b/23116-page-images/p141.png
diff --git a/23116-page-images/p142.png b/23116-page-images/p142.png
new file mode 100644
index 0000000..f53920a
--- /dev/null
+++ b/23116-page-images/p142.png
diff --git a/23116-page-images/p143.png b/23116-page-images/p143.png
new file mode 100644
index 0000000..6c44b69
--- /dev/null
+++ b/23116-page-images/p143.png
diff --git a/23116-page-images/p144.png b/23116-page-images/p144.png
new file mode 100644
index 0000000..6ec8a16
--- /dev/null
+++ b/23116-page-images/p144.png
diff --git a/23116-page-images/p145.png b/23116-page-images/p145.png
new file mode 100644
index 0000000..beb4d2b
--- /dev/null
+++ b/23116-page-images/p145.png
diff --git a/23116-page-images/p146.png b/23116-page-images/p146.png
new file mode 100644
index 0000000..01242fe
--- /dev/null
+++ b/23116-page-images/p146.png
diff --git a/23116-page-images/p147.png b/23116-page-images/p147.png
new file mode 100644
index 0000000..48c9bdb
--- /dev/null
+++ b/23116-page-images/p147.png
diff --git a/23116-page-images/p148.png b/23116-page-images/p148.png
new file mode 100644
index 0000000..f9c0661
--- /dev/null
+++ b/23116-page-images/p148.png
diff --git a/23116-page-images/p149.png b/23116-page-images/p149.png
new file mode 100644
index 0000000..c402ffe
--- /dev/null
+++ b/23116-page-images/p149.png
diff --git a/23116-page-images/p150.png b/23116-page-images/p150.png
new file mode 100644
index 0000000..e514752
--- /dev/null
+++ b/23116-page-images/p150.png
diff --git a/23116-page-images/p151.png b/23116-page-images/p151.png
new file mode 100644
index 0000000..c04b8a3
--- /dev/null
+++ b/23116-page-images/p151.png
diff --git a/23116-page-images/p152.png b/23116-page-images/p152.png
new file mode 100644
index 0000000..8ac9311
--- /dev/null
+++ b/23116-page-images/p152.png
diff --git a/23116-page-images/p153.png b/23116-page-images/p153.png
new file mode 100644
index 0000000..d597ae1
--- /dev/null
+++ b/23116-page-images/p153.png
diff --git a/23116-page-images/p154.png b/23116-page-images/p154.png
new file mode 100644
index 0000000..9e8a300
--- /dev/null
+++ b/23116-page-images/p154.png
diff --git a/23116-page-images/p155.png b/23116-page-images/p155.png
new file mode 100644
index 0000000..3ae6dc9
--- /dev/null
+++ b/23116-page-images/p155.png
diff --git a/23116-page-images/p156.png b/23116-page-images/p156.png
new file mode 100644
index 0000000..82fc3c6
--- /dev/null
+++ b/23116-page-images/p156.png
diff --git a/23116-page-images/p157.png b/23116-page-images/p157.png
new file mode 100644
index 0000000..b56f84b
--- /dev/null
+++ b/23116-page-images/p157.png
diff --git a/23116-page-images/p158.png b/23116-page-images/p158.png
new file mode 100644
index 0000000..c16d403
--- /dev/null
+++ b/23116-page-images/p158.png
diff --git a/23116-page-images/p159.png b/23116-page-images/p159.png
new file mode 100644
index 0000000..c9f6315
--- /dev/null
+++ b/23116-page-images/p159.png
diff --git a/23116-page-images/p160.png b/23116-page-images/p160.png
new file mode 100644
index 0000000..38c1126
--- /dev/null
+++ b/23116-page-images/p160.png
diff --git a/23116-page-images/p161.png b/23116-page-images/p161.png
new file mode 100644
index 0000000..cb5fce5
--- /dev/null
+++ b/23116-page-images/p161.png
diff --git a/23116-page-images/p162.png b/23116-page-images/p162.png
new file mode 100644
index 0000000..ed7ee16
--- /dev/null
+++ b/23116-page-images/p162.png
diff --git a/23116-page-images/p163.png b/23116-page-images/p163.png
new file mode 100644
index 0000000..beb53de
--- /dev/null
+++ b/23116-page-images/p163.png
diff --git a/23116-page-images/p164.png b/23116-page-images/p164.png
new file mode 100644
index 0000000..592eee8
--- /dev/null
+++ b/23116-page-images/p164.png
diff --git a/23116-page-images/p165.png b/23116-page-images/p165.png
new file mode 100644
index 0000000..04e1acf
--- /dev/null
+++ b/23116-page-images/p165.png
diff --git a/23116-page-images/p166.png b/23116-page-images/p166.png
new file mode 100644
index 0000000..938c226
--- /dev/null
+++ b/23116-page-images/p166.png
diff --git a/23116-page-images/p167.png b/23116-page-images/p167.png
new file mode 100644
index 0000000..dd2a525
--- /dev/null
+++ b/23116-page-images/p167.png
diff --git a/23116-page-images/p168.png b/23116-page-images/p168.png
new file mode 100644
index 0000000..cd01438
--- /dev/null
+++ b/23116-page-images/p168.png
diff --git a/23116-page-images/p169.png b/23116-page-images/p169.png
new file mode 100644
index 0000000..f673bd3
--- /dev/null
+++ b/23116-page-images/p169.png
diff --git a/23116-page-images/p170.png b/23116-page-images/p170.png
new file mode 100644
index 0000000..1ad18e7
--- /dev/null
+++ b/23116-page-images/p170.png
diff --git a/23116-page-images/p171.png b/23116-page-images/p171.png
new file mode 100644
index 0000000..35f44f6
--- /dev/null
+++ b/23116-page-images/p171.png
diff --git a/23116-page-images/p172.png b/23116-page-images/p172.png
new file mode 100644
index 0000000..06917e7
--- /dev/null
+++ b/23116-page-images/p172.png
diff --git a/23116-page-images/p173.png b/23116-page-images/p173.png
new file mode 100644
index 0000000..88b3d87
--- /dev/null
+++ b/23116-page-images/p173.png
diff --git a/23116-page-images/p174.png b/23116-page-images/p174.png
new file mode 100644
index 0000000..dcbba19
--- /dev/null
+++ b/23116-page-images/p174.png
diff --git a/23116-page-images/p175.png b/23116-page-images/p175.png
new file mode 100644
index 0000000..a11b28c
--- /dev/null
+++ b/23116-page-images/p175.png
diff --git a/23116-page-images/p176.png b/23116-page-images/p176.png
new file mode 100644
index 0000000..4507228
--- /dev/null
+++ b/23116-page-images/p176.png
diff --git a/23116-page-images/p177.png b/23116-page-images/p177.png
new file mode 100644
index 0000000..2a57616
--- /dev/null
+++ b/23116-page-images/p177.png
diff --git a/23116-page-images/p178.png b/23116-page-images/p178.png
new file mode 100644
index 0000000..2fac43f
--- /dev/null
+++ b/23116-page-images/p178.png
diff --git a/23116-page-images/p179.png b/23116-page-images/p179.png
new file mode 100644
index 0000000..e3cca9d
--- /dev/null
+++ b/23116-page-images/p179.png
diff --git a/23116-page-images/p180.png b/23116-page-images/p180.png
new file mode 100644
index 0000000..207462b
--- /dev/null
+++ b/23116-page-images/p180.png
diff --git a/23116-page-images/p181.png b/23116-page-images/p181.png
new file mode 100644
index 0000000..3f44396
--- /dev/null
+++ b/23116-page-images/p181.png
diff --git a/23116-page-images/p182.png b/23116-page-images/p182.png
new file mode 100644
index 0000000..24520eb
--- /dev/null
+++ b/23116-page-images/p182.png
diff --git a/23116-page-images/p183.png b/23116-page-images/p183.png
new file mode 100644
index 0000000..112ce75
--- /dev/null
+++ b/23116-page-images/p183.png
diff --git a/23116-page-images/p184.png b/23116-page-images/p184.png
new file mode 100644
index 0000000..90c2e6f
--- /dev/null
+++ b/23116-page-images/p184.png
diff --git a/23116-page-images/p185.png b/23116-page-images/p185.png
new file mode 100644
index 0000000..d70da9c
--- /dev/null
+++ b/23116-page-images/p185.png
diff --git a/23116-page-images/p186.png b/23116-page-images/p186.png
new file mode 100644
index 0000000..3ba7a3f
--- /dev/null
+++ b/23116-page-images/p186.png
diff --git a/23116-page-images/p187.png b/23116-page-images/p187.png
new file mode 100644
index 0000000..3d89a15
--- /dev/null
+++ b/23116-page-images/p187.png
diff --git a/23116-page-images/p188.png b/23116-page-images/p188.png
new file mode 100644
index 0000000..6f1f174
--- /dev/null
+++ b/23116-page-images/p188.png
diff --git a/23116-page-images/p189.png b/23116-page-images/p189.png
new file mode 100644
index 0000000..92f836a
--- /dev/null
+++ b/23116-page-images/p189.png
diff --git a/23116-page-images/p190.png b/23116-page-images/p190.png
new file mode 100644
index 0000000..ee2aea5
--- /dev/null
+++ b/23116-page-images/p190.png
diff --git a/23116-page-images/p191.png b/23116-page-images/p191.png
new file mode 100644
index 0000000..1fa5599
--- /dev/null
+++ b/23116-page-images/p191.png
diff --git a/23116-page-images/p192.png b/23116-page-images/p192.png
new file mode 100644
index 0000000..652e175
--- /dev/null
+++ b/23116-page-images/p192.png
diff --git a/23116-page-images/p193.png b/23116-page-images/p193.png
new file mode 100644
index 0000000..3ce22b5
--- /dev/null
+++ b/23116-page-images/p193.png
diff --git a/23116-page-images/p194.png b/23116-page-images/p194.png
new file mode 100644
index 0000000..ce5f41b
--- /dev/null
+++ b/23116-page-images/p194.png
diff --git a/23116-page-images/p195.png b/23116-page-images/p195.png
new file mode 100644
index 0000000..ae4a207
--- /dev/null
+++ b/23116-page-images/p195.png
diff --git a/23116-page-images/p196.png b/23116-page-images/p196.png
new file mode 100644
index 0000000..f6e84af
--- /dev/null
+++ b/23116-page-images/p196.png
diff --git a/23116-page-images/p197.png b/23116-page-images/p197.png
new file mode 100644
index 0000000..ab93144
--- /dev/null
+++ b/23116-page-images/p197.png
diff --git a/23116-page-images/p198.png b/23116-page-images/p198.png
new file mode 100644
index 0000000..2717ddf
--- /dev/null
+++ b/23116-page-images/p198.png
diff --git a/23116-page-images/p199.png b/23116-page-images/p199.png
new file mode 100644
index 0000000..69bf0dc
--- /dev/null
+++ b/23116-page-images/p199.png
diff --git a/23116-page-images/p200.png b/23116-page-images/p200.png
new file mode 100644
index 0000000..0017100
--- /dev/null
+++ b/23116-page-images/p200.png
diff --git a/23116-page-images/p201.png b/23116-page-images/p201.png
new file mode 100644
index 0000000..262936b
--- /dev/null
+++ b/23116-page-images/p201.png
diff --git a/23116-page-images/p202.png b/23116-page-images/p202.png
new file mode 100644
index 0000000..b465244
--- /dev/null
+++ b/23116-page-images/p202.png
diff --git a/23116-page-images/p203.png b/23116-page-images/p203.png
new file mode 100644
index 0000000..7ac3ba7
--- /dev/null
+++ b/23116-page-images/p203.png
diff --git a/23116-page-images/p204.png b/23116-page-images/p204.png
new file mode 100644
index 0000000..d50d995
--- /dev/null
+++ b/23116-page-images/p204.png
diff --git a/23116-page-images/p205.png b/23116-page-images/p205.png
new file mode 100644
index 0000000..5769472
--- /dev/null
+++ b/23116-page-images/p205.png
diff --git a/23116-page-images/p206.png b/23116-page-images/p206.png
new file mode 100644
index 0000000..a2f91bb
--- /dev/null
+++ b/23116-page-images/p206.png
diff --git a/23116-page-images/p207.png b/23116-page-images/p207.png
new file mode 100644
index 0000000..00dc1c6
--- /dev/null
+++ b/23116-page-images/p207.png
diff --git a/23116-page-images/p208.png b/23116-page-images/p208.png
new file mode 100644
index 0000000..892d153
--- /dev/null
+++ b/23116-page-images/p208.png
diff --git a/23116-page-images/p209.png b/23116-page-images/p209.png
new file mode 100644
index 0000000..5583fff
--- /dev/null
+++ b/23116-page-images/p209.png
diff --git a/23116-page-images/p210.png b/23116-page-images/p210.png
new file mode 100644
index 0000000..bc57719
--- /dev/null
+++ b/23116-page-images/p210.png
diff --git a/23116-page-images/p211.png b/23116-page-images/p211.png
new file mode 100644
index 0000000..9432383
--- /dev/null
+++ b/23116-page-images/p211.png
diff --git a/23116-page-images/p212.png b/23116-page-images/p212.png
new file mode 100644
index 0000000..2e26be5
--- /dev/null
+++ b/23116-page-images/p212.png
diff --git a/23116.txt b/23116.txt
new file mode 100644
index 0000000..6a1eeee
--- /dev/null
+++ b/23116.txt
@@ -0,0 +1,6305 @@
+The Project Gutenberg eBook, Ruth Fielding Down East, by Alice B. Emerson
+
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+
+
+
+Title: Ruth Fielding Down East
+       Or, The Hermit of Beach Plum Point
+
+
+Author: Alice B. Emerson
+
+
+
+Release Date: October 20, 2007  [eBook #23116]
+
+Language: English
+
+Character set encoding: ISO-646-US (US-ASCII)
+
+
+***START OF THE PROJECT GUTENBERG EBOOK RUTH FIELDING DOWN EAST***
+
+
+E-text prepared by David Edwards, Anne Storer, D. Alexander, and the
+Project Gutenberg Online Distributed Proofreading Team
+(https://www.pgdp.net)
+
+
+
+Note: Project Gutenberg also has an HTML version of this
+      file which includes the original illustration.
+      See 23116-h.htm or 23116-h.zip:
+      (https://www.gutenberg.org/dirs/2/3/1/1/23116/23116-h/23116-h.htm)
+      or
+      (https://www.gutenberg.org/dirs/2/3/1/1/23116/23116-h.zip)
+
+
+
+
+
+RUTH FIELDING DOWN EAST
+
+Or
+
+The Hermit of Beach Plum Point
+
+by
+
+ALICE B. EMERSON
+
+Author of "Ruth Fielding of the Red Mill," "Ruth
+Fielding at Sunrise Farm," "Ruth Fielding
+Homeward Bound," Etc.
+
+Illustrated
+
+
+
+
+
+
+
+[Illustration: TOM CAST ASIDE HIS SWEATER AND PLUNGED INTO THE TIDE.
+_Ruth Fielding Down East Page 113_]
+
+
+
+
+
+New York
+Cupples & Leon Company
+Publishers
+
+
+
+
+              Books for Girls
+            BY ALICE B. EMERSON
+            RUTH FIELDING SERIES
+       12mo.   Cloth.    Illustrated.
+
+      RUTH FIELDING OF THE RED MILL
+      RUTH FIELDING AT BRIARWOOD HALL
+      RUTH FIELDING AT SNOW CAMP
+      RUTH FIELDING AT LIGHTHOUSE POINT
+      RUTH FIELDING AT SILVER RANCH
+      RUTH FIELDING ON CLIFF ISLAND
+      RUTH FIELDING AT SUNRISE FARM
+      RUTH FIELDING AND THE GYPSIES
+      RUTH FIELDING IN MOVING PICTURES
+      RUTH FIELDING DOWN IN DIXIE
+      RUTH FIELDING AT COLLEGE
+      RUTH FIELDING IN THE SADDLE
+      RUTH FIELDING IN THE RED CROSS
+      RUTH FIELDING AT THE WAR FRONT
+      RUTH FIELDING HOMEWARD BOUND
+      RUTH FIELDING DOWN EAST
+
+  CUPPLES & LEON CO., PUBLISHERS, NEW YORK.
+
+
+Copyright, 1920, by
+Cupples & Leon Company
+
+Ruth Fielding Down East
+
+Printed in U. S. A.
+
+
+
+
+CONTENTS
+
+
+ CHAPTER                                     PAGE
+      I.  THE WIND STORM                        1
+     II.  THE MYSTERY OF IT                     7
+    III.  THE DERELICT                         14
+     IV.  THE CRYING NEED                      22
+      V.  OFF AT LAST                          29
+     VI.  "THE NEVERGETOVERS"                  35
+    VII.  MOVIE STUNTS                         43
+   VIII.  THE AUCTION BLOCK                    52
+     IX.  A DISMAYING DISCOVERY                67
+      X.  A WILD AFTERNOON                     77
+     XI.  MR. PETERBY PAUL--AND "WHOSIS"       86
+    XII.  ALONGSHORE                           95
+   XIII.  THE HERMIT                          104
+    XIV.  A QUOTATION                         113
+     XV.  AN AMAZING SITUATION                122
+    XVI.  RUTH SOLVES ONE PROBLEM             129
+   XVII.  JOHN, THE HERMIT'S, CONTRIBUTION    136
+  XVIII.  UNCERTAINTIES                       144
+    XIX.  COUNTERCLAIMS                       152
+     XX.  THE GRILL                           159
+    XXI.  A HERMIT FOR REVENUE ONLY           171
+   XXII.  AN ARRIVAL                          180
+  XXIII.  TROUBLE--PLENTY                     186
+   XXIV.  ABOUT "PLAIN MARY"                  193
+    XXV.  LIFTING THE CURTAIN                 199
+
+
+
+
+RUTH FIELDING DOWN EAST
+
+CHAPTER I
+
+THE WIND STORM
+
+
+Across the now placidly flowing Lumano where it widened into almost the
+proportions of a lake just below the picturesque Red Mill, a bank of
+tempestuous clouds was shouldering into view above the sky line of the
+rugged and wooded hills. These slate-colored clouds, edged with pallid
+light, foredoomed the continuance of the peaceful summer afternoon.
+
+Not a breath of air stirred on the near side of the river. The huge old
+elms shading the Red Mill and the farmhouse connected with it belonging to
+Mr. Jabez Potter, the miller, were like painted trees, so still were they.
+The brooding heat of midday, however, had presaged the coming storm, and
+it had been prepared for at mill and farmhouse. The tempest was due soon.
+
+The backyard of the farmhouse--a beautiful lawn of short grass--sloped
+down to the river. On the bank and over the stream itself was set a
+summer-house of fair proportions, covered with vines--a cool and shady
+retreat on the very hottest day of midsummer.
+
+A big robin redbreast had been calling his raucous weather warning from
+the top of one of the trees near the house; but, with her back to the
+river and the coming storm, the girl in the pavilion gave little heed to
+this good-intentioned weather prophet.
+
+She did raise her eyes, however, at the querulous whistle of a striped
+creeper that was wriggling through the intertwined branches of the
+trumpet-vine in search of insects. Ruth Fielding was always interested in
+those busy, helpful little songsters.
+
+"You cute little thing!" she murmured, at last catching sight of the
+flashing bird between the stems of the old vine. "I wish I could put _you_
+into my scenario."
+
+On the table at which she was sitting was a packet of typewritten sheets
+which she had been annotating, and two fat note books. She laid down her
+gold-mounted fountain pen as she uttered these words, and then sighed and
+pushed her chair back from the table.
+
+Then she stood up suddenly. A sound had startled her. She looked all about
+the summer-house--a sharp, suspicious glance. Then she tiptoed to the door
+and peered out.
+
+The creeper fluttered away. The robin continued to shout his warning. Had
+it really been a rustling in the vines she had heard? Was there somebody
+lurking about the summer-house?
+
+She stepped out and looked on both sides. It was then she saw how
+threatening the aspect of the clouds on the other side of the river were.
+The sight drove from her thoughts for the moment the strange sound she had
+heard. She did not take pains to look beneath the summer-house on the
+water side.
+
+Instead, another sound assailed her ears. This time one that she could not
+mistake for anything but just what it was--the musical horn of Tom
+Cameron's automobile. Ruth turned swiftly to look up the road. A dark
+maroon car, long and low-hung like a racer, was coming along the road,
+leaving a funnel of dust behind it. There were two people in the car.
+
+The girl beside the driver--black-haired and petite--fluttered her
+handkerchief in greeting when she saw Ruth standing by the summer-house.
+At once the latter ran across the yard, over the gentle rise, and down to
+the front gate of the Potter farmhouse. She ran splendidly with a free
+stride of untrammeled limbs, but she held one shoulder rather stiffly.
+
+"Oh, Ruth!"
+
+"Oh, Helen!"
+
+The car was at the gate, and Tom brought it to a prompt stop. Helen, his
+twin sister, was out of it instantly and almost leaped into the bigger
+girl's arms.
+
+"Oh! Oh! Oh!" sobbed Helen. "You _are_ alive after all that horrible
+experience coming home from Europe."
+
+"And you are alive and safe, dear Helen," responded Ruth Fielding, quite
+as deeply moved.
+
+It was the first time they had met since separating in Paris a month
+before. And in these times of war, with peace still an uncertainty, there
+were many perils to fear between the port of Brest and that of New York.
+
+Tom, in uniform and with a ribbon and medal on his breast, grinned
+teasingly at the two girls.
+
+"Come, come! Break away! Only twenty seconds allowed in a clinch. Don't
+Helen look fine, Ruth? How's the shoulder?"
+
+"Just a bit stiff yet," replied the girl of the Red Mill, kissing her chum
+again.
+
+At this moment the first sudden swoop of the tempest arrived. The tall
+elms writhed as though taken with St. Vitus's dance. The hens began to
+screech and run to cover. Thunder muttered in the distance.
+
+"Oh, dear me!" gasped Ruth, paling unwontedly, for she was not by nature
+a nervous girl. "Come right into the house, Helen. You could not get to
+Cheslow or back home before this storm breaks. Put your car under the
+shed, Tom."
+
+She dragged her friend into the yard and up the warped flag stones to the
+side door of the cottage. A little old woman who had been sitting on the
+porch in a low rocking chair arose with difficulty, leaning on a cane.
+
+"Oh, my back, and oh, my bones!" murmured Aunt Alvirah Boggs, who was not
+long out of a sick bed herself and would never again be as "spry" as she
+once had been. "Do come in, dearies. It is a wind storm."
+
+Ruth stopped to help the little old woman. She continued pale, but her
+thought for Aunt Alvirah's comfort caused her to put aside her own fear.
+The trio entered the house and closed the door.
+
+In a moment there was a sharp patter against the house. The rain had begun
+in big drops. The rear door was opened, and Tom, laughing and shaking the
+water from his cap, dashed into the living room. He wore the insignia of a
+captain under his dust-coat and the distinguishing marks of a very famous
+division of the A. E. F.
+
+"It's a buster!" he declared. "There's a paper sailing like a kite over
+the roof of the old mill----"
+
+Ruth sprang up with a shriek. She ran to the back door by which Tom had
+just entered and tore it open.
+
+"Oh, do shut the door, deary!" begged Aunt Alvirah. "That wind is 'nough
+to lift the roof."
+
+"What _is_ the matter, Ruth?" demanded Helen.
+
+But Tom ran out after her. He saw the girl leap from the porch and run
+madly down the path toward the summer-house. Back on the wind came a
+broken word or two of explanation:
+
+"My papers! My scenario! The best thing I ever did, Tom!"
+
+He had almost caught up to her when she reached the little pavilion. The
+wind from across the river was tearing through the summer-house at a
+sixty-mile-an-hour speed.
+
+"Oh! It's gone!" Ruth cried, and had Tom not caught her she would have
+dropped to the ground.
+
+There was not a scrap of paper left upon the table, nor anywhere in
+the place. Even the two fat notebooks had disappeared, and, too, the
+gold-mounted pen the girl of the Red Mill had been using. All, all seemed
+to have been swept out of the summer-house.
+
+
+
+
+CHAPTER II
+
+THE MYSTERY OF IT
+
+
+For half a minute Tom Cameron did not know just what to do for Ruth. Then
+the water spilled out of the angry clouds overhead and bade fair to drench
+them.
+
+He half carried Ruth into the summer-house and let her rest upon a bench,
+sitting beside her with his arm tenderly supporting her shoulders. Ruth
+had begun to sob tempestuously.
+
+Ruth Fielding weeping! She might have cried many times in the past, but
+almost always in secret. Tom, who knew her so well, had seen her in
+dangerous and fear-compelling situations, and she had not wept.
+
+"What is it?" he demanded. "What have you lost?"
+
+"My scenario! All my work gone!"
+
+"The new story? My goodness, Ruth, it couldn't have blown away!"
+
+"But it has!" she wailed. "Not a scrap of it left. My notebooks--my pen!
+Why!" and she suddenly controlled her sobs, for she was, after all, an
+eminently practical girl. "Could that fountain pen have been carried away
+by the windstorm, too?"
+
+"There goes a barrel through the air," shouted Tom. "That's heavier than a
+fountain pen. Say, this is some wind!"
+
+The sound of the dashing rain now almost drowned their voices. It sprayed
+them through the porous shelter of the vines and latticework so that they
+could not sit on the bench.
+
+Ruth huddled upon the table with Tom Cameron standing between her and the
+drifting mist of the storm. She looked across the rain-drenched yard to
+the low-roofed house. She had first seen it with a home-hungry heart when
+a little girl and an orphan.
+
+How many, many strange experiences she had had since that time, which
+seemed so long ago! Nor had she then dreamed, as "Ruth Fielding of the Red
+Mill," as the first volume of this series is called, that she would lead
+the eventful life she had since that hour.
+
+Under the niggard care of miserly old Jabez Potter, the miller, her great
+uncle, tempered by the loving kindness of Aunt Alvirah Boggs, the miller's
+housekeeper, Ruth's prospects had been poor indeed. But Providence moves
+in mysterious ways. Seemingly unexpected chances had broadened Ruth's
+outlook on life and given her advantages that few girls in her sphere
+secure.
+
+First she was enabled to go to a famous boarding school, Briarwood Hall,
+with her dearest chum, Helen Cameron. There she began to make friends and
+widen her experience by travel. With Helen, Tom, and other young friends,
+Ruth had adventures, as the titles of the series of books run, at Snow
+Camp, at Lighthouse Point, at Silver Ranch, on Cliff Island, at Sunrise
+Farm, with the Gypsies, in Moving Pictures, and Down in Dixie.
+
+With the eleventh volume of the series Ruth and her chums, Helen Cameron
+and Jennie Stone, begin their life at Ardmore College. As freshmen their
+experiences are related in "Ruth Fielding at College; Or, The Missing
+Examination Papers." This volume is followed by "Ruth Fielding in the
+Saddle; Or, College Girls in the Land of Gold," wherein Ruth's first big
+scenario is produced by the Alectrion Film Corporation.
+
+As was the fact with so many of our college boys and girls, the World War
+interfered most abruptly and terribly with Ruth's peaceful current of
+life. America went into the war and Ruth into Red Cross work almost
+simultaneously.
+
+In "Ruth Fielding in the Red Cross; Or, Doing Her Bit for Uncle Sam," the
+Girl of the Red Mill gained a very practical experience in the work of the
+great peace organization which does so much to smooth the ravages of war.
+Then, in "Ruth Fielding at the War Front; Or, The Hunt for the Lost
+Soldier," the Red Cross worker was thrown into the very heart of the
+tremendous struggle, and in northern France achieved a name for courage
+that her college mates greatly envied.
+
+Wounded and nerve-racked because of her experiences, Ruth was sent home,
+only to meet, as related in the fifteenth volume of the series, "Ruth
+Fielding Homeward Bound; Or, A Red Cross Worker's Ocean Perils," an
+experience which seemed at first to be disastrous. In the end, however,
+the girl reached the Red Mill in a physical and mental state which made
+any undue excitement almost a tragedy for her.
+
+The mysterious disappearance of the moving picture scenario, which had
+been on her heart and mind for months and which she had finally brought,
+she believed, to a successful termination, actually shocked Ruth Fielding.
+She could not control herself for the moment.
+
+Against Tom Cameron's uniformed shoulder she sobbed frankly. His arm stole
+around her.
+
+"Don't take on so, Ruthie," he urged. "Of course we'll find it all. Wait
+till this rain stops----"
+
+"It never blew away, Tom," she said.
+
+"Why, of course it did!"
+
+"No. The sheets of typewritten manuscript were fastened together with a
+big brass clip. Had they been lose and the wind taken them, we should have
+seen at least some of them flying about. And the notebooks!"
+
+"And the pen?" murmured Tom, seeing the catastrophe now as she did. "Why,
+Ruthie! Could somebody have taken them all?"
+
+"Somebody must!"
+
+"But who?" demanded the young fellow. "You have no enemies."
+
+"Not here, I hope," she sighed. "I left them all behind."
+
+He chuckled, although he was by no means unappreciative of the seriousness
+of her loss. "Surely that German aviator who dropped the bomb on you
+hasn't followed you here."
+
+"Don't talk foolishly, Tom!" exclaimed the girl, getting back some of her
+usual good sense. "Of course, I have no enemy. But a thief is every honest
+person's enemy."
+
+"Granted. But where is the thief around the Red Mill?"
+
+"I do not know."
+
+"Can it be possible that your uncle or Ben saw the things here and rescued
+them just before the storm burst?"
+
+"We will ask," she said, with a sigh. "But I can imagine no reason for
+either Uncle Jabez or Ben to come down here to the shore of the river.
+Oh, Tom! it is letting up."
+
+"Good! I'll look around first of all. If there has been a skulker
+near----"
+
+"Now, don't be rash," she cried.
+
+"We're not behind the German lines now, Fraulein Mina von Brenner," and he
+laughed as he went out of the summer-house.
+
+He did not smile when he was searching under the house and beating the
+brush clumps near by. He realized that this loss was a very serious matter
+for Ruth.
+
+She was now independent of Uncle Jabez, but her income was partly derived
+from her moving picture royalties. During her war activities she had been
+unable to do much work, and Tom knew that Ruth had spent of her own means
+a great deal in the Red Cross work.
+
+Ruth had refused to tell her friends the first thing about this new story
+for the screen. She believed it to be the very best thing she had ever
+originated, and she said she wished to surprise them all.
+
+He even knew that all her notes and "before-the-finish" writing was in the
+notebooks that had now gone with the completed manuscript. It looked more
+than mysterious. It was suspicious.
+
+Tom looked all around the summer-house. Of course, after this hard
+downpour it was impossible to mark any footsteps. Nor, indeed, did the
+raider need to leave such a trail in getting to and departing from the
+little vine-covered pavilion. The sward was heavy all about it save on the
+river side.
+
+The young man found not a trace. Nor did he see a piece of paper anywhere.
+He was confident that Ruth's papers and notebooks and pen had been removed
+by some human agency. And it could not have been a friend who had done
+this thing.
+
+
+
+
+CHAPTER III
+
+THE DERELICT
+
+
+"Didn't you find anything, Tom?" Ruth Fielding asked, as Helen's twin
+re-entered the summer-house.
+
+His long automobile coat glistened with wet and his face was wind-blown.
+Tom Cameron's face, too, looked much older than it had--well, say a year
+before. He, like Ruth herself, had been through much in the war zone
+calculated to make him more sedate and serious than a college
+undergraduate is supposed to be.
+
+"I did not see even a piece of paper blowing about," he told her.
+
+"But before we came down from the house you said you saw a paper blow over
+the roof like a kite."
+
+"That was an outspread newspaper. It was not a sheet of your manuscript."
+
+"Then it all must have been stolen!" she cried.
+
+"At least, human agency must have removed the things you left on this
+table," he said.
+
+"Oh, Tom!"
+
+"Now, now, Ruth! It's tough, I know----"
+
+But she recovered a measure of her composure almost immediately. Unnerved
+as she had first been by the disaster, she realized that to give way to
+her trouble would not do the least bit of good.
+
+"An ordinary thief," Tom suggested after a moment, "would not consider
+your notes and the play of much value."
+
+"I suppose not," she replied.
+
+"If they are stolen it must be by somebody who understands--or thinks he
+does--the value of the work. Somebody who thinks he can sell a moving
+picture scenario."
+
+"Oh, Tom!"
+
+"A gold mounted fountain pen would attract any petty thief," he went on to
+say. "But surely the itching fingers of such a person would not be tempted
+by that scenario."
+
+"Then, which breed of thief stole my scenario, Tom?" she demanded. "You
+are no detective. Your deductions suggest two thieves."
+
+"Humph! So they do. Maybe they run in pairs. But I can't really imagine
+two light-fingered people around the Red Mill at once. Seen any tramps
+lately?"
+
+"We seldom see the usual tramp around here," said Ruth, shaking her head.
+"We are too far off the railroad line. And the Cheslow constables keep
+them moving if they land _there_."
+
+"Could anybody have done it for a joke?" asked Tom suddenly.
+
+"If they have," Ruth said, wiping her eyes, "it is the least like a joke
+of anything that ever happened to me. Why, Tom! I couldn't lay out that
+scenario again, and think of all the details, and get it just so, in a
+year!"
+
+"Oh, Ruth!"
+
+"I mean it! And even my notes are gone. Oh, dear! I'd never have the heart
+to write that scenario again. I don't know that I shall ever write
+another, anyway. I'm discouraged," sobbed the girl suddenly.
+
+"Oh, Ruth! don't give way like this," he urged, with rather a boyish fear
+of a girl's tears.
+
+"I've given way already," she choked. "I just feel that I'll never be able
+to put that scenario into shape again. And I'd written Mr. Hammond so
+enthusiastically about it."
+
+"Oh! Then he knows all about it!" said Tom. "That is more than any of us
+do. You wouldn't tell us a thing."
+
+"And I didn't tell him. He doesn't know the subject, or the title, or
+anything about it. I tell you, Tom, I had _such_ a good idea----"
+
+"And you've got the idea yet, haven't you? Cheer up! Of course you can do
+it over."
+
+"Suppose," demanded Ruth quickly, "this thief that has got my manuscript
+should offer it to some producer? Why! if I tried to rewrite it and bring
+it out, I might be accused of plagiarizing my own work."
+
+"Jimminy!"
+
+"I wouldn't dare," said Ruth, shaking her head. "As long as I do not know
+what has become of the scenario and my notes, I will not dare use the idea
+at all. It is dreadful!"
+
+The rain was now falling less torrentially. The tempest was passing. Soon
+there was even a rift in the clouds in the northwest where a patch of blue
+sky shone through "big enough to make a Scotchman a pair of breeches," as
+Aunt Alvirah would say.
+
+"We'd better go up to the house," sighed Ruth.
+
+"I'll go right around to the neighbors and see if anybody has noticed a
+stranger in the vicinity," Tom suggested.
+
+"There's Ben! Do you suppose he has seen anybody?"
+
+A lanky young man, his clothing gray with flour dust, came from the back
+door of the mill and hastened under the dripping trees to reach the porch
+of the farmhouse. He stood there, smiling broadly at them, as Ruth and Tom
+hurriedly crossed the yard.
+
+"Good day, Mr. Tom," said Ben, the miller's helper. Then he saw Ruth's
+troubled countenance. "Wha--what's the matter, Ruthie?"
+
+"Ben, I've lost something."
+
+"Bless us an' save us, no!"
+
+"Yes, I have. Something very valuable. It's been stolen."
+
+"You don't mean it!"
+
+"But I do! Some manuscript out of the summer-house yonder."
+
+"And her gold-mounted fountain pen," added Tom. "That would tempt
+somebody."
+
+"My goodness!"
+
+Ben could express his simple wonderment in a variety of phrases. But he
+seemed unable to go beyond these explosive expressions.
+
+"Ben, wake up!" exclaimed Ruth. "Have you any idea who would have taken
+it?"
+
+"That gold pen, Ruthie? Why--why---- A thief!"
+
+"Old man," said Tom with suppressed disgust, "you're a wonder. How did you
+guess it?"
+
+"Hush, Tom," Ruth said. Then: "Now, Ben, just think. Who has been around
+here to-day? Any stranger, I mean."
+
+"Why--I dunno," said the mill hand, puckering his brows.
+
+"Think!" she commanded again.
+
+"Why--why----old Jep Parloe drove up for a grinding."
+
+"He's not a stranger."
+
+"Oh, yes he is, Ruthie. Me nor Mr. Potter ain't seen him before for nigh
+three months. Your uncle up and said to him, 'Why, you're a stranger, Mr.
+Parloe.'"
+
+"I mean," said Ruth, with patience, "anybody whom you have never seen
+before--or anybody whom you might suspect would steal."
+
+"Well," drawled Ben stubbornly, "your uncle, Ruthie, says old Jep ain't
+any too honest."
+
+"I know all about that," Ruth said. "But Parloe did not leave his team and
+go down to the summer-house, did he?"
+
+"Oh, no!"
+
+"Did you see anybody go down that way?"
+
+"Don't believe I did--savin' you yourself, Ruthie."
+
+"I left a manuscript and my pen on the table there. I ran out to meet Tom
+and Helen when they came."
+
+"I seen you," said Ben.
+
+"Then it was just about that time that somebody sneaked into that
+summer-house and stole those things."
+
+"I didn't see anybody snuck in there," declared Ben, with more confidence
+than good English.
+
+"Say!" ejaculated Tom, impatiently, "haven't you seen any tramp, or
+straggler, or Gypsy--or anybody like that?"
+
+"Hi gorry!" suddenly said Ben, "I do remember. There was a man along here
+this morning--a preacher, or something like that. Had a black frock coat
+on and wore his hair long and sort o' wavy. He was shabby enough to be a
+tramp, that's a fact. But he was a real knowledgeable feller--he was that.
+Stood at the mill door and recited po'try for us."
+
+"Poetry!" exclaimed Tom.
+
+"To you and Uncle Jabez?" asked Ruth.
+
+"Uh-huh. All about 'to be or not to be a bean--that is the question.' And
+something about his having suffered from the slung shots and bow arrers of
+outrageous fortune--whatever that might be. I guess he got it all out of
+the Scriptures. Your uncle said he was bugs; but I reckoned he was a
+preacher."
+
+"Jimminy!" muttered Tom. "A derelict actor, I bet. Sounds like a
+Shakespearean ham."
+
+"Goodness!" said Ruth. "Between the two of you boys I get a very strange
+idea of this person."
+
+"Where did he go, Ben?" Tom asked.
+
+"I didn't watch him. He only hung around a little while. I think he axed
+your uncle for some money, or mebbe something to eat. You see, he didn't
+know Mr. Potter."
+
+"Not if he struck him for a hand-out," muttered the slangy Tom.
+
+"Oh, Ben! don't you know whether he went toward Cheslow--or where?" cried
+Ruth.
+
+"Does it look probable to you," Tom asked, "that a derelict
+actor---- Oh, Jimminy! Of course! _He_ would be just the person to
+see the value of that play script at a glance!"
+
+"Oh, Tom!"
+
+"Have you no idea where he went, Ben?" Tom again demanded of the puzzled
+mill hand.
+
+"No, Mister Tom. I didn't watch him."
+
+"I'll get out the car at once and hunt all about for him," Tom said
+quickly. "You go in to Helen and Aunt Alvirah, Ruth. You'll be sick if
+you let this get the best of you. I'll find that miserable thief of a ham
+actor--if he's to be found." He added this last under his breath as he ran
+for the shed where he had sheltered his automobile.
+
+
+
+
+CHAPTER IV
+
+THE CRYING NEED
+
+
+Tom Cameron chased about the neighborhood for more than two hours in
+his fast car hunting the trail of the man who he had decided must be a
+wandering theatrical performer. Of course, this was a "long shot," Tom
+said; but the trampish individual of whom Ben had told was much more
+likely to be an actor than a preacher.
+
+Tom, however, was able to find no trace of the fellow until he got to the
+outskirts of Cheslow, the nearest town. Here he found a man who had seen a
+long-haired fellow in a shabby frock coat and black hat riding toward the
+railroad station beside one of the farmers who lived beyond the Red Mill.
+This was following the tempest which had burst over the neighborhood at
+mid-afternoon.
+
+Trailing this information farther, Tom learned that the shabby man had
+been seen about the railroad yards. Mr. Curtis, the railroad station
+master, had observed him. But suddenly the tramp had disappeared. Whether
+he had hopped Number 10, bound north, or Number 43, bound south, both of
+which trains had pulled out of Cheslow within the hour, nobody could be
+sure.
+
+Tom returned to the Red Mill at dusk, forced to report utter failure.
+
+"If that bum actor stole your play, Ruth, he's got clear way with it," Tom
+said bluntly. "I'm awfully sorry----"
+
+"Does that help?" demanded his sister snappishly, as though it were
+somewhat Tom's fault. "You go home, Tom. I'm going to stay with Ruthie
+to-night," and she followed her chum into the bedroom to which she had
+fled at Tom's announcement of failure.
+
+"Jimminy!" murmured Tom to the old miller who was still at the supper
+table. "And we aren't even sure that that fellow did steal the scenario."
+
+"Humph!" rejoined Uncle Jabez. "You'll find, if you live to be old enough,
+young feller, that women folks is kittle cattle. No knowing how they'll
+take anything. That pen cost five dollars, I allow; but them papers only
+had writing on 'em, and it does seem to me that what you have writ once
+you ought to be able to write again. That's the woman of it. She don't say
+a thing about that pen, Ruthie don't."
+
+However, Tom Cameron saw farther into the mystery than Uncle Jabez
+appeared to. And after a day or two, with Ruth still "moping about like a
+moulting hen," as the miller expressed it, the young officer felt that he
+must do something to change the atmosphere of the Red Mill farmhouse.
+
+"Our morale has gone stale, girls," he declared to his sister and Ruth.
+"Worrying never did any good yet."
+
+"That's a true word, Sonny," said Aunt Alvirah, from her chair. "'Care
+killed the cat.' my old mother always said, and she had ten children to
+bring up and a drunken husband who was a trial. He warn't my father. He
+was her second, an' she took him, I guess, 'cause he was ornamental. He
+was a sign painter when he worked. But he mostly advertised King Alcohol
+by painting his nose red.
+
+"We children sartain sure despised that man. But mother was faithful to
+her vows, and she made quite a decent member of the community of that man
+before she left off. And, le's see! We was talkin' about cats, warn't we?"
+
+"You were, Aunty dear," said Ruth, laughing for the first time in several
+days.
+
+"Hurrah!" said Tom, plunging head-first into his idea. "That's just what I
+wanted to hear."
+
+"What?" demanded Helen.
+
+"I have wanted to hear Ruth laugh. And we all need to laugh. Why, we are
+becoming a trio of old fogies!"
+
+"Speak for yourself, Master Tom," pouted his sister.
+
+"I do. And for you. And certainly Ruth is about as cheerful as a funeral
+mute. What we all need is some fun."
+
+"Oh, Tom, I don't feel at all like 'funning,'" sighed Ruth.
+
+"You be right, Sonny," interjected Aunt Alvirah, who sometimes forgot that
+Tom, as well as the girls, was grown up. She rose from her chair with her
+usual, "Oh, my back! and oh, my bones! You young folks should be dancing
+and frolicking----"
+
+"But the war, Auntie!" murmured Ruth.
+
+"You'll neither make peace nor mar it by worriting. No, no, my pretty! And
+'tis a bad thing when young folks grow old before their time."
+
+"You're always saying that, Aunt Alvirah," Ruth complained. "But how can
+one be jolly if one does not feel jolly?"
+
+"My goodness!" cried Tom, "you were notoriously the jolliest girl in that
+French hospital. Didn't the _poilus_ call you the jolly American? And
+listen to Grandmother Grunt now!"
+
+"I suppose it is so," sighed Ruth. "But I must have used up all my fund of
+cheerfulness for those poor _blesses_. It does seem as though the font of
+my jollity had quite dried up."
+
+"I wish Heavy Stone were here," said Helen suddenly. "_She'd_ make us
+laugh."
+
+"She and her French colonel are spooning down there at Lighthouse Point,"
+scoffed Ruth--and not at all as Ruth Fielding was wont to speak.
+
+"Say!" Tom interjected, "I bet Heavy is funny even when she is in love."
+
+"_That's_ a reputation!" murmured Ruth.
+
+"They are not at Lighthouse Point. The Stones did not go there this
+summer, I understand," Helen observed.
+
+"I am sorry for Jennie and Colonel Marchand if they are at the Stones'
+city house at this time of the year," the girl of the Red Mill said.
+
+"Bully!" cried Tom, with sudden animation. "That's just what we will do!"
+
+"What will we do, crazy?" demanded his twin.
+
+"We'll get Jennie Stone and Henri Marchand--he's a good sport, too, as I
+very well know--and we'll all go for a motor trip. Jimminy Christmas! that
+will be just the thing, Sis. We'll go all over New England, if you like.
+We'll go Down East and introduce Colonel Marchand to some of our
+hard-headed and tight-fisted Yankees that have done their share towards
+injecting America into the war. We will----"
+
+"Oh!" cried Ruth, breaking in with some small enthusiasm, "let's go to
+Beach Plum Point."
+
+"Where is that?" asked Helen.
+
+"It is down in Maine. Beyond Portland. And Mr. Hammond and his company are
+there making my 'Seaside Idyl.'"
+
+"Oh, bully!" cried Helen, repeating one of her brother's favorite phrases,
+and now quite as excited over the idea as he. "I do so love to act in
+movies. Is there a part in that 'Idyl' story for me?"
+
+"I cannot promise that," Ruth said. "It would be up to the director. I
+wasn't taking much interest in this particular picture. I wrote the
+scenario, you know, before I went to France. I have been giving all my
+thought to----
+
+"Oh, dear! If we could only find my lost story!"
+
+"Come on!" interrupted Tom. "Let's not talk about that. Will you write to
+Jennie Stone?"
+
+"I will. At once," his sister declared.
+
+"Do. I'll take it to the post office and send it special delivery. Tell
+her to wire her answer, and let it be 'yes.' We'll take both cars. Father
+won't mind."
+
+"Oh, _but_!" cried Helen. "How about a chaperon?"
+
+"Oh, shucks! I wish you'd marry some nice fellow, Sis, so that we'd always
+have a chaperon on tap and handy."
+
+She made a little face at him. "I am going to be old-maid aunt to your
+many children, Tommy-boy. I am sure you will have a full quiver. We will
+have to look for a chaperon."
+
+"Aunt Kate!" exclaimed Ruth. "Heavy's Aunt Kate. She is just what Helen
+declares she wants to be--an old-maid aunt."
+
+"And a lovely lady," cried Helen.
+
+"Sure. Ask her. Beg her," agreed Tom. "Tell her it is the crying need. We
+have positively got to have some fun."
+
+"Well, I suppose we may as well," Ruth sighed, in agreement.
+
+"Yes. We have always pampered the boy," declared Helen, her eyes
+twinkling. "I know just what I'll wear, Ruthie."
+
+"Oh, we've clothes enough," admitted the girl of the Red Mill rather
+listlessly.
+
+"Shucks!" said Tom again. "Never mind the fashions. Get that letter
+written, Sis."
+
+So it was agreed. Helen wrote, the letter was sent. With Jennie Stone's
+usual impulsiveness she accepted for herself and "_mon Henri_" and Aunt
+Kate, promising to be at Cheslow within three days, and all within the
+limits of a ten-word telegram!
+
+
+
+
+CHAPTER V
+
+OFF AT LAST
+
+
+"The ancients," stated Jennie Stone solemnly, "burned incense upon any and
+all occasions--red letter days, labor days, celebrating Columbus Day and
+the morning after, I presume. But we moderns burn gasoline. And, phew! I
+believe I should prefer the stale smoke of incense in the unventilated
+pyramids of Egypt to this odor of gas. O-o-o-o, Tommy, do let us get
+started!"
+
+"You've started already--in your usual way," he laughed.
+
+This was at Cheslow Station on the arrival of the afternoon up train that
+had brought Miss Stone, her Aunt Kate, and the smiling Colonel Henri
+Marchand to join the automobile touring party which Jennie soon dubbed
+"the later Pilgrims."
+
+"And that big machine looks much as the _Mayflower_ must have looked
+steering across Cape Cod Bay on that special occasion we read of in sacred
+and profane history, hung about with four-poster beds and whatnots. In our
+neighborhood," the plump girl added, "there is enough decrepit furniture
+declared to have been brought over on the _Mayflower_ to have made a cargo
+for the _Leviathan_."
+
+"Oh, _ma chere_! you do but stretch the point, eh?" demanded the handsome
+Henri Marchand, amazed.
+
+"I assure you----"
+
+"Don't, Heavy," advised Helen. "You will only go farther and do worse. In
+my mind there has always been a suspicion that the _Mayflower_ was sent
+over here by some shipped knocked-down furniture factory. Miles Standish
+and Priscilla Mullins and John Alden must have hung on by their eyebrows."
+
+"Their eyebrows--_ma foi_!" gasped Marchand.
+
+"Say, old man," said Tom, laughing, "if you listen to these crazy college
+girls you will have a fine idea of our historical monuments, and so forth.
+Take everything with a grain of salt--do."
+
+"_Oui, Monsieur!_ But I must have a little pepper, too. I am 'strong,' as
+you Americans say, for plentiful seasoning."
+
+"Isn't he cute?" demanded Jenny Stone. "He takes to American slang like a
+bird to the air."
+
+"Poetry barred!" declared Helen.
+
+"Say," Tom remarked aside to the colonel, "you've got all the pep
+necessary, sure enough, in Jennie."
+
+"She is one dear!" sighed the Frenchman.
+
+"And she just said you were a bird. You'll have a regular zoo about you
+yet. Come on. Let's see if we can get this baggage aboard the good ship.
+It does look a good deal of an ark, doesn't it?"
+
+Although Ruth and Aunt Kate had not joined in this repartee, the girl of
+the Red Mill, as well as their lovely chaperon, enjoyed the fun immensely.
+Ruth had revived in spirits on meeting her friends. Jennie had flown to
+her arms at the first greeting, and hugged the girl of the Red Mill with
+due regard to the mending shoulder.
+
+"My dear! My dear!" she had cried. "I _dream_ of you lying all so pale and
+bloody under that window-sill stone. And what I hear of your and Tom's
+experiences coming over----"
+
+"But worse has happened to me since I arrived home," Ruth said woefully.
+
+"No? Impossible!"
+
+"Yes. I have had an irreparable loss," sighed Ruth. "I'll tell you about
+it later."
+
+But for the most part the greetings of the two parties was made up as Tom
+said of "Ohs and Ahs."
+
+"Take it from me," the naughty Tom declared to Marchand, "two girls
+separated for over-night can find more to tell each other about the next
+morning than we could think of if we should meet at the Resurrection!"
+
+The two Cameron cars stood in the station yard, and as the other waiting
+cars, taxicabs and "flivvers" departed, "the sacred odor of gasoline,"
+which Jennie had remarked upon, was soon dissipated.
+
+The big touring car was expertly packed with baggage, and had a big hamper
+on either running-board as well. There was room remaining, however, for
+the ladies if they would sit there. But as Tom was to drive the big car he
+insisted that Ruth sit with him in the front seat for company. As for his
+racing car, he had turned that over to Marchand. It, too, was well laden;
+but at the start Jennie squeezed in beside her colonel, and the maroon
+speeder was at once whisperingly dubbed by the others "the honeymoon car."
+
+"Poor children!" said Aunt Kate in private to the two other girls. "They
+cannot marry until the war is over. _That_ my brother is firm upon,
+although he thinks well of Colonel Henri. And who could help liking him?
+He is a most lovable boy."
+
+"'Boy!'" repeated Ruth. "And he is one of the most famous spies France has
+produced in this war! And a great actor!"
+
+"But we believe he is not acting when he tells us he loves Jennie," Aunt
+Kate said.
+
+"Surely not!" cried Helen.
+
+"He is the soul of honor," Ruth declared. "I trust him as I do--well, Tom.
+I never had a brother."
+
+"I've always shared Tom with you," pouted Helen.
+
+"So you have, dear," admitted Ruth. "But a girl who has had no
+really-truly brother really has missed something. Perhaps good, perhaps
+bad. But, at least, if you have brothers you understand men better."
+
+"Listen to the wisdom of the owl!" scoffed Helen. "Why, Tommy is only a
+girl turned inside out. A girl keeps all her best and softest attributes
+to the fore, while a boy thinks it is more manly to show a prickly
+surface--like the burr of a chestnut."
+
+"Listen to them!" exclaimed Aunt Kate, with laughter. "All the wise
+sayings of the ancient world must be crammed under those pretty caps you
+wear, along with your hair."
+
+"That is what we get at college," said Helen seriously. "Dear old Ardmore!
+Ruth! won't you be glad to get back to the grind again?"
+
+"I--don't--know," said her chum slowly. "We have seen so much greater
+things than college. It's going to be rather tame, isn't it?"
+
+But this conversation was all before they were distributed into their
+seats and had started. Colonel Marchand was an excellent driver, and he
+soon understood clearly the mechanism of the smaller car. Tom gave him the
+directions for the first few miles and they pulled out of the yard with
+Mr. Curtis, the station master, and his lame daughter, who now acted as
+telegraph operator, waving the party good-bye.
+
+They would not go by the way of the Red Mill, for that would take them out
+of the way they had chosen. The inn they had in mind to stop at on this
+first night was a long four hours' ride.
+
+"Eastward, Ho!" shouted Tom. "This is to be a voyage of discovery, but
+don't discover any punctures or blow-outs this evening."
+
+Then he glanced at Ruth's rather serious face beside him and muttered to
+himself:
+
+"And we want to discover principally the smile that Ruth Fielding seems to
+have permanently lost!"
+
+
+
+
+CHAPTER VI
+
+"THE NEVERGETOVERS"
+
+
+After crossing the Cheslow Hills and the Lumano by the Long Bridge about
+twenty miles below the Red Mill, the touring party debouched upon one of
+the very best State roads. They left much of the dust from which they had
+first suffered behind them, and Tom could now lead the way with the big
+car without smothering the occupants of the honeymoon car in the rear.
+
+The highway wound along a pretty ridge for some miles, with farms dotting
+the landscape and lush meadows or fruit-growing farms dipping to the edge
+of the distant river.
+
+"Ah," sighed Henri Marchand. "Like _la belle_ France before the war. Such
+peace and quietude we knew, too. Fortunate you are, my friends, that _le
+Boche_ has not trampled these fields into bloody mire."
+
+This comment he made when they halted the cars at a certain overlook to
+view the landscape. But they could not stop often. Their first objective
+inn was still a long way ahead.
+
+They did not, however, reach the inn, which was a resort well known to
+motorists. Five miles away Tom noticed that the car was acting strangely.
+
+"What is it, Tom?" demanded Ruth quickly.
+
+"Steering gear, I am afraid. Something is loose."
+
+It did not take him long to make an examination, and in the meantime the
+second car came alongside.
+
+"It might hold out until we get to the hotel ahead; but I think we had
+better stop before that time if we can," was Tom's comment. "I do not want
+the thing to break and send us flying over a stone wall or up a tree."
+
+"But you can fix it, Tom?" questioned Ruth.
+
+"Sure! But it will take half an hour or more."
+
+After that they ran along slowly and presently came in sight of a place
+called the Drovers' Tavern.
+
+"Not a very inviting place, but I guess it will do," was Ruth's
+announcement after they had looked the inn over.
+
+The girls and Aunt Kate alighted at the steps while the young men wheeled
+the cars around to the sheds.
+
+The housekeeper, who immediately announced herself as Susan Timmins, was
+fussily determined to see that all was as it should be in the ladies'
+chambers.
+
+"I can't trust this gal I got to do the upstairs work," she declared,
+saying it through her nose and with emphasis. "Just as sure as kin be,
+if ye go for to help a poor relation you air always sorry for it."
+
+She led the way up the main flight of stairs as she talked.
+
+"This here gal will give me the nevergitovers, I know! She's my own
+sister's child that married a good-for-nothing and is jest like her
+father."
+
+"Bella! You Bella! Turn on the light in these rooms. Is the pitchers
+filled? And the beds turned down? If I find a speck of dust on this
+furniture I'll nigh 'bout have the nevergitovers! That gal will drive me
+to my grave, she will. Bella!"
+
+Bella appeared--a rather good looking child of fourteen or so, slim as a
+lath and with hungry eyes. She was dark--almost Gypsy-like. She stared at
+Ruth, Helen and Jennie with all the amazement of the usual yokel. But it
+was their dress, not themselves, Ruth saw, engaged Bella's interest.
+
+"When you ladies want any help, you call for Bella," announced Miss Susan
+Timmins. "And if she don't come running, you let me know, and I'll give
+her her nevergitovers, now I tell ye!"
+
+"No wonder this hotel is called 'Drovers' Tavern,'" said Jennie Stone.
+"That woman certainly is a driver--a slave driver."
+
+Ruth, meanwhile, was trying to make a friend of Bella.
+
+"What is your name, my dear?" she asked the lathlike girl.
+
+"You heard it," was the ungracious reply.
+
+"Oh! Yes. 'Bella.' But your other name?"
+
+"Arabella Montague Fitzmaurice Pike. My father is Montague Fitzmaurice."
+
+She said it proudly, with a lift of her tousled head and a straightening
+of her thin shoulders.
+
+"Oh!" fairly gasped Ruth Fielding. "It--it sounds quite impressive, I must
+say. I guess you think a good deal of your father?"
+
+"Aunt Suse don't," said the girl ungraciously. "My mother's dead. And pa
+is resting this season. So I hafter stay here with Aunt Suse. I hate it!"
+
+"Your father is--er--what is his business?" Ruth asked.
+
+"He's one of the profession."
+
+"A doctor?"
+
+"Lands, no! He's a heavy."
+
+"A _what_?"
+
+"A heavy lead--and a good one. But these moving pictures knock out all
+the really good people. There are no chances now for him to play
+Shakespearean roles----"
+
+"Your father is an actor!" cried Ruth.
+
+"Of course. Montague Fitzmaurice. Surely you have heard the name?" said
+the lathlike girl, tossing her head.
+
+"Why--why----of course!" declared Ruth warmly. It was true. She had heard
+the name. Bella had just pronounced it!
+
+"Then you know what kind of an actor my pa is," said the proud child. "He
+did not have a very good season last winter. He rehearsed with four
+companies and was only out three weeks altogether. And one of the managers
+did not pay at all."
+
+"That is too bad."
+
+"Yes. It's tough," admitted Bella. "But I liked it."
+
+"You liked it when he was so unsuccessful?" repeated Ruth.
+
+"Pa wasn't unsuccessful. He never is. He can play any part," declared the
+girl proudly. "But the plays were punk. He says there are no good plays
+written nowadays. That is why so many companies fail."
+
+"But you said you liked it?"
+
+"In New York," explained Bella. "While he was rehearsing pa could get
+credit at Mother Grubson's boarding house on West Forty-fourth Street. I
+helped her around the house. She said I was worth my keep. But Aunt Suse
+says I don't earn my salt here."
+
+"I am sure you do your best, Bella," Ruth observed.
+
+"No, I don't. Nor you wouldn't if you worked for Aunt Suse. She says I'll
+give her her nevergitovers--an' I hope I do!" with which final observation
+she ran to unlace Aunt Kate's shoes.
+
+"Poor little thing," said Ruth to Helen. "She is worse off than an orphan.
+Her Aunt Susan is worse than Uncle Jabez ever was to me. And she has no
+Aunt Alvirah to help her to bear it. We ought to do something for her."
+
+"There! You've begun. Every waif and stray on our journey must be aided, I
+suppose," pouted Helen, half exasperated.
+
+But Tom was glad to see that Ruth had found a new interest. Bella waited
+on the supper table, was snapped at by Miss Timmins, and driven from
+pillar to post by that crotchety individual.
+
+"Jimminy Christmas!" remarked Tom, "that Timmins woman must be a
+reincarnation of one of the ancient Egyptians who was overseer in the
+brickyard where Moses learned his trade. If they were all like her, no
+wonder the Israelites went on a strike and marched out of Egypt."
+
+They were all very careful, however, not to let Miss Susan Timmins hear
+their comments. She had the true dictatorial spirit of the old-fashioned
+New England school teacher. The guests of Drovers' Tavern were treated by
+her much as she might have treated a class in the little red schoolhouse
+up the road had she presided there.
+
+She drove the guests to their chambers by the method of turning off the
+electric light in the general sitting room at a quarter past ten. Each
+room was furnished with a bayberry candle, and she announced that the
+electricity all over the house would be switched off at eleven o'clock.
+
+"That is late enough for any decent body to be up," she announced in her
+decisive manner. "That's when I go to bed myself. I couldn't do so in
+peace if I knew folks was burning them electric lights to all hours.
+'Tain't safe in a thunder storm.
+
+"Why, when we first got 'em, Jed Parraday from Wachuset come to town to do
+his buyin' and stayed all night with us. He'd never seed a 'lectric bulb
+before, and he didn't know how to blow it out. And he couldn't sleep in a
+room with a light.
+
+"So, what does the tarnal old fool do but unhook the cord so't the bulb
+could be carried as far as the winder. And he hung it outside, shut the
+winder down on it, drawed the shade and went to bed in the dark.
+
+"Elnathan Spear, the constable, seen the light a-shining outside the
+winder in the middle of the night and he thought 'twas burglars. He
+_dreams_ of burglars, Elnathan does. But he ain't never caught none yet.
+
+"On that occasion, howsomever, he was sure he'd got a whole gang of 'em,
+and he waked up the whole hotel trying to find out what was going on. I
+charged Parraday ha'f a dollar for burning extry 'lectricity, and he got
+so mad he ain't stopped at the hotel since.
+
+"He'd give one the nevergitovers, that man would!" she concluded.
+
+
+
+
+CHAPTER VII
+
+MOVIE STUNTS
+
+
+Jennie Stone slept in Ruth's bed that night because, having been parted
+since they were both in France, they had a great deal to say to each
+other--thus proving true one of Tom Cameron's statements regarding women.
+
+Jennie was just as sympathetic--and as sleepy--as she could be and she
+"oh, dear, me'd" and yawned alternately all through the tale of the lost
+scenario and notebooks, appreciating fully how Ruth felt about it, but
+unable to smother the expression of her desire for sleep.
+
+"Maybe we ought not to have come on this automobile trip," said Jennie.
+"If the thief just did it to be mean and is somebody who lives around the
+Red Mill, perhaps you might have discovered something by mingling with the
+neighbors."
+
+"Oh! Tom did all that," sighed Ruth. "And without avail. He searched the
+neighborhood thoroughly, although he is confident that a tramp carried it
+off. And that seems reasonable. I am almost sure, Heavy, that my scenario
+will appear under the trademark of some other producing manager than Mr.
+Hammond."
+
+"Oh! How mean!"
+
+"Well, a thief is almost the meanest person there is in the world, don't
+you think so? Except a backbiter. And anybody mean enough to steal my
+scenario must be mean enough to try to make use of it."
+
+"Oh, dear! Ow-oo-ooo! Scuse me, Ruth. Yes, I guess you are right. But
+can't you stop the production of the picture?"
+
+"How can I do that?"
+
+"I don't----ow-oo!----know. Scuse me, dear."
+
+"Most pictures are made in secret, anyway. The public knows nothing about
+them until the producer is ready to make their release."
+
+"I--ow-oo!--I see," yawned Jennie.
+
+"Even the picture play magazines do not announce them until the first
+runs. Then, sometimes, there is a synopsis of the story published. But it
+will be too late, then. Especially when I have no notes of my work, nor
+any witnesses. I told no living soul about the scenario--what it was
+about, or----"
+
+"Sh-sh-sh----"
+
+"Why, Heavy!" murmured the scandalized Ruth.
+
+"Sh-sh-sh--whoo!" breathed the plump girl, with complete abandon.
+
+"My goodness!" exclaimed Ruth, tempted to shake her, "if you snore like
+that when you are married, Henri will have to sleep at the other end of
+the house."
+
+But this was completely lost on the tired Jennie Stone, who continued to
+breathe heavily until Ruth herself fell asleep. It seemed as though the
+latter had only closed her eyes when the sun shining into her face awoke
+the girl of the Red Mill. The shades of the east window had been left up,
+and it was sunrise.
+
+Plenty of farm noises outside the Drovers' Tavern, as well as a stir in
+the kitchen, assured Ruth that there were early risers here. Jennie,
+rolled in more than her share of the bedclothes, continued to breathe as
+heavily as she had the night before.
+
+But suddenly Ruth was aware that there was somebody besides herself awake
+in the room. She sat up abruptly in bed and reached to seize Jennie's
+plump shoulder. Ruth had to confess she was much excited, if not
+frightened.
+
+Then, before she touched the still sleeping Jennie Stone, Ruth saw the
+intruder. The door from the anteroom was ajar. A steaming agateware can
+of water stood on the floor just inside this door. Before the bureau which
+boasted a rather large mirror for a country hotel bedroom, pivoted the
+thin figure of Arabella Montague Fitzmaurice Pike!
+
+From the neatly arranged outer clothing of the two girls supposedly asleep
+in the big four-poster, Bella had selected a skirt of Ruth's and a
+shirt-waist of Jennie's, arraying herself in both of these borrowed
+garments. She was now putting the finishing touch to her costume by
+setting Ruth's cap on top of her black, fly-away mop of hair.
+
+Turning about and about before the glass, Bella was so much engaged in
+admiring herself that she forgot the hot water she was supposed to carry
+to the various rooms. Nor did she see Ruth sitting up in bed looking at
+her in dawning amusement. Nor did she, as she pirouetted there, hear her
+Nemesis outside in the hall.
+
+The door suddenly creaked farther open. The grim face of Miss Susan
+Timmins appeared at the aperture.
+
+"Oh!" gasped Ruth Fielding aloud.
+
+Bella turned to glance in startled surprise at the girl in bed. And at
+that moment Miss Timmins bore down upon the child like a shrike on a
+chippy-bird.
+
+"Ow-ouch!" shrieked Bella.
+
+"Oh, don't!" begged Ruth.
+
+"What is it? Goodness! _Fire!_" cried Jennie Stone, who, when awakened
+suddenly, always remembered the dormitory fire at Briarwood Hall.
+
+"You little pest! I'll larrup ye good! I'll give ye your nevergitovers!"
+sputtered the hotel housekeeper.
+
+But the affrighted Bella wriggled away from her aunt's bony grasp. She
+dodged Miss Timmins about the marble-topped table, retreated behind the
+hair-cloth sofa, and finally made a headlong dash for the door, while
+Jennie continued to shriek for the fire department.
+
+Ruth leaped out of bed. In her silk pajamas and slippers, and without any
+wrap, she hurried to reach, and try to separate, the struggling couple
+near the door.
+
+Miss Timmins delivered several hearty slaps upon Bella's face and ears.
+The child shrieked. She got away again and plunged into the can of hot
+water.
+
+Over this went, flooding the rag-carpet for yards around.
+
+"Fire! Fire!" Jennie continued to shriek.
+
+Helen dashed in from the next room, dressed quite as lightly as Ruth, and
+just in time to see the can spilled.
+
+"Oh! Water! Water!"
+
+"Drat that young one!" barked Miss Timmins, ignoring the flood and
+everything else save her niece--even the conventions.
+
+She dashed after Bella. The latter had disappeared into the hall through
+the anteroom.
+
+"Oh, the poor child!" cried sympathetic Ruth, and followed in the wake of
+the angry housekeeper.
+
+"Fire! Fire!" moaned Jennie Stone.
+
+"Cat's foot!" snapped Helen Cameron. "It's water--and it is flooding the
+whole room."
+
+She ran to set the can upright--after the water was all out of it. Without
+thinking of her costume, Ruth Fielding ran to avert Bella's punishment if
+she could. She knew the aunt was beside herself with rage, and Ruth feared
+that the woman would, indeed, give Bella her "nevergetovers."
+
+The corridor of the hotel was long, running from front to rear of the main
+building. The window at the rear end of it overlooked the roof of the back
+kitchen. This window was open, and when Ruth reached the corridor Bella
+was going head-first through the open window, like a circus clown diving
+through a hoop.
+
+She had discarded Jennie's shirt-waist between the bedroom and the window.
+But Ruth's skirt still flapped about the child's thin shanks.
+
+Miss Timmins, breathing threatenings and slaughter, raced down the hall in
+pursuit. Ruth followed, begging for quarter for the terrified child.
+
+But the housekeeper went through the open window after Bella, although in
+a more conventional manner, paying no heed to Ruth's plea. The frightened
+girl, however, escaped her aunt's clutch by slipping off the borrowed
+skirt and descending the trumpet-vine trellis by the kitchen door.
+
+"Do let her go, Miss Timmins!" begged Ruth, as the panting woman, carrying
+Ruth's skirt, returned to the window where the girl of the Red Mill stood.
+"She is scared to death. She was doing no harm."
+
+"I'll thank you to mind your own business, Miss," snapped Miss Timmins
+hotly. "I declare! A girl growed like you running 'round in men's
+overalls--or, what be them things you got on?"
+
+At this criticism Ruth Fielding fled, taking the skirt and Jennie's
+shirt-waist with her. But Aunt Kate was aroused now and the four women of
+the automobile party swiftly slipped into their negligees and appeared in
+the hall again, to meet Tom and Colonel Marchand who came from their room
+only partly dressed.
+
+The critical Miss Timmins had darted downstairs, evidently in pursuit of
+her unfortunate niece. The guests crowded to the back window.
+
+"Where did she go?" demanded Tom, who had heard some explanation of the
+early morning excitement. "Is she running away?"
+
+"What a child!" gasped Aunt Kate.
+
+"My waist!" moaned Jennie.
+
+"Look at Ruth's skirt!" exclaimed Helen.
+
+"I do not care for the skirt," the girl of the Red Mill declared. "It is
+Bella."
+
+"Her aunt will about give her those 'nevergetovers' she spoke of,"
+chuckled Tom.
+
+"_Ma foi!_ look you there," exclaimed Colonel Marchand, pointing through
+the window that overlooked the rear premises of the hotel.
+
+At top speed Miss Timmins was crossing the yard toward the big hay barn.
+Bella had taken refuge in that structure, and the housekeeper's evident
+intention was to harry her out. The woman grasped a clothes-stick with
+which she proposed to castigate her niece.
+
+"The cruel thing!" exclaimed Helen, the waters of her sympathy rising for
+Bella Pike now.
+
+"There's the poor kid!" said Tom.
+
+Bella appeared at an open door far up in the peak of the haymow. The hay
+was packed solidly under the roof; but there was an air space left at
+either end.
+
+"She has put herself into the so-tight corner--no?" suggested the young
+Frenchman.
+
+"You've said it!" agreed Tom. "Why! it's regular movie stunts. She's come
+up the ladders to the top of the mow. If auntie follows her, I don't see
+that the kid can do anything but jump!"
+
+"Tom! Never!" cried Ruth.
+
+"He is fooling," said Jennie.
+
+"Tell me how she can dodge that woman, then," demanded Tom.
+
+"Ah!" murmured Henri Marchand. "She have arrive'."
+
+Miss Timmins appeared at the door behind Bella. The spectators heard the
+girl's shriek. The housekeeper struck at her with the clothes stick. And
+then----
+
+"Talk about movie stunts!" shouted Tom Cameron, for the frightened Bella
+leaped like a cat upon the haymow door and swung outward with nothing more
+stable than air between her and the ground, more than thirty feet below!
+
+
+
+
+CHAPTER VIII
+
+THE AUCTION BLOCK
+
+
+Helen Cameron and Jennie Stone shrieked in unison when Miss Susan Timmins'
+niece cast herself out of the haymow upon the plank door and swung as far
+as the door would go upon its creaking hinges. Ruth seized Tom's wrist in
+a nervous grip, but did not utter a word. Aunt Kate turned away and
+covered her eyes with her hands that she might not see the reckless child
+fall--if she did fall.
+
+"Name of a name!" murmured Henri Marchand. "_Au secours!_ Come, Tom, _mon
+ami_--to the rescue!"
+
+He turned and ran lightly along the hall and down the stairs. But Tom went
+through the window, almost as precipitately as had Bella Pike herself, and
+so over the roof of the kitchen ell and down the trumpet-vine trellis.
+
+Tom was in the yard and running to the barn before Marchand got out of the
+kitchen. Several other people, early as the hour was, appeared running
+toward the rear premises of Drovers' Tavern.
+
+"See that crazy young one!" some woman shrieked. "I know she'll kill
+herself yet."
+
+"Stop that!" commanded Tom, looking up and shaking a threatening hand at
+Miss Timmins.
+
+For in her rage the woman was trying to strike her niece with the stick,
+as Bella clung to the door.
+
+"Mind your own business, young man!" snapped the virago. "And go back and
+put the rest of your clothes on. You ain't decent."
+
+Tom was scarcely embarrassed by this verbal attack. The case was too
+serious for that. Miss Timmins struck at the girl again, and only missed
+the screaming Bella by an inch or so.
+
+Helen and Jennie screamed in unison, and Ruth herself had difficulty in
+keeping her lips closed. The cruel rage of the hotel housekeeper made her
+quite unfit to manage such a child as Bella, and Ruth determined to
+interfere in Bella's behalf at the proper time.
+
+"I wish she would pitch out of that door herself!" cried Helen recklessly.
+
+Tom had run into the barn and was climbing the ladders as rapidly as
+possible to the highest loft. Scolding and striking at her victim, Miss
+Susan Timmins continued to act like the mad woman she was. And Bella, made
+desperate at last by fear, reached for the curling edges of the shingles
+on the eaves above her head.
+
+"Don't do that, child!" shrieked Jennie Stone.
+
+But Bella scrambled up off the swinging door and pulled herself by her
+thin arms on to the roof of the barn. There she was completely out of her
+aunt's reach.
+
+"Oh, the plucky little sprite!" cried Helen, in delight.
+
+"But--but she can't get down again," murmured Aunt Kate. "There is no
+scuttle in that roof."
+
+"Tom will find a way," declared Ruth Fielding with confidence.
+
+"And my Henri," put in Jennie. "That horrid old creature!"
+
+"She should be punished for this," agreed Ruth. "I wonder where the
+child's father is."
+
+"Didn't you find out last night?" Helen asked.
+
+"Only that he is 'resting'."
+
+"Some poor, miserable loafer, is he?" demanded Aunt Kate, with acrimony.
+
+"No. It seems that he is an actor," Ruth explained. "He is out of work."
+
+"But he can't think anything of his daughter to see her treated like
+this," concluded Aunt Kate.
+
+"She is very proud of him. His professional name is Montague Fitzmaurice."
+
+"Some name!" murmured Jennie.
+
+"Their family name is Pike," said Ruth, still seriously. "I do not think
+the man can know how this aunt treats little Bella. There's Tom!"
+
+The young captain appeared behind the enraged housekeeper at the open door
+of the loft. One glance told him what Bella had done. He placed a firm
+hand on Miss Timmins' shoulder.
+
+"If you had made that girl fall you would go to jail," Tom said sternly.
+"You may go, yet. I will try to put you there. And in any case you shall
+not have the management of the child any longer. Go back to the house!"
+
+For once the housekeeper was awed. Especially when Henri Marchand, too,
+appeared in the loft.
+
+"Madame will return to the house. We shall see what can be done for the
+child. _Gare!_"
+
+Perhaps the woman was a little frightened at last by what she had done--or
+what she might have done. At least, she descended the ladders to the
+ground floor without argument.
+
+The two young men planned swiftly how to rescue the sobbing child. But
+when Tom first spoke to Bella, proposing to help her down, she looked over
+the edge of the roof at him and shook her head.
+
+"No! I ain't coming down," she announced emphatically. "Aunt Suse will
+near about skin me alive."
+
+"She shall not touch you," Tom promised.
+
+"She'll give me my nevergitovers, just as she says. You can't stay here
+and watch her."
+
+"But we'll find a way to keep her from beating you when we are gone," Tom
+promised. "Don't you fear her at all."
+
+"I don't care where you put me, Aunt Suse will find me out. She'll send
+Elnathan Spear after me."
+
+"I don't know who Spear is----"
+
+"He's the constable," sobbed Bella.
+
+"Well, he sha'n't spear you," declared Tom. "Come on, kid. Don't be
+scared, and we'll get you down all right."
+
+He found the clothes-stick Miss Timmins had abandoned and used it for a
+brace. With a rope tied to the handle of the plank door and drawn taut, it
+was held half open. Tom then climbed out upon and straddled the door and
+raised his arms to receive the girl when she lowered herself over the
+eaves.
+
+She was light enough--little more than skin and bone, Tom declared--and
+the latter lowered her without much effort into Henri's arms.
+
+When the three girls and Aunt Kate at the tavern window saw this safely
+accomplished they hurried back to their rooms to dress.
+
+"Something must be done for that poor child," Ruth Fielding said with
+decision.
+
+"Are you going to adopt her?" Helen asked.
+
+"And send her to Briarwood?" put in Jennie.
+
+"That might be the very best thing that could happen to her," Ruth
+rejoined soberly. "She has lived at times in a theatrical boarding house
+and has likewise traveled with her father when he was with a more or less
+prosperous company.
+
+"These experiences have made her, after a fashion, grown-up in her ways
+and words. But in most things she is just as ignorant as she can be. Her
+future is not the most important thing just now. It is her present."
+
+Helen heard the last word from the other room where she was dressing, and
+she cried:
+
+"That's it, Ruthie. Give her a present and tell her to run away from her
+aunt. She's a spiteful old thing!"
+
+"You do not mean that!" exclaimed her chum. "You are only lazy and hate
+responsibility of any kind. We must do something practical for Bella
+Pike."
+
+"How easily she says 'we'," Helen scoffed.
+
+"I mean it. I could not sleep to-night if I knew this child was in her
+aunt's control."
+
+A knock on the door interrupted the discussion. Ruth, who was quite
+dressed now, responded. A lout of a boy, who evidently worked about the
+stables, stood grinning at the door.
+
+"Miz Timmins says you folks kin all get out. She won't have you served no
+breakfast. She don't want none of you here."
+
+"My goodness!" wailed Jennie. "Dispossessed--and without breakfast!"
+
+"Where is the proprietor of this hotel, boy?" Ruth asked.
+
+"You mean Mr. Drovers? He ain't here. Gone to Boston. But that wouldn't
+make no dif'rence. Suse Timmins is boss."
+
+"Oh, me! Oh, my!" groaned Jennie, to whom the prospect was tragic.
+Jennie's appetite was never-failing.
+
+The boy slouched away just as Tom and Henri Marchand appeared with Bella
+between them.
+
+"You poor, dear child!" cried Ruth, running along the hall to meet them.
+
+Bella struggled to escape from the boys. But Tom and Colonel Marchand held
+her by either hand.
+
+"Easy, young one!" advised Captain Cameron.
+
+"I never meant to do no harm, Miss!" cried Bella. "I--I just wanted to see
+how I'd look in them clothes. I never do have anything decent to wear."
+
+"Why, my dear, don't mind about that," said Ruth, taking the lathlike girl
+in her arms. "If you had asked us we would have let you try on the things,
+I am sure."
+
+"Aunt Suse would near 'bout give me my nevergitovers--and she will yet!"
+
+"No she won't," Ruth reassured her. "Don't be afraid of your aunt any
+longer."
+
+"That is what I tell her," Tom said warmly.
+
+"Say! You won't put me in no home, will you?" asked Bella, with sudden
+anxiety.
+
+"A 'home'?" repeated Ruth, puzzled.
+
+"She means a charitable institution, poor dear," said Aunt Kate.
+
+"That's it, Missus," Bella said. "I knew a girl that was out of one of
+them homes. She worked for Mrs. Grubson. She said all the girls wore brown
+denim uniforms and had their hair slicked back and wasn't allowed even to
+whisper at table or after they got to bed at night."
+
+"Nothing like that shall happen to you," Ruth declared.
+
+"Where is your father, Bella?" Tom asked.
+
+"I don't know. Last I saw of him he came through here with a medicine
+show. I didn't tell Aunt Suse, but I ran away at night and went to Broxton
+to see him. But he said business was poor. He got paid so much a bottle
+commission on the sales of Chief Henry Red-dog's Bitters. He didn't think
+the show would keep going much longer."
+
+"Oh!"
+
+"You know, they didn't know he was Montague Fitzmaurice, the great
+Shakespearean actor. Pa often takes such jobs. He ain't lazy like Aunt
+Suse says. Why, once he took a job as a ballyhoo at a show on the Bowery
+in Coney Island. But his voice ain't never been what it was since."
+
+"Do you expect him to return here for you?" Ruth asked, while the other
+listeners exchanged glances and with difficulty kept their faces straight.
+
+"Oh, yes, Miss. Just as soon as he is in funds. Or he'll send for me. He
+always does. He knows I hate it here."
+
+"Does he know how your aunt treats you?" Aunt Kate interrupted.
+
+"N--not exactly," stammered Bella. "I haven't told him all. I don't want
+to bother him. It--it ain't always so bad."
+
+"I tell you it's got to stop!" Tom said, with warmth.
+
+"Of course she shall not remain in this woman's care any longer," Aunt
+Kate agreed.
+
+"But we must not take Bella away from this locality," Ruth observed. "When
+her father comes back for her she must be here--somewhere."
+
+"Oh, lady!" exclaimed Bella. "Send me to New York to Mrs. Grubson's. I bet
+she'd keep me till pa opens somewhere in a good show."
+
+But Ruth shook her head. She had her doubts about the wisdom of the
+child's being in such a place as Mrs. Grubson's boarding house, no matter
+how kindly disposed that woman might be.
+
+"Bella should stay near here," Ruth said firmly, "as long as we cannot
+communicate with Mr. Pike at once."
+
+"Let's write a notice for one of the theatrical papers," suggested Helen
+eagerly. "You know--'Montague Fitzmaurice please answer.' All the actors
+do it."
+
+"But pa don't always have the money to buy the papers," said Bella, taking
+the suggestion quite seriously.
+
+"At least, if Bella is in this neighborhood he will know where to find
+her," went on Ruth. "Is there nobody you know here, child, whom you would
+like to stay with till your father returns?"
+
+Bella's face instantly brightened. Her black eyes flashed.
+
+"Oh, I'd like to stay at the minister's," she said.
+
+"At the minister's?" repeated Ruth. "Why, if he would take you that would
+be fine. Who is he?"
+
+"The Reverend Driggs," said Bella.
+
+"Do you suppose the clergyman would take the child?" murmured Aunt Kate.
+
+"Why do you want to go to live with the minister?" asked Tom with
+curiosity.
+
+"'Cause he reads the Bible so beautifully," declared Bella. "Why! it
+sounds just like pa reading a play. The Reverend Driggs is an educated man
+like pa. But he's got an awful raft of young ones."
+
+"A poor minister," said Aunt Kate briskly. "I am afraid that would not
+suit."
+
+"If the Driggs family is already a large one," began Ruth doubtfully, when
+Bella declared:
+
+"Miz Driggs had two pairs of twins, and one ever so many times. There's a
+raft of 'em."
+
+Helen and Jennie burst out laughing at this statement and the others were
+amused. But to Ruth Fielding this was a serious matter. The placing of
+Bella Pike in a pleasant home until her father could be communicated with,
+or until he appeared on the scene ready and able to care for the child,
+was even more serious than the matter of going without breakfast, although
+Jennie Stone said "No!" to this.
+
+"We'd better set up an auction block before the door of the hotel and
+auction her off to the highest bidder, hadn't we?" suggested Helen, who
+had been rummaging in her bag. "Here, Bella! If you want a shirt-waist to
+take the place of that calico blouse you have on, here is one. One of
+mine. And I guarantee it will fit you better than Heavy's did. She wears
+an extra size."
+
+"I don't either," flashed the plump girl, as the boys retreated from the
+room. "I may not be a perfect thirty-six----"
+
+"Is there any doubt of it?" cried Helen, the tease.
+
+"Well!"
+
+"Never mind," Ruth said. "Jennie is going to be thinner."
+
+"And it seems she will begin to diet this very morning," Aunt Kate put
+in.
+
+"Ow-wow!" moaned Jennie at this reminder that they had been refused
+breakfast.
+
+Captain Tom, however, had handled too many serious situations in France to
+be browbeaten by a termagant like Miss Susan Timmins. He went down to the
+kitchen, ordered a good breakfast for all of his party, and threatened to
+have recourse to the law if the meal was not well and properly served.
+
+"For you keep a public tavern," he told the sputtering Miss Timmins, "and
+you cannot refuse to serve travelers who are willing and able to pay. We
+are on a pleasure trip, and I assure you, Madam, it will be a pleasure to
+get you into court for any cause."
+
+On coming back to the front of the house he found two of the neighbors
+just entering. One proved to be the local doctor's wife and the other was
+a kindly looking farmer.
+
+"I knowed that girl warn't being treated right, right along," said the
+man. "And I told Mirandy that I was going to put a stop to it."
+
+"It is a disgrace," said the doctor's wife, "that we should have allowed
+it to go on so long. I will take the child myself----"
+
+"And so'll Mirandy," declared the farmer.
+
+"It is an auction," whispered Helen, overhearing this from the top of the
+stairs.
+
+The party of guests came down with their bags now, bringing Bella in
+their midst--and in the new shirt-waist.
+
+"Let her choose which of these kind people she will stay with," Tom
+advised. "And," he added, in a low voice to Ruth, "we will pay for her
+support until we can find her father."
+
+"Like fun you will, young feller!" snorted the farmer, overhearing Tom.
+
+"I could not hear of such a thing," said the doctor's wife.
+
+"I'd like to know what you people think you're doing?" demanded Miss
+Timmins, popping out at them suddenly.
+
+"Now, Suse Timmins, we're a-goin' to do what we neighbors ought to have
+done long ago. We're goin' to take this gal----"
+
+"You start anything like that--taking that young one away from her lawful
+guardeen--an' I'll get Elnathan Spear after you in a hurry, now I tell ye.
+I'll give you your nevergitovers!"
+
+"If Nate Spear comes to my house, I'll ask him to pay me for that corn he
+bought off'n me as long ago as last fall," chuckled the farmer. "Just
+because you're own cousin to Nate don't put _all_ the law an' the gospel
+on your side, Suse Timmins. I'll take good care of this girl."
+
+"And so will I, if Bella wants to live with me," said the doctor's wife.
+
+"Mirandy will be glad to have her."
+
+"And she'd be company for me," rejoined the other neighbor. "I haven't any
+children."
+
+"Bella must choose for herself," said Ruth kindly.
+
+"I guess I'll go with Mr. Perkins," said the actor's daughter. "Miz Holmes
+is real nice; but Doctor Holmes gives awful tastin' medicine. I might be
+sick there and have to take some of it. So I'll go to Miz Perkins. She has
+a doctor from Maybridge and he gives candy-covered pellets. I ate some
+once. Besides, Miz Perkins is lame and can't get around so spry, and I can
+do more for her."
+
+"Now listen to that!" exclaimed the farmer. "Ain't she a noticing child?"
+
+"Well, Mrs. Perkins will be good to her, no doubt," agreed the doctor's
+wife.
+
+"I'd like to know what you fresh city folks butted into this thing for!"
+demanded Miss Timmins. "If there's any law in the land----"
+
+"_You'll_ get it!" promised Tom Cameron.
+
+"Go get anything you own that you want to take with you, Bella," Ruth
+advised the shrinking child.
+
+With another fearful glance at her aunt, Bella ran upstairs.
+
+Miss Timmins might have started after her, but Tom planted himself before
+that door. The lout of a boy began bringing in the breakfast for the
+automobile party. Ruth talked privately with the doctor's wife and Mr.
+Perkins, and forced some money on the woman to be expended for a very
+necessary outfit of clothing for Bella.
+
+Miss Timmins finally flounced back into the kitchen where they heard her
+venting her anger and chagrin on the kitchen help. Bella returned bearing
+an ancient extension bag crammed full of odds and ends. She kissed Ruth
+and shook hands with the rest of the company before departing with Mr.
+Perkins.
+
+The doctor's wife promised to write to Ruth as soon as anything was heard
+of Mr. Pike, and the automobile party turned their attention to ham and
+eggs, stewed potatoes, and griddle cakes.
+
+"Only," said Jennie, sepulchrally, "I hope the viands are not poisoned.
+That Miss Timmins would certainly like to give us all our
+'nevergetovers'."
+
+
+
+
+CHAPTER IX
+
+A DISMAYING DISCOVERY
+
+
+"'The Later Pilgrims' are well out of that trouble," announced Helen, when
+the cars were underway, the honeymoon car ahead and the other members of
+the party packed into the bigger automobile.
+
+"And I hope," she added, "that Ruth will find no more waifs and strays."
+
+"Don't be knocking Ruthie all the time," said Tom, glancing back over his
+shoulder. "She's all right."
+
+"And you keep your eyes straight ahead, young man," advised Aunt Kate, "or
+you will have this heavy car in the ditch."
+
+"Watch out for Henri and Heavy, too," advised Helen. "They do not quite
+know what they are about and you may run them down. There! See his
+horizon-blue sleeve steal about her? He's got only one hand left to steer
+with. Talk about a perfect thirty-six! It's lucky Henri's arm is
+phenomenally long, or he could never surround _that_ baby!"
+
+"I declare, Helen," laughed Ruth. "I believe you are covetous."
+
+"Well, Henri is an awfully nice fellow--for a Frenchman."
+
+"And you are the damsel who declared you proposed to remain an old maid
+forever and ever and the year after."
+
+"I can be an old maid and still like the boys, can't I? All the more, in
+fact. I sha'n't have to be true to just one man, which, I believe, would
+be tedious."
+
+"You should live in that part of New York called Greenwich Village and
+wear a Russian blouse and your hair bobbed. Those are the kind of bon mots
+those people throw off in conversation. Light and airy persiflage, it is
+called," said Tom from the front seat.
+
+"What do you know about such people, Tommy?" demanded his sister.
+
+"There were some co-eds of that breed I met at Cambridge. They were
+exponents of the 'new freedom,' whatever that is. Bolshevism, I guess.
+Freedom from both law and morals."
+
+"Those are not the kind of girls who are helping in France," said Ruth
+soberly.
+
+"You said it!" agreed Tom. "That sort are so busy riding hobbies over here
+that they have no interest in what is going on in Europe unless it may be
+in Russia. Well, thank heaven, there are comparatively few nuts compared
+with us sane folks."
+
+Such thoughts as these, however, did not occupy their minds for long. Just
+as Tom had declared, they were out for fun, and the fun could be found
+almost anywhere by these blithe young folk.
+
+Ruth's face actually changed as they journeyed on. She was both "pink and
+pretty," Helen declared, before they camped at the wayside for luncheon.
+
+The hampers on the big car were crammed with all the necessities of food
+and service for several meals. There were, too, twin alcohol lamps, a
+coffee boiler and a teapot.
+
+Altogether they were making a very satisfactory meal and were having a
+jolly time at the edge of a piece of wood when a big, black wood-ant
+dropped down Jennie Stone's back.
+
+At first they did not know what the matter was with her. Her mouth was
+full, the food in that state of mastication that she could not immediately
+swallow it.
+
+"Ow! Ow! Ow!" choked the plump girl, trying to get both hands at once down
+the neck of her shirt-waist.
+
+"What _is_ the matter, Heavy?" gasped Helen.
+
+"Jennie, dear!" murmured Ruth. "Don't!"
+
+"_Ma chere!_" gasped Henri Marchand. "Is she ill?"
+
+"Jennie, behave yourself!" cried her aunt.
+
+"I saw a toad swallow a hornet once," Tom declared. "She acts just the
+same way."
+
+"As the hornet?" demanded his sister, beginning to giggle.
+
+"As the toad," answered Tom, gravely.
+
+But Henri had got to his feet and now reached the wriggling girl. "Let me
+try to help!" he cried.
+
+"If you even begin wiggling that way, Colonel Marchand," declared Helen,
+"you will be in danger of arrest. There is a law against _that_ dance."
+
+"Ow! Ow! Ow!" burst out Jennie once more, actually in danger of choking.
+
+"What _is_ it?" Ruth demanded, likewise reaching the writhing girl.
+
+"Oh, he bit me!" finally exploded Jennie.
+
+Ruth guessed what must be the trouble then, and she forced Jennie's hands
+out of the neck of her waist and ran her hand down the plump girl's back.
+Between them they killed the ant, for Ruth finally recovered a part of the
+unfortunate creature.
+
+"But just think," consoled Helen, "how much more awful it would have been
+if you had swallowed him, Heavy, instead of his wriggling down your spinal
+column."
+
+"Oh, don't! I can feel him wriggling now," sighed Jennie.
+
+"That can be nothing more than his ghost," said Tom soberly, "for Ruth
+retrieved at least half of the ant's bodily presence."
+
+"You'll give us all the fidgets if you keep on wriggling, Jennie,"
+declared Aunt Kate.
+
+"Well, I don't want to sit on the grass in a woodsy place again while we
+are on this journey," sighed Jennie. "Ugh! I always did hate creepy
+things."
+
+"Including spiders, snakes, beetles and babies, I suppose?" laughed Helen.
+"Come on now. Let us clear up the wreck. Where do we camp to-night,
+Tommy?"
+
+"No more camping, I pray!" squealed Jennie. "I am no Gypsy."
+
+"The hotel at Hampton is recommended as the real thing. They have a horse
+show every year at Hampton, you know. It is in the midst of a summer
+colony of wealthy people. It is the real thing," Tom repeated.
+
+They made a pleasant and long run that afternoon and arrived at the
+Hampton hotel in good season to dress for dinner. Jennie and her aunt met
+some people they knew, and naturally Jennie's fiance and her friends were
+warmly welcomed by the gay little colony.
+
+Men at the pleasure resorts were very scarce that year, and here were two
+perfectly good dancers. So it was very late when the automobile party got
+away from the dance at the Casino.
+
+They were late the next morning in starting on the road to Boston.
+Besides, there was thunder early, and Helen, having heard it rumbling,
+quoted:
+
+    "'Thunder in the morning,
+     Sailors take warning!'"
+
+and rolled over for another nap.
+
+Ruth, however, at last had to get up. She was no "lie-abed" in any case,
+and in her present nervous state she had to be up and doing.
+
+"But it's going to ra-a-ain!" whined Jennie Stone when Ruth went into her
+room.
+
+"You're neither sugar nor salt," said Ruth.
+
+"Henri says I'm as sweet as sugar," yawned Jennie.
+
+"He is not responsible for what he says about you," said her aunt briskly.
+"When I think of what that really nice young man is taking on his
+shoulders when he marries you----"
+
+"But, Auntie!" cried Jennie, "he's not going to try to carry me pickaback,
+you know."
+
+"Just the same, it is wrong for us to encourage him to become responsible
+for you, Jennie," said her aunt. "He really should be warned."
+
+"Oh!" gasped the plump girl. "Let anybody dare try to get between me and
+my Henri----"
+
+"Nobody can--no fear--when you are sitting with him in the front seat of
+that roadster of Tom's," said Ruth. "You fill every atom of space, Heavy."
+
+She went to the window and looked out again. Heavy rolled out of bed--a
+good deal like a barrel, her aunt said tartly.
+
+"What is it doing outside?" yawned the plump girl.
+
+"Well, it's not raining. And it is a long run to Boston. We should be on
+our way now. The road through the hills is winding. There will be no time
+to stop for a Gypsy picnic."
+
+"Thank goodness for that!" grumbled Jennie, sitting on the floor,
+schoolgirl fashion, to draw on her stockings. "I'll eat enough at
+breakfast hereafter to keep me alive until we reach a hotel, if you folks
+insist on inviting wood ants and other savage creatures of the forest to
+our luncheon table."
+
+When the party finally gathered for breakfast in the hotel dining room on
+this morning, it was disgracefully late. Tom had been over both cars and
+pronounced them fit. He had ordered the tanks filled with gasoline and had
+tipped one of the garage men liberally to see that this was properly done.
+
+Afterward Captain Tom declared he would never trust a garage workman
+again.
+
+"The only way to get a thing done well is to do it yourself--and a tip
+never bought any special service yet," declared the angry Tom. "It is
+merely a form of highway robbery."
+
+But this was afterward. The party started off from Hampton in high fettle
+and with a childlike trust in the honesty of a garage attendant.
+
+There were banks of clouds shrouding the horizon both to the west and
+north--the two directions from which thunder showers usually rise in this
+part of New England in which they were traveling. And yet the shower held
+off.
+
+It was some time past noon before the thunder began to mutter again. The
+automobile party was then in the hilly country. Heretofore farms had been
+plentiful, although hamlets were few and far between.
+
+"If it rains," said Ruth cheerfully, "of course we can take refuge in some
+farmhouse."
+
+"Ho, for adventure among the savage natives!" cried Helen.
+
+"I hope we shall meet nobody quite as savage as Miss Susan Timmins," was
+Aunt Kate's comment.
+
+They ran into a deep cut between two wooded hills and there was not a
+house in sight. Indeed, they had not passed a farmstead on the road for
+the last five miles. Over the top of the wooded crest to the north curled
+a slate colored storm cloud, its upper edge trembling with livid
+lightnings. The veriest tyro of a weather prophet could see that a storm
+was about to break. But nobody had foretold the sudden stopping of the
+honeymoon car in the lead!
+
+"What is the matter with you?" cried Helen, standing up in the tonneau of
+the big car, when Tom pulled up suddenly to keep from running the maroon
+roadster down. "Don't you see it is going to rain? We want to get
+somewhere."
+
+"I guess we have got somewhere," responded Jennie Stone. "As far as we are
+concerned, this seems to be our stopping place. The old car won't go."
+
+Tom jumped out and hurried forward to join Henri in an examination of the
+car's mechanism.
+
+"What happened, Colonel?" he asked the Frenchman, worriedly.
+
+"I have no idea, _mon ami_," responded Marchand. "This is a puzzle, eh?"
+
+"First of all, let's put up the tops. That rain is already beating the
+woods on the summit of the hill."
+
+The two young men hurried to do this, first sheltering Jennie and then
+together dragging the heavy top over the big car, covering the baggage and
+passengers. Helen and Ruth could fasten the curtains, and soon the women
+of the party were snug enough. The drivers, however, had to get into rain
+garments and begin the work of hunting the trouble with the roadster.
+
+The thunder grew louder and louder. Flashes of lightning streaked across
+the sky overhead. The electric explosions were soon so frequent and
+furious that the girls cowered together in real terror. Jennie had slipped
+out of the small car and crowded in with her chums and Aunt Kate.
+
+"I don't care!" she wailed, "Henri and Tom are bound to take that car all
+to pieces to find what has happened."
+
+But they did not have to go as far as that. In fact, before the rain
+really began to fall in earnest, Tom made the tragic discovery. There was
+scarcely a drop of gasoline in the tank of the small machine. Tom hurried
+back to the big car. He glanced at the dial of the gasoline tank. There
+was not enough of the fluid to take them a mile! And the emergency tank
+was turned on!
+
+It was at this point that he stated his opinion of the trustworthiness of
+garage workmen.
+
+
+
+
+CHAPTER X
+
+A WILD AFTERNOON
+
+
+This was a serious situation. Five miles behind the automobile party was
+the nearest dwelling on this road, and Tom was sure that the nearest
+gasoline sign was all of five miles further back!
+
+Ahead lay more or less mystery. As the rain began to drum upon the roofs
+of the two cars, harder and harder and faster and faster, Tom got out the
+road map and tried to figure out their location. Ridgeton was ahead
+somewhere--not nearer than six miles, he was sure. And the map showed no
+gas sign this side of Ridgeton.
+
+Of course there might be some wayside dwelling only a short distance ahead
+at which enough gasoline could be secured to drive the smaller car to
+Ridgeton for a proper supply for both machines. But if all the gasoline
+was drained from the tank of the big car into that of the roadster, the
+latter would be scarcely able to travel another mile. And without being
+sure that such a supply of gas could be found within that distance, why
+separate the two cars?
+
+This was the sensible way Tom put it to Henri; and it was finally decided
+that Tom should start out on foot with an empty can and hunt for gasoline,
+while Colonel Marchand remained with the girls and Aunt Kate.
+
+When the two young men ran back through the pouring rain to the big car
+and announced this decision, they had to shout to make the girls hear. The
+turmoil of the rain and thunder was terrific.
+
+"I really wish you'd wait, Tom, till the tempest is over," Ruth anxiously
+said. "Suppose something happened to you on the road?"
+
+"Suppose something happened to _us_ here in the auto?" shrieked Helen.
+
+"But Henri Marchand will be with you," said her brother, preparing to
+depart. "And if I delay we may not reach Boston to-night."
+
+"Oh!" gasped Jennie. "Do please find some gas, Tom. I'd be scared to death
+to stay out here in these woods."
+
+"One of the autos may bite her," scoffed Helen, ready to scorn her own
+fears when her friend was even more fearful. "These cars are the wildest
+thing in these woods, I warrant."
+
+"Of course you must do what you think is best, Tom," said Ruth, gravely.
+"I hope you will not have to go far."
+
+"No matter how long I am gone, Ruth, don't be alarmed," he told her. "You
+know, nothing serious ever happens to me."
+
+"Oh, no!" cried his sister. "Of course not! Only you get carried away on a
+Zeppelin, or are captured by the Germans and Ruth has to go to your
+rescue. We know all about how immune you are from trouble, young man."
+
+"Thanks be! there are no Boches here in peaceful New England," exclaimed
+Jennie, after Tom had started off with the gasoline can. "Oh!"
+
+A sharp clap of thunder seemingly just overhead followed the flash that
+had made the plump girl shriek. The explosion reverberated between the
+hills in slowly passing cadence.
+
+Jennie finally removed her fingers from her ears with a groan. Aunt Kate
+had covered her eyes. With Helen they cowered together in the tonneau.
+Ruth had been sitting beside Tom in the front seat when the cars were
+stalled, and now Henri Marchand was her companion.
+
+"I heard something then, Colonel," Ruth said in a low tone, when the salvo
+of thunder was passed.
+
+"You are fortunate, Mademoiselle," he returned. "Me, I am deafened
+complete'."
+
+"I heard a cry."
+
+"Not from Captain Cameron?"
+
+"It was not his voice. Listen!" said the girl of the Red Mill, in some
+excitement.
+
+Despite the driving rain she put her head out beyond the curtain and
+listened. Her face was sheltered from the beating rain. It would have
+taken her breath had she faced it. Again the lightning flashed and the
+thunder crashed on its trail.
+
+Ruth did not draw in her head. She wore her raincoat and a rubber cap, and
+on her feet heavy shoes. The storm did not frighten her. She might be
+anxious for Tom's safety, but the ordinary chances of such a disturbance
+of the elements as this never bothered Ruth Fielding at all.
+
+As the rolling of thunder died away in the distance again, the splashing
+sound of the rain seemed to grow lighter, too; or Ruth's hearing became
+attuned to the sounds about her.
+
+There it was again! A human cry! Or was it? It came from up the hillside
+to the north of the road on which the automobiles were stalled.
+
+Was there somebody up there in the wet woods--some human creature lost in
+the storm?
+
+For a third time Ruth heard the wailing, long-drawn cry. Henri had his
+hands full soothing Jennie. Helen and Aunt Kate were clinging together in
+the depths of the tonneau. Possibly their eyes were covered against the
+glare of the lightning.
+
+Ruth slipped out under the curtain on the leeward side. The rain swept
+down the hillside in solid platoons that marched one after another from
+northwest to southeast. Dashing against the southern hillside, these
+marching columns dissolved in torrents that Ruth could hear roaring down
+from the tree-tops and rushing in miniature floods through the forest.
+
+The road was all awash. The cars stood almost hub-deep in a yellow,
+foaming flood. The roadside ditches were not deep here, and the sudden
+freshet was badly guttering the highway.
+
+Sheltered at first by the top of the big car, Ruth strained her ears again
+to catch that cry which had come down the wind from the thickly wooded
+hillside.
+
+There it was! A high, piercing scream, as though the one who uttered it
+was in great fear or agony. Nor did the cry seem to be far away.
+
+Ruth went around to the other side of the automobile. The rain was letting
+up--or seemed to be. She crossed to the higher ground and pushed through
+the fringe of bushes that bordered the road.
+
+Already her feet and ankles were saturated, for she had waded through
+water more than a foot in depth. Here on the steep hillside the flowing
+water followed the beds of small rivulets which carried it away on either
+side of her.
+
+The thick branches of the trees made an almost impervious umbrella above
+her head. She could see up the hill through the drifting mist for a long
+distance. The aisles between the rows of trees seemed filled with a sort
+of pallid light.
+
+Across the line of her vision and through one of these aisles passed a
+figure--whether that of an animal or the stooping body of a human being
+Ruth Fielding could not at first be sure.
+
+She had no fear of there being any savage creature in this wood. At least
+there could be nothing here that would attack her in broad daylight. In a
+lull in the echoing thunder she cried aloud:
+
+"Hoo-hoo! Hoo-hoo! Where are you?"
+
+She was sure her voice drove some distance up the hillside against the
+wind. She saw the flitting figure again, and with a desire to make sure of
+its identity, Ruth started in pursuit.
+
+Had Tom been present the girl of the Red Mill would have called his
+attention to the mystery and left it to him to decide whether to
+investigate or not. But Ruth was quite an independent person when she was
+alone; and under the circumstances, with Henri Marchand so busy comforting
+Jennie, Ruth did not consider for a moment calling the Frenchman to advise
+with her.
+
+As for Helen and Aunt Kate, they were quite overcome by their fears. Ruth
+was not really afraid of thunder and lightning, as many people are. She
+had long since learned that "thunder does not bite, and the bolt of
+lightning that hits you, you will never see!"
+
+Heavy as the going was, and interfering with her progress through her wet
+garments did, Ruth ran up the hill underneath the dripping trees. She saw
+the flitting, shadowy figure once more. Again she called as loudly as she
+could shout:
+
+"Wait! Wait! I won't hurt you."
+
+Whoever or whatever it was, the figure did not stay. It flitted on about
+two hundred yards ahead of the pursuing girl.
+
+At times it disappeared altogether; but Ruth kept on up the hill and her
+quarry always reappeared. She was quite positive this was the creature
+that had shrieked, for the mournful cry was not repeated after she caught
+sight of the figure.
+
+"It is somebody who has been frightened by the storm," she thought. "Or it
+is a lost child. This is a wild hillside, and one might easily be lost up
+here."
+
+Then she called again. She thought the strange figure turned and
+hesitated. Then, of a sudden, it darted into a clump of brush. When Ruth
+came panting to the spot she could see no trace of the creature, or the
+path which it had followed.
+
+But directly before Ruth was an opening in the hillside--the mouth of a
+deep ravine which had not been visible from the road below.
+
+Down this ravine ran a noisy torrent which had cut itself a wider and
+deeper bed since the cloudburst on the heights. Small trees, brush, and
+rocks had been uprooted by the force of the stream, but its current was
+now receding. One might walk along the edge of the brook into this
+hillside fastness.
+
+Determined to solve the mystery of the strange creature's disappearance,
+and quite convinced that it was a lost child or woman, Ruth Fielding
+ventured through the brush clump and passed along the ragged bank of the
+tumbling brook.
+
+Suddenly, in the muddy ground at her feet, the girl spied a shoe. It was a
+black oxford of good quality, and it had been, of course, wrenched from
+the foot of the person she pursued. This girl, or woman, must be running
+from Ruth in fear.
+
+Ruth picked up the shoe. It was for a small foot, but might belong to
+either a girl of fourteen or so or to a small woman. She could see the
+print of the other shoe--yes! and there was the impress of the stockinged
+foot in the mud.
+
+"Whoever she may be," thought Ruth Fielding, "she is so frightened that
+she abandoned this shoe. Poor thing! What can be the matter with her?"
+
+Ruth shouted again, and yet again. She went on up the side of the
+turbulent brook, staring all about for the hiding place of her quarry.
+
+The rain ceased entirely and abruptly. But the whole forest was a-drip.
+Far up through the trees she saw a sudden lightening of the sky. The
+clouds were breaking.
+
+But the smoke of the torrential downpour still rose from the saturated
+earth. When Ruth jarred a bush in passing a perfect deluge fell from the
+trembling leaves. The girl began to feel that she had come far enough in
+what appeared to be a wild-goose chase.
+
+Then suddenly, quite amazingly, she was halted. She plunged around a sharp
+turn in the ravine, trying to step on the dryer places, and found herself
+confronted by a man standing under the shelter of a wide-armed spruce.
+
+"Oh!" gasped Ruth, starting back.
+
+He was a heavy-set, bewhiskered man with gleaming eyes and rather a grim
+look. Worst of all, he carried a gun with the lock sheltered under his
+arm-pit from the rain.
+
+At Ruth's appearance he seemed startled, too, and he advanced the muzzle
+of the gun and took a stride forward at the same moment.
+
+"Hello!" he growled. "Be you crazy, too? What in all git out be you
+traipsing through these woods for in the rain?"
+
+
+
+
+CHAPTER XI
+
+MR. PETERBY PAUL AND "WHOSIS"
+
+
+Ruth Fielding was more than a little startled, for the appearance of this
+bearded and gruff-spoken man was much against him.
+
+She had become familiar, however, during the past months with all sorts
+and conditions of men--many of them much more dangerous looking than this
+stranger.
+
+Her experiences at the battlefront in France had taught her many things.
+Among them, that very often the roughest men are the most tender with and
+considerate of women. Ruth knew that the girls and women working in the
+Red Cross and the "Y" and the Salvation Army might venture among the
+roughest _poilus_, Tommies and our own Yanks without fearing insult or
+injury.
+
+After that first startled "Oh!" Ruth Fielding gave no sign of fearing the
+bearded man with the gun under his arm. She stood her ground as he
+approached her.
+
+"How many air there of ye, Sissy?" he wanted to know. "And air ye all
+loose from some bat factory? That other one's crazy as all git out."
+
+"Oh, did you see her?"
+
+"If ye mean that Whosis that's wanderin' around yellin' like a
+cat-o'-mountain----"
+
+"Oh, dear! It was she that was screaming so!"
+
+"I should say it was. I tried to cotch her----"
+
+"And that scared her more, I suppose."
+
+"Huh! Be I so scareful to look at?" the stranger demanded. "Or, mebbe
+_you_ ain't loony, lady?"
+
+"I should hope not," rejoined Ruth, beginning to laugh.
+
+"Then how in tarnation," demanded the bearded man, "do you explain your
+wanderin' about these woods in this storm?"
+
+"Why," said Ruth, "I was trying to catch that poor creature, too."
+
+"That Whosis?" he exclaimed.
+
+"Whatever and whoever she is. See! Here's one of her shoes."
+
+"Do tell! She's lost it, ain't she? Don't you reckon she's loony?"
+
+"It may be that she is out of her mind. But she couldn't hurt you--a big,
+strong man like you."
+
+"That's as may be. I misdoubted me she was some kind of a Whosis," said
+the woodsman. "I seen her a couple of times and heard her holler ev'ry
+time the lightning was real sharp."
+
+"The poor creature has been frightened half to death by the tempest," said
+Ruth.
+
+"Mebbe. But where did she come from? And where did you come from, if I may
+ask? This yere ain't a neighborhood that many city folks finds their way
+into, let me tell ye."
+
+Ruth told him her name and related the mishap that had happened to the two
+cars at the bottom of the hill.
+
+"Wal, I want to know!" he responded. "Out o' gasoline, heh? Wal, that can
+be mended."
+
+"Tom Cameron has gone on foot for some."
+
+"Which way did he go, Ma'am?"
+
+"East," she said, pointing.
+
+"Towards Ridgeton? Wal, he'll have a fine walk."
+
+"But we have not seen any gasoline sign for ever so far back on the road."
+
+"That's right. Ain't no reg'lar place. But I guess I might be able to
+scare up enough gas to help you folks out. Ye see, we got a saw mill right
+up this gully and we got a gasoline engine to run her. I'm a-watchin' the
+place till the gang come in to work next month. That there Whosis got me
+out in the rain----"
+
+"Oh! Where do you suppose the poor thing has gone?" interrupted Ruth. "We
+should do something for her."
+
+"Wal, if she don't belong to you folks----"
+
+"She doesn't. But she should not be allowed to wander about in this awful
+way. Is she a woman grown, or a child?"
+
+"I couldn't tell ye. I ain't been close enough to her. By the way, my name
+is Peterby Paul, and I'm well and fav'rably knowed about this mounting. I
+did have my thoughts about you, same as that Whosis, I must say. But you
+'pear to be all right. Wait, and I'll bring ye down a couple of cans of
+gasoline, and you can go on and pick up the feller that's started to walk
+to Ridgeton."
+
+"But that poor creature I followed up here, Mr. Paul? We _must_ find her."
+
+"You say she ain't nothin' to you folks?"
+
+"But she is alone, and frightened."
+
+"Wal, I expect so. She did give me a start for fair. I don't know where
+she could have come from 'nless she belongs over toward Ridgeton at old
+Miz Abby Drake's. She's got some city folks stopping with her--"
+
+"There she is!" cried Ruth, under her breath.
+
+A hobbling figure appeared for a moment on the side of the ravine. The
+rain had ceased now, but it still dripped plentifully from the trees.
+
+"I'm going after her!" exclaimed Ruth.
+
+"All right, Ma'am," said Mr. Peterby Paul. "I guess she ain't no Whosis,
+after all."
+
+Ruth could run much faster than the strange person who had so startled
+both the woodsman and herself. And running lightly, the girl of the Red
+Mill was almost at her quarry's elbow before her presence was suspected by
+the latter.
+
+The woman turned her face toward Ruth and screeched in evident alarm. She
+looked wild enough to be called a "Whosis," whatever kind of supernatural
+apparition that might be. Her silk dress was in rags; her hair floated
+down her back in a tangled mane; altogether she was a sorry sight, indeed.
+
+She was a woman of middle age, dark, slight of build, and of a most
+pitiful appearance.
+
+"Don't be frightened! Don't be afraid of me," begged Ruth. "Where are your
+friends? I will take you to them."
+
+"It is the voice of God," said the woman solemnly. "I am wicked. He will
+punish me. Do you know how wicked I am?" she added in a tense whisper.
+
+"I have no idea," Ruth replied calmly. "But I think that when we are
+nervous and distraught as you are, we magnify our sins as well as our
+troubles."
+
+Really, Ruth Fielding felt that she might take this philosophy to
+herself. She had been of late magnifying her troubles, without doubt.
+
+"I have been a great sinner," said the woman. "Do you know, I used to
+steal my little sister's bread and jam. And now she is dead. I can never
+make it up to her."
+
+Plainly this was a serious matter to the excited mind of the poor woman.
+
+"Come on down the hill with me. I have got an automobile there and we can
+ride to Mrs. Drake's in it. Isn't that where you are stopping?"
+
+"Yes, yes. Abby Drake," said the lost woman weakly. "We--we all started
+out for huckleberries. And I never thought before how wicked I was to my
+little sister. But the storm burst--such a terrible storm!" and the poor
+creature cowered close to Ruth as the thunder muttered again in the
+distance.
+
+"It is the voice of God----"
+
+"Come along!" urged Ruth. "Lots of people have made the same mistake. So
+Aunt Alvirah says. They mistake some other noise for the voice of God!"
+
+The woman was now so weak that the strong girl could easily lead her. Mr.
+Peterby Paul looked at the forlorn figure askance, however.
+
+"You can't blame me for thinkin' she was a Whosis," he said to Ruth. "Poor
+critter! It's lucky you came after her. She give me such a start I might
+o' run sort o' wild myself."
+
+"Perhaps if you had tried to catch her it would only have made her worse,"
+Ruth replied, gently patting the excited woman's hand.
+
+"The voice of God!" muttered the victim of her own nervousness.
+
+"And she traipsing through these woods in a silk dress!" exclaimed Mr.
+Paul. "I tell 'em all, city folks ain't got right good sense."
+
+"Maybe you are right, Mr. Paul," sighed Ruth. "We are all a little queer,
+I guess. I will take her down to the car."
+
+"And I'll be right along with a couple of cans of gasoline, Ma'am,"
+rejoined Peterby Paul. "Ain't no use you and your friends bein' stranded
+no longer."
+
+"If you will be so kind," Ruth said.
+
+He turned back up the ravine and Ruth urged the lost woman down the hill.
+The poor creature was scarcely able to walk, even after she had put on her
+lost shoe. Her fears which had driven her into this quite irresponsible
+state, were the result of ungoverned nervousness. Ruth thought seriously
+of this fact as she aided her charge down the hillside.
+
+She must steady her own nerves, or the result might be quite as serious.
+She had allowed the loss of her scenario to shake her usual calm. She
+knew she had not been acting like herself during this automobile journey
+and that she had given her friends cause for alarm.
+
+Then and there Ruth determined to talk no more about her loss or her fears
+regarding the missing scenario. If it was gone, it was gone. That was all
+there was to it. She would no longer worry her friends and disturb her own
+mental poise by ruminating upon her misfortune.
+
+When she and the lost woman got out of the ravine, Ruth could hear the
+girls calling her. And there was Colonel Marchand's horizon-blue uniform
+in sight as he toiled up the ascent, looking for her.
+
+"Don't be frightened, dear," Ruth said to the startled woman. "These are
+my friends."
+
+Then she called to Helen that she was coming. Colonel Marchand hurried
+forward with an amazed question.
+
+"Never mind! Don't bother her," Ruth said. "The poor creature has been
+through enough--out in all this storm, alone. We must get her to where she
+is stopping as soon as possible. See the condition her clothes are in!"
+
+"But, Mademoiselle Ruth!" gasped the Frenchman. "We are stalled until
+Captain Tom comes back with the gasoline--is it not?"
+
+"We are going to have gas in a very few minutes," returned Ruth gaily. "I
+did more than find this poor woman up on the hill. Wait!"
+
+Helen and Jennie sprang at Ruth like a pair of terriers after a cat,
+demanding information and explanation all in a breath. But when they
+realized the state of mind of the strange woman, they calmed down.
+
+They wrapped her in a dry raincoat and put her in the back of the big car.
+She remained quietly there with Jennie's Aunt Kate while Ruth related her
+adventure with Mr. Peterby Paul and the "Whosis."
+
+"Goodness!" gasped Helen, "I guess he named her rightly. There must be
+something altogether wrong with the poor creature to make her wander about
+these wet woods, screeching like a loon."
+
+"I'd screech, too," said Jennie Stone, "if I'd torn a perfectly good silk
+dress to tatters as she has."
+
+"Think of going huckleberrying in a frock like that," murmured Ruth. "I
+guess you are both right. And Mr. Peterby Paul did have good reason for
+calling her a 'Whosis'."
+
+
+
+
+CHAPTER XII
+
+ALONGSHORE
+
+
+Mr. Peterby Paul appeared after a short time striding down the wooded
+hillside balancing a five-gallon gasoline can in either hand.
+
+"I reckon you can get to Ridgeton on this here," he said jovially. "Guess
+I'd better set up a sign down here so's other of you autermobile folks kin
+take heart if ye git stuck."
+
+"You are just as welcome as the flowers in spring, tra-la!" cried Helen,
+fairly dancing with delight.
+
+"You are an angel visitor, Mr. Paul," said the plump girl.
+
+"I been called a lot o' things besides an angel," the bearded woodsman
+said, his eyes twinkling. "My wife, 'fore she died, had an almighty tart
+tongue."
+
+"And _now_?" queried Helen wickedly.
+
+"Wal, wherever the poor critter's gone, I reckon she's l'arned to bridle
+her tongue," said Mr. Peterby Paul cheerfully. "Howsomever, as the feller
+said, that's another day's job. Mr. Frenchy, let's pour this gasoline
+into them tanks."
+
+Ruth insisted upon paying for the gasoline, and paying well. Then Peterby
+Paul gave them careful directions as to the situation of Abby Drake's
+house, at which it seemed the lost woman must belong.
+
+"Abby always has her house full of city folks in the summer," the woodsman
+said. "She is pretty near a Whosis herself, Abby Drake is."
+
+With which rather unfavorable intimation regarding the despised "city
+folks," Mr. Peterby Paul saw them start on over the now badly rutted road.
+
+Helen drove the smaller car with Ruth sitting beside her. Henri Marchand
+took the wheel of the touring car, and the run to Boston was resumed.
+
+"But we must not over-run Tom," said Ruth to her chum. "No knowing what
+by-path he might have tried in search of the elusive gasoline."
+
+"I'll keep the horn blowing," Helen said, suiting action to her speech and
+sounding a musical blast through the wooded country that lay all about.
+"He ought to know his own auto-horn."
+
+The tone of the horn was peculiar. Ruth could always distinguish it from
+any other as Tom speeded along the Cheslow road toward the Red Mill. But
+then, she was perhaps subconsciously listening for its mellow note.
+
+She tacitly agreed with Helen, however, that it might be a good thing to
+toot the horn frequently. And the signal brought to the roadside an
+anxious group of women at a sprawling farmhouse not a mile beyond the spot
+where the two cars had been stalled.
+
+"That is the Drake place. It must be!" Ruth exclaimed, putting out a hand
+to warn Colonel Marchand that they were about to halt.
+
+A fleshy woman with a very ruddy face under her sunbonnet came eagerly out
+into the road, leading the group of evidently much worried women.
+
+"Have you folks seen anything of----"
+
+"_Abby!_" shrieked the woman Ruth had found, and she struggled to get out
+of the car.
+
+"Well, I declare, Mary Marsden!" gasped the sunbonneted woman, who was
+plainly Abby Drake. "If you ain't a sight!"
+
+"I--I'm so scared!" quavered the unforunate victim of her own nerves, as
+Ruth ran back to help her out of the touring car. "God is going to punish
+me, Abby."
+
+"I certainly hope He will," declared her friend, in rather a hard-hearted
+way. "I told you, you ought to be punished for wearing that dress up there
+into the berry pasture, and---- Land's sakes alive! Look at her
+dress!"
+
+Afterward, when Ruth had been thanked by Mrs. Drake and the other women,
+and the cars were rolling along the highway again, the girl of the Red
+Mill said to Helen Cameron:
+
+"I guess Tom is more than half right. Altogether, the most serious topic
+of conversation for all kinds and conditions of female humans is the
+matter of dress--in one way or another."
+
+"How dare you slur your own sex so?" demanded Helen.
+
+"Well, look at this case," her chum observed. "This Mary Marsden had been
+lost in the storm and killed for all they knew, yet Abby Drake's first
+thought was for the woman's dress."
+
+"Well, it was a pity about the dress," Helen remarked, proving that she
+agreed with Abby Drake and the bulk of womankind--as her twin brother oft
+and again acclaimed.
+
+Ruth laughed. "And now if we could see poor dear Tommy----"
+
+The car rounded a sharp turn in the highway. The Drake house was perhaps a
+mile behind. Ahead was a long stretch of rain-drenched road, and Helen
+instantly cried:
+
+"There he is!"
+
+The figure of Tom Cameron with the empty gasoline can in his hand could
+scarcely be mistaken, although he was at least a mile in advance. Helen
+began to punch the horn madly.
+
+"He'll know that," Ruth cried. "Yes, he looks back! Won't he be
+astonished?"
+
+Tom certainly was amazed. He proceeded to sit down on the can and wait for
+the cars to overtake him.
+
+"What are you traveling on?" he shouted, when Helen stopped with the
+engine running just in front of him. "Fairy gasoline?"
+
+"Why, Tommy, you're not so smart!" laughed his sister. "It takes Ruth to
+find gas stations. We were stalled right in front of one, and you did not
+know it. Hop in here and take my place and I'll run back to the other car.
+Ruth will tell you all about it."
+
+"Perhaps we had better let Colonel Marchand and Jennie have this honeymoon
+car," Ruth said doubtfully.
+
+"Humph!" her chum observed, "I begin to believe it will be just as much a
+honeymoon car with you and Tom in it as with that other couple. 'Bless
+you, my children!'"
+
+She ran back to the big car with this saucy statement. Tom grinned,
+slipped behind the wheel, and started the roadster slowly.
+
+"It must be," he observed in his inimitable drawl, "that Sis has noticed
+that I'm fond of you, Ruthie."
+
+"Quite remarkable," she rejoined cheerfully. "But the war isn't over yet,
+Tommy-boy. And if our lives are spared we've got to finish our educations
+and all that. Why, Tommy, you are scarcely out of short pants, and I've
+only begun to put my hair up."
+
+"Jimminy!" he grumbled, "you do take all the starch out of a fellow. Now
+tell me how you got gas. What happened?"
+
+Everybody has been to Boston, or expects to go there some time, so it is
+quite immaterial what happened to the party while at the Hub. They only
+remained two days, anyway, then they started off alongshore through the
+pleasant old towns that dot the coast as far as Cape Ann.
+
+They saw the ancient fishing ports of Marblehead, Salem, Gloucester and
+Rockport, and then came back into the interior and did not see salt water
+again until they reached Newburyport at the mouth of the Merrimac.
+
+The weather remained delightfully cool and sunshiny after that heavy
+tempest they had suffered in the hills, and they reached Portsmouth and
+remained at a hotel for three days when it rained again. The young folks
+chafed at this delay, but Aunt Kate declared that a hotel room was restful
+after jouncing over all sorts of roads for so long.
+
+"They never will build a car easy enough for auntie," Jennie Stone
+declared. "I tell pa he must buy some sort of airship for us----"
+
+"Never!" cried Aunt Kate in quick denial. "Whenever I go up in the air it
+will be because wings have sprouted on my shoulder blades. And I should
+not call an aeroplane easy riding, in any case."
+
+"At least," grumbled Tom, "you can spin along without any trouble with
+country constables, and _that's_ a blessing."
+
+For on several occasions they had had arguments with members of the police
+force, in one case helping to support a justice and a constable by paying
+a fine.
+
+They did not travel on Sunday, however, when the constables reap most of
+their harvest, so they really had little to complain of in that direction.
+Nor did they travel fast in any case.
+
+After the rainy days at Portsmouth, the automobile party ran on with only
+minor incidents and no adventures until they reached Portland. There Ruth
+telegraphed to Mr. Hammond that they were coming, as in her letter,
+written before they left Cheslow, she had promised him she would.
+
+Herringport, the nearest town to the moving picture camp at Beach Plum
+Point, was at the head of a beautiful harbor, dotted with islands, and
+with water as blue as that of the Bay of Naples. When the two cars rolled
+into this old seaport the party was welcomed in person by Mr. Hammond,
+the president and producing manager of the Alectrion Film Corporation.
+
+"I have engaged rooms for you at the hotel here, if you want them," he
+told Ruth, after being introduced to Aunt Kate and Colonel Marchand, the
+only members of the party whom he had not previously met.
+
+"But I can give you all comfortable bunks with some degree of luxury at
+the camp. At least, we think it luxurious after our gold mining experience
+in the West. You will get better cooking at the Point, too."
+
+"But a camp!" sighed Aunt Kate. "We have roughed it so much coming down
+here, Mr. Hammond."
+
+"There won't be any black ants at this camp," said her niece cheerfully.
+
+"Only sand fleas," suggested the wicked Tom.
+
+"You can't scare me with fleas," said Jennie. "They only hop; they don't
+wriggle and creep."
+
+"My star in the 'Seaside Idyl,' Miss Loder, demanded hotel accommodations
+at first. But she soon changed her mind," Mr. Hammond said. "She is now
+glad to be on the lot with the rest of the company."
+
+"It sounds like a circus," Aunt Kate murmured doubtfully.
+
+"It is more than that, my dear Madam," replied the manager, laughing.
+"But these young people----"
+
+"If Aunt Kate won't mind," said Ruth, "let us try it, while she remains at
+the Herringport Inn."
+
+"I'll run her back and forth every day for the 'eats'," Tom promptly
+proposed.
+
+"My duty as a chaperon----" began the good woman, when her niece broke in
+with:
+
+"In numbers there is perfect safety, Auntie. There are a whole lot of
+girls down there at the Point."
+
+"And we have chaperons of our own, I assure you," interposed Mr. Hammond,
+treating Aunt Kate's objection seriously. "Miss Loder has a cousin who
+always travels with her. Our own Mother Paisley, who plays character
+parts, has daughters of her own and is a lovely lady. You need not fear,
+Madam, that the conventions will be broken."
+
+"We won't even crack 'em, Aunt Kate," declared Helen rouguishly. "I will
+watch Jen like a cat would a mouse."
+
+"Humph!" observed the plump girl, scornfully. "_This_ mouse, in that case,
+is likely to swallow the cat!"
+
+
+
+
+CHAPTER XIII
+
+THE HERMIT
+
+
+"Now, tell me, Miss Ruth," said Mr. Hammond, having taken the girl of the
+Red Mill into his own car for the short run to Beach Plum Point, "what is
+this trouble about your new scenario? You have excited my curiosity during
+all these months about the wonderful script, and now you say it is not
+ready for me."
+
+"Oh, Mr. Hammond!" exclaimed Ruth, "I fear it will never be ready for
+you."
+
+"Nonsense! Don't lose heart. You have merely come to one of those
+thank-you-ma'ams in story writing that all authors suffer. Wait. It will
+come to you."
+
+"No, no!" sighed Ruth. "It is nothing like that. I had finished the
+scenario. I had it all just about as I wanted it, and then----"
+
+"Then what?" he asked in wonder at her emotion.
+
+"It--it was stolen!"
+
+"Stolen?"
+
+"Yes. And all my notes--everything! I--I can't talk about it. And I never
+could write it again," sobbed Ruth. "It is the best thing I ever did, Mr.
+Hammond."
+
+"If it is better than 'The Heart of a Schoolgirl', or 'The Forty-Niners',
+or 'The Boys of the Draft', then it must be some scenario, Miss Ruth. The
+last two are still going strong, you know. And I have hopes of the
+'Seaside Idyl' catching the public fancy just when we are all getting
+rather weary of war dramas.
+
+"If you can only rewrite this new story----"
+
+"But Mr. Hammond! I am sure it has been stolen by somebody who will make
+use of it. Some other producer may put it on the screen, and then my
+version would fall flat--if no worse."
+
+"Humph! And you have been so secret about it!"
+
+"I took your advice, Mr. Hammond. I have told nobody about it--not a
+thing!"
+
+"And somebody unknown stole it?"
+
+"We think it was a vagrant actor. A tramp. Just the sort of person,
+though, who would know how to make use of the script."
+
+"Humph! All actors were considered 'vagrants' under the old English
+law--in Shakespeare's younger days, for instance," remarked Mr. Hammond.
+
+"You see how unwise it would be for me to try to rewrite the story--even
+if I could--and try to screen it."
+
+"I presume you are right. Yes. But I hoped you would bring a story with
+you that we could be working on at odd times. I have a good all-around
+company here on the lot."
+
+"I had most of your principals in mind when I wrote my scenario," sighed
+Ruth. "But I could not put my mind to that same subject now. I am
+discouraged, Mr. Hammond."
+
+"I would not feel that way if I were you, Miss Ruth," he advised, trying,
+as everybody else did, to cheer her. "You will get another good idea, and
+like all other born writers, you will just _have_ to give expression to
+it. Meantime, of course, if I get hold of a promising scenario, I shall
+try to produce it."
+
+"I hope you will find a good one, Mr. Hammond."
+
+He smiled rather ruefully. "Of course, there is scarcely anybody on the
+lot who hasn't a picture play in his or her pocket. I was possibly unwise
+last week to offer five hundred dollars spot cash for a play I could make
+use of, for now I suppose there will be fifty to read. Everybody, from
+Jacks, the property man, to the old hermit, believes he can write a
+scenario."
+
+"Who is the hermit?" asked Ruth, with some curiosity.
+
+"I don't know. Nobody seems to know who he is about Herringport. He was
+living in an old fish-house down on the Point when we came here last week
+with the full strength of the company. And I have made use of the old
+fellow in your 'Seaside Idyl'.
+
+"He seems to be a queer duck. But he has some idea of the art of acting,
+it seems. Director Jim Hooley is delighted with him. But they tell me the
+old fellow is scribbling all night in his hut. The scenario bug has
+certainly bit that old codger. He's out for my five hundred dollars," and
+the producing manager laughed again.
+
+"I hope you get a good script," said Ruth earnestly. "But don't ask me to
+read any of them, Mr. Hammond. It does seem as though I never wanted to
+look at a scenario again!"
+
+"Then you are going to miss some amusement in this case," he chuckled.
+
+"Why so?"
+
+"I tell you frankly I do not expect much from even those professional
+actors. It was my experience even before I went into the motion picture
+business that plays submitted by actors were always full of all the old
+stuff--all the old theatrical tricks and the like. Actors are the most
+insular people in existence, I believe. They know how plays should be
+written to fulfill the tenets of the profession; but invention is
+'something else again'."
+
+The young people who had motored so far were welcomed by many of Mr.
+Hammond's company who had acted in "The Forty-Niners" and had met Ruth and
+her friends in the West, as related in "Ruth Fielding in the Saddle."
+
+The shacks that had been built especially for the company's use were
+comfortable, even if they did smell of new pine boards. The men of the
+company lived in khaki tents. There were several old fish-houses that were
+likewise being utilized by the members of the company.
+
+Beach Plum Point was the easterly barrier of sand and rock that defended
+the beautiful harbor from the Atlantic breakers. It was a wind-blown
+place, and the moan of the surf on the outer reef was continually in the
+ears of the campers on the Point.
+
+The tang of salt in the air could always be tasted on the lips when one
+was out of doors. And the younger folks were out on the sands most of the
+time when they were not working, sleeping, or eating.
+
+"We are going to have some fun here," promised Tom Cameron to Ruth, after
+their party had got established with its baggage. "See that hard strip of
+beach? That's no clamflat. I am going to race my car on that sand. Palm
+Beach has nothing on this. Jackman, the property man (you remember Jacks,
+don't you, Ruth?), says the blackfish and bass are biting off the Point.
+You girls can act in movies if you like, but _I_ am going fishing."
+
+"Don't talk movies to me," sighed the girl. "I almost wish we had not
+come, Tom."
+
+"Nonsense! You shall go fishing with me. Put on your oldest duds
+and--well, maybe you will have to strip off your shoes and stockings. It
+is both wet and slippery on the rocks."
+
+"Pooh! I'll put on my bathing suit and a sweater. I never was afraid of
+water yet," Ruth declared.
+
+This was the morning after their arrival. Tom had been up to the port and
+brought down Aunt Kate for the day. Aunt Kate sat under an umbrella near
+where the company was working on location, and she scribbled all day in a
+notebook. Jennie whispered that she, too, was bitten by the scenario bug!
+
+"I feel it coming over me," announced Helen. "I've got what I think is a
+dandy idea."
+
+"Oh, there's too much to do," Jennie Stone said. "I couldn't find time to
+dabble in literature."
+
+"My, oh, my!" gasped Helen, with scorn. "How busy we are! You and Henri
+spend all your time making eyes at each other."
+
+"But just think, Nell!" cried the plump girl. "He's got to go back to
+France and fight----"
+
+"And so has my Tom."
+
+"But Tom is only your brother."
+
+"And Henri is nothing at all to you," rejoined Helen cruelly. "A fiance is
+only an expectation. You may change your mind about Henri."
+
+"Never!" cried Jennie, with horror.
+
+"Well, he keeps you busy, I grant. And there go Tom and Ruth mooning off
+together with fish lines. Lots of fishing _they_ will do! They are almost
+as bad as you and Henri. Why!" ejaculated Helen in some heat, "I am just
+driven to writing scenarios to keep from dying of loneliness."
+
+"I notice that 'juvenile lead,' Mr. Simmons, is keeping you quite busy,"
+remarked Jennie slyly, as she turned away.
+
+It was a fact that Ruth and Tom enjoyed each others' company. But Helen
+need not have been even a wee bit jealous. To tell the truth, she did not
+like to "get all mussed up," as she expressed it, by going fishing. To
+Ruth the adventure was a glad relief from worriment. Much as she tried,
+she could not throw off all thought of her lost scenario.
+
+She welcomed every incident that promised amusement and mental relaxation.
+Some of the troupe of actors--the men, mostly--were bathing off the
+Point.
+
+"And see that man in the old skiff!" cried Ruth. "'The Lone Fisherman'."
+
+The individual in question sat upon a common kitchen chair in the skiff
+with a big, patched umbrella to keep the sun off, and was fishing with a
+pole that he had evidently cut in the woods along the shore.
+
+"That is that hermit fellow," said Tom. "He's a queer duck. And the boys
+bother him a good deal."
+
+He was angrily driving some of the swimmers away from his fishing location
+at that moment. It was plain the members of the moving picture company
+used the hermit as a butt for their jokes.
+
+While one fellow was taking up the hermit's attention in front, another
+bather rose silently behind him and reached into the bottom of the skiff.
+What this second fellow did Tom and Ruth could not see.
+
+"The old chap can't swim a stroke," explained one of the laughing bathers
+to the visitors. "He's as afraid of water as a cat. Now you watch."
+
+But Tom and Ruth saw nothing to watch. They went on to the tip of the
+Point and Tom prepared the fishing tackle and baited the hooks. Just as
+Ruth made her first cast there sounded a scream from the direction of the
+lone fisherman.
+
+"What is it?" she gasped, dropping her pole.
+
+The bathers had deserted the old man in the skiff, and were now at some
+distance. He was anchored in probably twenty feet of water.
+
+To the amazement of Ruth and her companion, the skiff had sunk until its
+gunwales were scarcely visible. The hermit had wrenched away his umbrella
+and was now balanced upon the chair on his feet, in danger of sinking. His
+fear of this catastrophe was being expressed in unstinted terms.
+
+
+
+
+CHAPTER XIV
+
+A QUOTATION
+
+
+"Do help him, Tom!" cried Ruth Fielding, and she started for the spot
+where the man and the skiff were sinking.
+
+Tom cast aside his sweater, kicked his sneakers off, and plunged into the
+tide. Ruth was quite as lightly dressed as Tom; but she saw that he could
+do all that was necessary.
+
+That was, to bring the frightened man ashore. This "hermit" as they called
+him, was certainly very much afraid of the water.
+
+He splashed a good deal, and Tom had to speak sharply to keep him from
+getting a strangle-hold about his own neck.
+
+"Jimminy! but that was a mean trick," panted Tom, when he got ashore with
+the fisherman. "Somebody pulled the plug out of the bottom of the skiff
+and first he knew, he was going down."
+
+"It is a shame," agreed Ruth, looking at the victim of the joke curiously.
+
+He was a thin-featured, austere looking man, scrupulously shaven, but with
+rather long hair that had quite evidently been dyed. Now that it was
+plastered to his crown by the salt water (for he had been completely
+immersed more than once in his struggle with Tom Cameron) his hair was
+shown to be quite thin and of a greenish tinge at the roots.
+
+The shock of being dipped in the sea so unexpectedly was plainly no small
+one for the hermit. He stood quite unsteadily on the strand, panting and
+sputtering.
+
+"Young dogs! No respect for age and ability in this generation. I might
+have been drowned."
+
+"Well, it's all over now," said Tom comfortingly. "Where do you live?"
+
+"Over yonder, young man," replied the hermit, pointing to the ocean side
+of the point.
+
+"We will take you home. You lie down for a while and you will feel
+better," Ruth said soothingly. "We will come back here afterward and get
+your skiff ashore."
+
+"Thank you, Miss," said the man courteously.
+
+"I'll make those fellows who played the trick on you get the boat ashore,"
+promised Tom, running for his shoes and sweater.
+
+The hermit proved to be a very uncommunicative person. Ruth tried to get
+him to talk about himself as they crossed the rocky spit, but all that he
+said of a personal nature was that his name was "John."
+
+His shack was certainly a lonely looking hovel. It faced the tumbling
+Atlantic and it seemed rather an odd thing to Ruth that a man who was so
+afraid of the sea should have selected such a spot for his home.
+
+The hermit did not invite them to enter his abode. He promised Ruth that
+he would make a hot drink for himself and remove his wet garments and lie
+down. But he only seemed moderately grateful for their assistance, and
+shut the door of the shack promptly in their faces when he got inside.
+
+"Just as friendly as a sore-headed dog," remarked Tom, as they went back
+to the bay side of the Point.
+
+"Perhaps the others have played so many tricks on him that he is
+suspicious of even our assistance," Ruth said.
+
+Thus speaking, she stooped to pick up a bit of paper in the path. It had
+been half covered by the sand and might have lain there a long time, or
+only a day.
+
+Just why this bit of brown wrapping paper had caught her attention, it
+would be hard to say. Ruth might have passed it a dozen times without
+noticing it.
+
+But now she must needs turn the paper over and over in her hands as she
+watched Tom, with the help of the rather abashed practical jokers, haul
+the water-logged skiff ashore.
+
+She had forgotten the fishing poles they had abandoned on the rocks, and
+sat down upon a boulder. Suddenly she discovered that there was writing on
+the bit of paper she had picked up. It was then that her attention really
+became fixed upon her find.
+
+The characters had been written with an indelible pencil. The dampness had
+only blurred the writing instead of erasing it. Her attention thus
+engaged, she idly scrutinized more than the blurred lines. Her attitude as
+she sat there on the boulder slowly stiffened; her gaze focused upon the
+paper.
+
+"Why! what is it?" she murmured at last.
+
+The blurred lines became clearer to her vision. It was the wording of the
+phrase rather than the handwriting that enthralled her. This that follows
+was all that was written on the paper:
+
+     "Flash:--
+
+     "As in the beginning, is now, and ever shall be----"
+
+To the ordinary observer, with no knowledge of what went before or
+followed this quotation, the phrase must seem idle. But the word "flash"
+is used by scenario writers and motion picture makers, indicating an
+explanatory phrase thrown on the screen.
+
+And this quoted phrase struck poignantly to Ruth Fielding's mind. For it
+was one she had used in that last scenario--the one that had so strangely
+disappeared from the summer-house back at the Red Mill!
+
+Amazed--almost stunned--by this discovery, she sat on the boulder scarcely
+seeing what Tom and the others were doing toward salvaging the old
+hermit's skiff and other property.
+
+Thoughts regarding the quotation shuttled back and forth in the girl's
+mind in a most bewildering way. The practical side of her character
+pointed out that there really could be no significance in this discovery.
+It could not possibly have anything to do with her stolen script.
+
+Yet the odd phrase, used in just this way, had been one of the few
+"flashes" indicated in her scenario. Was it likely that anybody else,
+writing a picture, would use just that phrase?
+
+She balanced the improbability of this find meaning anything at all to her
+against the coincidence of another author using the quotation in writing a
+scenario. She did not know what to think. Which supposition was the more
+improbable?
+
+The thought was preposterous that the paper should mean anything to her.
+Ruth was about to throw it away; and then, failing to convince herself
+that the quotation was but idly written, she tucked the piece of paper
+into the belt of her bathing suit.
+
+When Tom was ready to go back to their fishing station, Ruth went with him
+and said nothing about the find she had made.
+
+They had fair luck, all told, and the chef at the camp produced their
+catch in a dish of boiled tautog with egg sauce at dinner that evening.
+The company ate together at a long table, like a logging camp crew, only
+with many more of the refinements of life than the usual logging crew
+enjoys. It was, however, on a picnic plane of existence, and there was
+much hilarity.
+
+These actor folk were very pleasant people. Even the star, Miss Loder, was
+quite unspoiled by her success.
+
+"You know," she confessed to Ruth (everybody confided in Ruth), "I never
+would have been anything more than a stock actress in some jerkwater town,
+as we say in the West, if the movies hadn't become so popular. I have what
+they call the 'appealing face' and I can squeeze out real tears at the
+proper juncture. Those are two very necessary attributes for a girl who
+wishes to gain film success."
+
+"But you can really act," Ruth said honestly. "I watched you to-day."
+
+"I should be able to act. I come of a family who have been actors for
+generations. Acting is like breathing to me. But, of course, it is another
+art to 'register' emotion in the face, and very different from displaying
+one's feelings by action and audible expression. You know, one of our most
+popular present-day stage actresses got her start by an ability to scream
+off-stage. Nothing like that in the movies."
+
+"You should hear Jennie Stone with a black ant down her back," put in
+Helen, with serious face. "I am sure Heavy could go the actress you speak
+of one better, and become even more popular."
+
+"I am not to be blamed if I squeal at crawly things," sniffed the plump
+girl, hearing this. "See how brave I am in most other respects."
+
+But that night Jennie exhibited what Tom called her "scarefulness" in most
+unmistakable fashion, and never again could she claim to be brave. She
+gave her chums in addition such a fright that they were not soon over
+talking about it.
+
+The three college girls had cots in a small shack that Mr. Hammond had
+given up to their use. It was one of the shacks nearest the shore of the
+harbor. Several boat-docks near by ran out into the deep water.
+
+It was past midnight when Jennie was for some reason aroused. Usually she
+slept straight through the night, and had to be awakened by violent means
+in time for breakfast.
+
+She was not startled, but awoke naturally, and found herself broad awake.
+She sat up in her cot, almost convinced that it must be daylight. But it
+was the moon shining through a haze of clouds that lighted the interior of
+the shack. The other two girls were breathing deeply. The noises she heard
+did not at first alarm Jennie.
+
+There was the whisper of the tide as it rolled the tiny pebbles and shells
+up the strand and, receding, swept them down again. It chuckled, too,
+among the small piers of the near-by docks.
+
+Then the listening girl heard footsteps--or what she took to be that
+sound. They approached the shack, then receded. She began to be curious,
+then felt a tremor of alarm. Who could be wandering about the camp at this
+grim hour of the night?
+
+She was unwise enough to allow her imagination to wake up, too. She stole
+from her bed and peered out of the screened window that faced the water.
+Almost at once a moving object met her frightened gaze.
+
+It was a figure all in white which seemed to float down the lane between
+the tents and out upon the nearest boat-dock.
+
+Afterward Jennie declared she could have suffered one of these
+spirit-looking manifestations in silence. She crammed the strings of her
+frilled nightcap between her teeth as a stopper!
+
+This spectral figure was going away from the shack, anyway. It appeared to
+be bearing something in its arms. But then came a second ghost, likewise
+burdened. Gasping, Jennie waited, clinging to the window-sill for support.
+
+A third spectre appeared, rising like Banquo's spirit at Macbeth's feast.
+This was too much for the plump girl's self-control. She opened her mouth,
+and her half-strangled shriek, the partially masticated cap-strings all
+but choking her, aroused Ruth and Helen to palpitating fright.
+
+"Oh! What is it?" demanded Helen, bounding out of bed.
+
+"Ghosts! Oh! Waw!" gurgled Jennie, and sank back into her friend's arms.
+
+Helen was literally as well as mentally overcome. Jennie's weight carried
+her to the straw matting with a bump that shook the shack and brought
+Ruth, too, out of bed.
+
+
+
+
+CHAPTER XV
+
+AN AMAZING SITUATION
+
+
+"'Ghost'?" cried Ruth Fielding. "Let me see it! Remember the campus ghost
+back at old Briarwood, Helen? I haven't seen a ghost since that time."
+
+"Ugh! Get this big elephant off of me!" grunted her chum, impolitely as
+well as angrily. "_She's_ no ghost, I do assure you. She's of the earth,
+earthy, and no mistake! Ouch! Get off, Heavy!"
+
+"Oh! Oh! Oh!" groaned the plump girl. "I--I saw them. Three of them!"
+
+"Sounds like a three-ring circus," snapped Helen.
+
+But Ruth was peering through the window. She saw nothing, and complained
+thereof:
+
+"Jen has had a nightmare. I don't see a thing."
+
+"Nightmare, your granny!" sputtered the plump girl, finally rolling off
+her half crushed friend. "I saw it--them--_those_!"
+
+"Your grammar is so mixed I wouldn't believe you on oath," declared Helen,
+getting to her own bare feet and paddling back to her cot for slippers
+and a negligee.
+
+"O-o-oh, it is chilly," agreed Ruth, grabbing a wrap, too.
+
+"Do tell us about it, Jennie," she begged. "Did you see your ghost through
+the window here?"
+
+"It isn't my ghost!" denied the plump girl. "I'm alive, ain't I?"
+
+"But you're not conscious," grumbled Helen.
+
+"I can see!" wailed Jennie. "I haven't lost my eyesight."
+
+"Stop!" Ruth urged. "Let us get at the foundation of this trouble. You say
+you saw----"
+
+"I saw what I saw!"
+
+"Oh, see-saw!" cried Helen. "We're all loony, now."
+
+Ruth was about to ask another question, but she was again looking through
+the window. She suddenly bit off a cry of her own. She had to confess that
+the sight she saw was startling.
+
+"Is--is that the ghost, Jennie?" she breathed, seizing the plump girl by
+her arm and dragging her forward.
+
+Jennie gave one frightened look through the window and immediately clapped
+her palms over her eyes.
+
+"Ow!" she wailed in muffled tones. "They're coming back."
+
+They were, indeed! Three white figures in Indian file came stalking up
+the long dock. They approached the camp in a spectral procession and had
+she been awakened to see them first of all, Ruth might have been startled
+herself.
+
+Helen peered over her chum's shoulder and in teeth-chattering monotone
+breathed in Ruth's ear the query:
+
+"What is it?"
+
+"It--it's Heavy's ghost."
+
+"Not mine! Not mine!" denied the plump girl.
+
+"Oh!" gasped Helen, spying the stalking white figures.
+
+It was the moonlight made them appear so ghostly. Ruth knew that, of
+course, at once. And then----
+
+"Who ever saw ghosts carrying garbage cans before?" ejaculated the girl of
+the Red Mill. "Mercy me, Heavy! do stop your wailing. It is the chef and
+his two assistants who have got up to dump the garbage on the out-going
+tide. What a perfect scare-cat you are!"
+
+"You don't mean it, Ruth?" whimpered the plump girl. "Is that _all_ they
+were?"
+
+Helen began to giggle. And it covered her own fright. Ruth was rather
+annoyed.
+
+"If you had remained in bed and minded your own business," she said to
+Jennie, "you would not have seen ghosts, or got us up to see them. Now go
+back to sleep and behave yourself."
+
+"Yes, ma'am," murmured the abashed Jennie Stone. "How silly of me! I was
+never afraid of a cook before--no, indeed."
+
+Helen continued to giggle spasmodically; but she fell asleep soon. As for
+Jennie, she began to breathe heavily almost as soon as her head touched
+the pillow. But Ruth must needs lie awake for hours, and naturally the
+teeth of her mind began to knaw at the problem of that bit of paper she
+had found in the sand.
+
+The more she thought of it the less easy it was to discard the idea that
+the writing on the paper was a quotation from her own scenario script. It
+seemed utterly improbable that two people should use that same expression
+as a "flash" in a scenario.
+
+Yet, if this paper was a connecting link between her stolen manuscript and
+the thief, _who was the thief_?
+
+It would seem, of course, if this supposition were granted, that some
+member of the company of film actors Mr. Hammond had there at Beach Plum
+Point had stolen the scenario. At least, the stolen scenario must be in
+the possession of some member of the company.
+
+Who could it be? Naturally Ruth considered this unknown must be one of the
+company who wished Mr. Hammond to accept and produce a scenario.
+
+Ruth finally fell into a troubled sleep with the determination in her mind
+to take more interest in the proposed scenario-writing contest than she
+had at first intended.
+
+She could not imagine how anybody could take her work and change it so
+that she would not recognize it! The plot of the story was too well
+wrought and the working out of it too direct.
+
+She did not think that she had it perfect. Only that she had perfected the
+idea as well as she was able. But changing it would not hide from her the
+recognition of her own brain-child.
+
+So after breakfast she went to Mr. Hammond to make inquiry about the
+scenario contest.
+
+"Ha, ha! So you are coming to yourself, Miss Ruth!" he chuckled. "I told
+you you would feel different. I only wish _you_ would get a real smart
+idea for a picture."
+
+"Nothing like that!" she told him, shaking her head. "I could not think of
+writing a new scenario. You don't know what it means to me--the loss of
+that picture I had struggled so long with and thought so much about. I----
+
+"But let us not talk of it," she hastened to add. "I am curious regarding
+the stories that have been offered to you."
+
+"You need not fear competition," he replied. "Just as I told you, all
+these perfectly good acting people base their scenarios on dramas they
+have played or seen played. They haven't got the idea of writing for the
+screen at all, although they work before the camera."
+
+"And that is no wonder!" exclaimed Ruth. "The way the directors take
+scenes, the actors never get much of an idea of the continuity of the
+story they are making. But these stories?"
+
+"So far, I haven't found a possible scenario. And I have looked at more
+than a score."
+
+"You don't mean it!"
+
+"I most certainly do," he assured her. "Want to look at them?"
+
+"Why--yes," confessed Ruth. "I am curious, as I tell you."
+
+"Go to it!" exclaimed Mr. Hammond, opening a drawer of his desk and
+pointing to the pile of manuscripts within. "Consider yourself at home
+here. I am going over to the port with Director Hooley and most of the
+members of the company. We have found just the location for the shooting
+of that scene in your 'Seaside Idyl' where the ladies' aid society holds
+its 'gossip session' in the grove--remember?"
+
+"Oh, yes," Ruth replied, not much interested, as she took the first
+scenario out of the drawer.
+
+"And Hooley's found some splendid types, too, around the village. They
+really have a sewing circle connected with the Herringport Union Church,
+and I have agreed to help the ladies pay for having the church edifice
+painted if they will let us film a session of the society with our
+principal character actors mixed in with the local group. The sun is good
+to-day."
+
+He went away, and a little later Ruth heard the automobiles start for
+Herringport. She had the forenoon to herself, for the rest of her party
+had gone out in a motor boat fishing--a party from which she had excused
+herself.
+
+Eagerly she began to examine the scenarios submitted to Mr. Hammond. The
+possibility that she might find one of them near enough like her own lost
+story to suggest that it had been plagiarized, made Ruth's heart beat
+faster.
+
+She could not forget the quotation on the scrap of brown paper. Somebody
+on this Point--and it seemed that the "somebody" must be one of the moving
+picture company--had written that quotation from her scenario. She felt
+that this could not be denied.
+
+
+
+
+CHAPTER XVI
+
+RUTH SOLVES ONE PROBLEM
+
+
+Had Ruth Fielding been confronted with the question: "Did she expect to
+find a clue to the identity of the person who had stolen her scenario
+before she left the Red Mill?" she could have made no confident answer.
+She did not know what she would find when she sat down at Mr. Hammond's
+desk for the purpose of looking over the submitted stories.
+
+Doubt and suspicion, however, enthralled her mind. She was both curious
+and anxious.
+
+Ruth had no particular desire to read the manuscripts. In any case she did
+not presume Mr. Hammond desired her advice about selecting a script for
+filming.
+
+She skimmed through the first story. It had not a thing in it that would
+suggest in the faintest way any familiarity of the author with her own
+lost scenario.
+
+For two hours she fastened her attention upon one after another of the
+scenarios, often by main will-power, because of the utter lack of
+interest in the stories the writers had tried to put over.
+
+Without being at all egotistical, Ruth Fielding felt confident that had
+any one of these scenario writers come into possession of her lost script,
+and been dishonest enough to use it, he would have turned out a much
+better story.
+
+But not a trace of her original idea and its development was to be found
+in these manuscripts. Her suspicion had been needlessly roused.
+
+Ruth could not deny that the scrap of paper found in the sand was quite as
+mysterious as ever. The quotation on it seemed to be taken directly from
+her own scenario. But there was absolutely nothing in this pile of
+manuscripts to justify her suspicions.
+
+She was just as dissatisfied after scanning all the submitted scenarios as
+Mr. Hammond seemed to be with the day's work when the company came back
+from Herringport in the late afternoon.
+
+"I suppose it is a sanguine disposition that keeps me at this game, Miss
+Ruth," he sighed. "I always expect much more than I can possibly get out
+of a situation; and when I fail I go on hoping just the same."
+
+"I am sure that is a commendable disposition to possess," she laughed.
+"What has gone so wrong?"
+
+"It is the old story of leading the horse to water, and the inability of
+making him drink. This is a balky horse, and no mistake!"
+
+"Do tell me what you mean, Mr. Hammond?"
+
+"Why, I told you we had got what the ladies call 'perfectly lovely' types
+for that scene to-day. You ought to see them, Miss Ruth! You would be
+charmed. Just what the dear public expects a back-country sewing circle
+should look like."
+
+"Oh!"
+
+"And they all promised to be on hand at the location--and they were. I
+have had my experiences with amateurs before. I had begged the ladies to
+dress just as they would were they going to an actual meeting of their
+sewing society----"
+
+"And they all dressed up?" laughed Ruth, clasping her hands.
+
+"Well, that I expected to contend with. And most of them even in their
+best bib and tucker were not out of the picture. Not at all! That was not
+the main difficulty and the one that has spoiled our day's work."
+
+"Indeed?"
+
+"I am afraid Jim Hooley will have to fake the whole scene after all,"
+continued the manager. "Those women came all dressed up 'to have their
+pictures took,' it is true. But the worst of it is, they could not be
+natural. It was impossible. They showed in every move and every glance
+that they were sitting with a bunch of actors and were not at all sure
+that what they were doing was altogether the right thing.
+
+"We worked over them as though it were a 'mob scene' and there were five
+hundred in it instead of twenty. But twenty wooden dummies would have
+filmed no more unnaturally. You know, in your story, they are supposed to
+be discussing the bit of gossip about your heroine's elopement with the
+schoolteacher. I could not work up a mite of enthusiasm in their minds
+about such a topic."
+
+Ruth laughed. But she saw that the matter was really serious for Mr.
+Hammond and the director. She became sympathetic.
+
+"I fancy that if they had had a real scandal to discuss," she observed,
+"their faces would have registered more poignant interest."
+
+"'Poignant interest'!" scoffed the manager in disgust. "If these
+Herringport tabbies had the toothache they would register only polite
+anguish--in public. They are the most insular and self-contained and
+self-suppressed women I ever saw. These Down-Easters! They could walk over
+fiery ploughshares and only wanly smile----"
+
+Ruth went off into a gale of laughter at this. Mr. Hammond was a Westerner
+by birth, and he found the Yankee character as hard to understand as did
+Henri Marchand.
+
+"Have you quite given up hope, Mr. Hammond?" Ruth asked.
+
+"Well, we'll try again to-morrow. Oh, they promised to come again! They
+are cutting out rompers, or flannel undervests, I suppose, for the South
+Sea Island children; or something like that. They are interested in that
+job, no doubt.
+
+"I wanted them to 'let go all holts,' as these fishermen say, and be eager
+and excited. They are about as eager as they would be doing their washing,
+or cleaning house--if as much!" and Mr. Hammond's disappointment became
+too deep for further audible expression.
+
+Ruth suddenly awoke to the fact that one of her best scenes in the
+"Seaside Idyl" was likely to be spoiled. She talked with Mr. Hooley about
+it, and when the day's run was developed and run off in one of the shacks
+which was used for a try-out room, Ruth saw that the manager had not put
+the matter too strongly. The sewing circle scene lacked all that snap and
+go needed to make it a realistic piece of action.
+
+Of course, there were enough character actors in the company to use in the
+scene; but naturally an actor caricatures such parts as were called for in
+this scene. The professional would be likely to make the characters seem
+grotesque. That was not the aim of the story.
+
+"I thought you were not going to take any interest in this 'Seaside Idyl,'
+at all," suggested Helen, when Ruth was talking about the failure of the
+scene after supper that night.
+
+"I can't help it. My reputation as a scenario writer is at stake, just as
+much as is Mr. Hooley's reputation as director," Ruth said, smiling. "I
+really didn't mean to have a thing to do with the old picture. But I can
+see that somebody has got to put a breath of naturalness into those
+ladies' aid society women, or this part of the picture will be a fizzle."
+
+"And our Ruth," drawled Jennie, "is going to prescribe one of her famous
+cure-alls, is she?"
+
+"I believe I can make them look less like a lot of dummies while they are
+cutting out rompers for cannibal island pickaninnies," laughed Ruth. "Tom,
+I am going to the port with you the first thing in the morning."
+
+"By all means," said Captain Cameron. "I am yours to command."
+
+Her newly aroused interest in the scenario at present being filmed, was a
+good thing for Ruth Fielding. Having found nothing at all in the submitted
+stories that suggested her own lost story, the girl of the Red Mill tried
+to put aside again the thing that so troubled her mind. And this new
+interest helped.
+
+In the morning before breakfast she and Tom ran over to the port in the
+maroon roadster. While they were having breakfast at the inn, Ruth asked
+the waitress, who was a native of this part of the country, about the
+Union Church and some of the more intimate life-details of the members of
+its congregation.
+
+It is not hard to uncover neighborhood gossip of a kind not altogether
+unkindly in any similar community. The Union Church had a new minister,
+and he was young. He was now away on his vacation, and more than one local
+beauty and her match-making mamma would have palpitation of the heart
+before he returned for fear that the young clergyman would have his heart
+interests entangled by some designing "foreigner."
+
+Tom had no idea as to what Ruth Fielding was getting at through this
+questioning of the beaming Hebe who waited on them at breakfast. And he
+was quite as much in the dark as to his friend's motive when Ruth
+announced their first visit to be to the office of the Herringport
+_Harpoon_, the local news sheet.
+
+
+
+
+CHAPTER XVII
+
+JOHN, THE HERMIT'S, CONTRIBUTION
+
+
+A man with bushy hair, a pencil stuck over his ear, and wearing an
+ink-stained apron, met them in the office of the _Harpoon_. This was Ezra
+Payne, editor and publisher of the weekly news-sheet, and this was his
+busiest day. The _Harpoon_, Ruth had learned, usually went into the mails
+on this day.
+
+"Tut, tut! I see. Is this a joke?" Mr. Payne pursed his lips and wrinkled
+his brow in uncertainty.
+
+"A whole edition, Miss? Wall, I dunno. I do have hard work selling all the
+edition some weeks. But I have reg'lar subscribers----"
+
+"This will not interfere with your usual edition of the _Harpoon_," she
+hastened to assure him.
+
+"How's that, Miss?"
+
+"I want to buy an edition of one copy."
+
+"One copy!"
+
+"Yes, sir. I want something special printed in one paper. Then you can
+take it out and print your regular edition."
+
+"Tut, tut! I see. Is this a joke?" Mr. Payne asked, his eyes beginning to
+twinkle.
+
+"It is the biggest joke you ever heard of," declared Ruth.
+
+"And who's the joke on?"
+
+"Wait and see what I write," Ruth said, sitting down at the battered old
+desk where he labored over his editorials and proofsheets.
+
+Opening a copy of the last week's _Harpoon_ that lay there, she was able
+to see the whole face of the paper.
+
+"I've got the inside run off," said Mr. Payne, still doubtfully. "So you
+can't run anything on the second and third pages."
+
+"Oh, I want the most prominent place for my item," laughed Ruth. "Front
+page, top column---- Here it is!"
+
+He bent over her. Tom stared in wonder, too, as Ruth pointed to an item
+under a certain heading at the top of the middle column of the front page
+of the sheet.
+
+"That is just where I want my item to appear," she said briskly to the
+editor. "You run that--that department there every week?"
+
+"Oh, yes, Miss. The people expect it. You know how folks are. They look
+for those items first of all in a country paper."
+
+"Yes. It is so. One of the New York dailies is still printed with that
+human foible in mind. It caters to this very curiosity that your
+_Harpoon_ caters to."
+
+"Yes, Miss. You're right. Most folks have the same curiosity, city or
+country. Shakespeare spoke of the 'seven ages of man'; but there are only
+three of particular interest--to womankind, anyway; and they are all
+_here_."
+
+"There you go! Slurring the women," she laughed. "Or do you speak
+compliments?"
+
+"I guess the women have it right," chuckled Mr. Payne. "Now, what is it
+you want me to print in one paper for you?"
+
+Ruth drew a scratch pad to her and scribbled rapidly for a couple of
+minutes. Then she passed the page to the newspaper proprietor.
+
+Mr. Payne read it, stared at her, pursed his lips, and then read it again.
+Suddenly he burst into a cackle of laughter, slapping his thigh in high
+delight.
+
+"By gravy!" he chortled, "that's a good one on the dominie. By gravy! wait
+till I tell----"
+
+"Don't you tell anybody, Mr. Payne," interrupted Ruth, smiling, but
+firmly. "I am buying your secrecy as well as your edition of _one copy_."
+
+"I get you! I get you!" declared the old fellow. "This is to be on the
+q.t.?"
+
+"Positively."
+
+"You sit right here. The front page is all made up on the stone,
+Marriages, Births, Death Notices, and all. I'll set the paragraph and
+slip it in at the top o' the column. My boy is out, but this young man can
+help me lift the page into the press. She's all warmed up, and I was going
+to start printing when Edgar comes back from breakfast."
+
+He grabbed the piece of copy and went off into the printing room,
+chuckling. Half an hour later the first paper came from the press, and
+Ruth and Tom bent over it. The item the girl had written was plainly
+printed in the position she had chosen on the front page of the _Harpoon_.
+
+"Now, you are to keep still about this," Ruth said, threatening Mr. Payne
+with a raised finger.
+
+"I don't know a thing about it," he promised, pocketing the bill she took
+from her purse, and in high good humor over the joke.
+
+Tom helped him take the front page from the press again. The printer
+unlocked the chase, and removed and distributed the three lines he had set
+up at Ruth's direction.
+
+The crowd from Beach Plum Point came over in the cars about noontime. Aunt
+Kate had remained at the inn on this morning, and she and Ruth walked to
+the "location," which was a beautiful old shaded front yard at the far end
+of the village.
+
+Helen and Jennie had come with the real actors, and were to appear in the
+picture. The story related incidents at a Sunday-school picnic, and most
+of the comedy had already been filmed on the lot.
+
+The scene around the long sewing table under the trees, when the ladies'
+aid was at work with needle and tongue, should be the principal incident
+of this reel devoted to the picnic.
+
+The heroine, to the amazement of the village gossips, has run away with
+the schoolmaster and married him in the next county. A certain character
+in the picture runs in with this bombshell of news and explodes it in the
+midst of the group about the sewing table.
+
+The day before this point had failed to make much impression upon the
+amateur members of the company engaged in this typical scene. The
+Herringport ladies were not at all interested in such a thing happening to
+the town's schoolmaster, for to tell the truth the local schoolmaster was
+an old married man with a house full of children and nothing at all
+romantic about him.
+
+Ruth took Mr. Hooley aside and showed him the copy of the _Harpoon_ she
+had had printed, and whispered to him her idea of the change in the action
+of the scenario. He seized upon the scheme--and the paper--with gusto.
+
+"You are a jewel, Miss Fielding!" he declared. "If this doesn't make those
+old tabbies come to life and act naturally, nothing ever will!"
+
+Ruth left the matter in the director's hands and retired from the
+location. She had no intention herself of appearing in the picture. She
+found Mr. Hammond sitting in his automobile in a state of good-humor.
+
+"You seem quite sure that the work will go better to-day, Mr. Hammond,"
+Ruth observed, with curiosity as to the reason for his apparent enjoyment.
+
+"Whether it does or not, Miss Ruth," he responded. "There is something
+that I fancy is going to be more than a little amusing."
+
+He tapped a package wrapped in a soiled newspaper which lay on the seat
+beside him. "Thank goodness, I can still enjoy a joke."
+
+"What is the joke? Let me enjoy it, too," she said.
+
+"With the greatest of pleasure. I'll let you read it, if you like--as you
+did those other scenarios."
+
+"What! Is it a movie story?" she asked.
+
+"So I am assured. It is the contribution of John, the hermit. He brought
+it to me just before we started over here this morning. Poor old codger!
+Just look here, Miss Ruth."
+
+Mr. Hammond turned back the loose covering of the package on the
+automobile seat. Ruth saw a packet of papers, seemingly of roughly trimmed
+sheets of wrapping paper and of several sizes. At the top of the upper
+sheet was the title of the hermit's scenario. It was called "Plain Mary."
+She glanced down the page, noting that it was written in a large, upright,
+hand and with an indelible pencil.
+
+Ruth Fielding had not the least idea that she was to take any particular
+interest in this picture-story. She smiled more because Mr. Hammond seemed
+so amused than for any other reason. Secretly she thought that most of
+these moving picture people were rather unkind to the strange old man who
+lived alone on the seaward side of the Beach Plum Point.
+
+"Want to read it over?" Mr. Hammond asked her. "I would consider it a
+favor, for I've got to go back and try to catch up with my correspondence.
+I expect this is worse than those you skimmed through yesterday."
+
+Ruth did not hear him. Suddenly she had seen something that had not at
+first interested her. She read the first few lines of the opening, and saw
+nothing in them of importance. It was the writing itself that struck her.
+
+"Why!" she suddenly gasped.
+
+She was reminded of something that she had seen before. This writing----
+
+"Let me go back to the camp with you, Mr. Hammond," she said, slipping
+into the seat and taking the packet of written sheets into her lap. "I--I
+will look through this scenario, if you like. There is something down
+there on the Point that I want."
+
+"Sure. Be glad to have your company," he said, letting in his clutch after
+pushing the starter. "We're off."
+
+Ruth did not speak again just then. With widening eyes she began to devour
+the first pages of the hermit's manuscript.
+
+
+
+
+CHAPTER XVIII
+
+UNCERTAINTIES
+
+
+The automobile purred along the shell road, past the white-sided,
+green-blinded houses of the retired ship captains and the other well-to-do
+people of Herringport. The car ran so smoothly that Ruth might have read
+all the way.
+
+But after the first page or two--those containing the opening scenes of
+"Plain Mary"--she dared not read farther.
+
+Not yet. It was not that there was a familiar phrase in the upright
+chirography of the old hermit. The story merely suggested a familiar
+situation to Ruth's mind. Thus far it was only a suggestion.
+
+There was something else she felt she must prove or disprove first of all.
+She sat beside Mr. Hammond quite speechless until they came to the camp on
+the harbor shore of Beach Plum Point.
+
+He went off cheerfully to his letter writing, and Ruth entered the shack
+she occupied with Helen and Jennie. She opened her locked writing-case.
+Under the first flap she inserted her fingers and drew forth the wrinkled
+scrap of paper she had picked up on the sands.
+
+A glance at the blurred writing assured her that it was the same as that
+of the hermit's scenario.
+
+     "Flash:
+
+     "As in the beginning, is now, and ever shall be----"
+
+Shakingly Ruth sat down before the cheap little maple table. She spread
+open the newspaper wrapper and stared again at the title page of "Plain
+Mary."
+
+That title was nothing at all like the one she had given her lost
+scenario. But a title, after all, meant very little.
+
+The several scenes suggested in the beginning of the hermit's story did
+not conflict with the plot she had evolved, although they were not her
+own. She had read nothing so far that would make this story different from
+her own. The names of the characters were changed and the locations for
+the first scene were different from those in her script. Nevertheless the
+action and development of the story might prove to be exactly like hers.
+
+She shrank from going deeper into the hermit's script. She feared to find
+her suspicions true; yet she _must_ know.
+
+Finally she began to read. Page after page of the large and sprawling
+writing she turned over, face down upon the table. Ruth grew so absorbed
+in the story that she did not note the passing of time. She was truly
+aware of but one thing. And that seized upon her mind to wring from it
+both bitterness and anger.
+
+"Want to go back to the port, Miss Ruth?" asked Mr. Hammond. "I want to
+mail my letters."
+
+His question startled her. She sprang up, a spot of crimson in either
+cheek. Had he looked at her, the manager would certainly have noted her
+strange look.
+
+"I'll come in a minute," she called to him in a half-stifled voice.
+
+She laved her eyes and cheeks in cool water, removing such marks of her
+emotion as she could. Then she bundled up the hermit's scenario and joined
+Mr. Hammond in the car.
+
+"Did you look at this?" she asked the producer as he started the motor.
+
+"Bless you, no! What is it? As crazy as the old codger himself?"
+
+"Do you really think that man is crazy?" she asked sharply.
+
+"Why, I don't really know. Just queer perhaps. It doesn't seem as though
+a sane man would live all stark alone over on that sea-beaten point."
+
+"He is an actor," declared Ruth. "Your director says so."
+
+"At least, he does not claim to be, and they usually do, you know,"
+chuckled Mr. Hammond. "But about this thing----"
+
+"You read it! Then I will tell you something," said the girl soberly, and
+she refused to explain further.
+
+"You amaze me," said the puzzled manager. "If that old codger has
+succeeded in turning out anything worth while, I certainly shall believe
+that 'wonders never cease.'"
+
+"He has got you all fooled. He _is_ a good actor," declared Ruth bitterly.
+Then, as Mr. Hammond turned a puzzled frown upon her, she added, "Tell me
+what you think of the script, Mr. Hammond, before you speak to--er--John,
+or whatever his name may be."
+
+"I certainly am curious now," he declared.
+
+They got back to the place where the director had arranged to "shoot" the
+sewing circle scene just as everything was all set for it. Mother Paisley
+dominated the half circle of women about the long table under the trees.
+Ruth marveled at the types Mr. Hooley had found in the village. And she
+marveled further that any group of human beings could appear so wooden.
+
+"Oh, Ruth!" murmured Helen, who was not in this scene, but was an
+interested spectator, "they will surely spoil the picture again. Poor Mr.
+Hooley! He takes _such_ pains."
+
+It was like playing a child's game for most of the members of the
+Herringport Union congregation. They were selfconscious, and felt that
+they were in a silly situation. Those who were not too serious of demeanor
+were giggling like schoolgirls.
+
+Yet everything was ready for the cameras. Mr. Hooley's keen eye ran over
+all the group. He waved a hand to the camera men.
+
+"Ready camera--action--go!"
+
+The women remained speechless. They merely looked at each other in a
+helpless way. It was evident they had forgotten all the instructions the
+director had given them.
+
+But suddenly into the focus of the cameras ran a barefooted urchin waving
+a newspaper. This was the Alectrion Company's smartest "kid" actor and a
+favorite wherever his tousled head, freckled face, and wide grin appeared
+on the screen. He plunged right at Mother Paisley and thrust the paper
+into her hand, while he pointed at a certain place on the front page.
+
+"Read _that_, Ma Bassett!" cried the news vender.
+
+Mrs. Paisley gave expression first to wonder, then utter amazement, as she
+read the item Ruth had had inserted in this particular "edition" of the
+_Harpoon_. She was a fine old actress and her facial registering of
+emotion was a marvel. Mr. Hooley had seldom to advise her.
+
+Now his voice was heard above the clack of the cameras:
+
+"Pass it to the lady at your left. That's it! Cling to the paper. Get your
+heads together--three of you now!"
+
+The amateur players looked at each other and began to grin. The scene
+promised to be as big a "fizzle" as the one shot the previous day.
+
+But the woman next to Mrs. Paisley, after looking carelessly at the paper,
+of a sudden came to life. She seized the _Harpoon_ with both hands, fairly
+snatching it out of the actress' hands. She was too startled to be polite.
+
+"What under the canopy is this here?" she sputtered.
+
+She was a small, wiry, vigorous woman, and she had an expressive, if a
+vinegary, face. She rose from her seat and forgot all about her
+"play-acting."
+
+"What d'you think it says here?" she demanded of her sister-members of the
+ladies' aid.
+
+"Sh!"
+
+"Ella Painter, you're a-bustin' up the show!" admonished a motherly old
+person at the end of the table.
+
+But Mrs. Painter did not notice these hushed remarks. She read the item in
+the paper aloud--and so extravagantly did she mouth the astonishing words
+that Ruth feared they might be read on her lips when shown on the screen.
+
+"Listen!" Mrs. Painter cried. "Right at the top of the marriage notices!
+'Garside--Smythe. At Perleyvale, Maine, on August twenty-second, the
+Reverend Elton Garside, of Herringport, and Miss Amy Smythe, of
+Perleyvale.' What do you know about that?"
+
+The gasp of amazement that went up from the women of the Herringport Union
+Church was almost a chorus of anguish. The paper was snatched from hand to
+hand. Nobody could accuse the amateurs now of being "wooden."
+
+Not until Mrs. Paisley in the character of _Ma Bassett_, at the signal
+from Mr. Hooley, fell back in her chair, exclaiming: "My mercy me! Luella
+Sprague and the teacher! Who'd have thought it?" did the company in
+general suspect that something had been "put over on them."
+
+"All right! All right!" shouted Jim Hooley in high delight, stopping his
+camera men. "That's fine! It's great! Miss Fielding, your scheme worked
+like a charm."
+
+The members of the sewing circle began to ask questions.
+
+"Do you mean to say this is in the play?" demanded Mrs. Ella Painter,
+waving the newspaper and inclined to be indignant.
+
+"Yes, Mrs. Painter. That marriage notice is just a joke," the director
+told her. "It certainly gave you ladies a start and---- Well, wait
+till you see this scene on the screen!"
+
+"But ain't it _so_?" cried another. "Why, Mr. Garside---- Why! it's
+in the _Harpoon_."
+
+"But you won't find it in another _Harpoon_," laughed the director,
+recovering possession of the newspaper. "It's only a joke. But I
+positively had to give you ladies a real shock or we'd never have got this
+scene right."
+
+"Well, of all the impudence!" began Mrs. Painter.
+
+However, she joined in the laughter a minute later. At best, the women had
+won from Mr. Hammond enough money to pay for the painting of their church
+edifice, and they were willing to sacrifice their dignity for that.
+
+
+
+
+CHAPTER XIX
+
+COUNTERCLAIMS
+
+
+"I declare, Ruth! that was a ridiculous thing to do," exclaimed Helen,
+when they were on their way back to the Point. "But it certainly brought
+the sewing circle women all up standing."
+
+"I've been wondering all day what Ruth was up to," said Tom, who was
+steering the big car. "I was in on it without understanding her game."
+
+"Well, it was just what the directer needed," chuckled Jennie. "Oh, it
+takes our Ruth to do things."
+
+"I wonder?" sighed the girl of the Red Mill, in no responsive mood.
+
+She had something very unpleasant before her that she felt she must do,
+and nothing could raise her spirits. She did not speak to anybody about
+the hermit's scenario. She waited for Mr. Hammond to express his opinion
+of it.
+
+At the camp she found a letter for her from the doctor's wife who had
+promised to keep her informed regarding Arabella Montague Fitzmaurice
+Pike. That young person was doing well and getting fat at the Perkins'
+farm. But Mrs. Holmes was quite sure that she had not heard from her
+father.
+
+"You've got another half-orphan on your hands, Ruth," said Helen. She made
+it a point always to object to Ruth's charities. "I don't believe that man
+will ever show up again. If he went away with a medicine show----"
+
+"No, no," said Ruth firmly. "No child would ever respect and love her
+father as Bella does if he was not good to her. He will turn up."
+
+Just then Tom called from outside the door of the girls' shack.
+
+"What say to a moonlight dip off the Point?" he asked. "The tide is not
+very low. And I missed my splash this morning."
+
+"We're with you, Tommy," responded his sister. "Wait till we get into
+bathing suits."
+
+Even Ruth was enthusiastic--to a degree--over this. In twenty minutes they
+were running up the beach with Tom and Henri toward the end of the Point.
+
+"Let's go over and get the surf," suggested Jennie. "I do love surf
+bathing. All you have to do is to bob up and down in one place."
+
+"Heavy is lazy even in her sport," scoffed Helen. "But I'm game for the
+rough stuff."
+
+They crossed the neck of land near the hermit's hut. There was a hard
+beach almost in front of the hut, and up this the breakers rolled and
+foamed delightfully. The so-called hermit, hearing their voices, came out
+and sat on a rock to watch them. But he did not offer to speak until Ruth
+went over to him.
+
+"Mr. Hammond let me read your script, John," she said coldly.
+
+"Indeed?" he rejoined without emotion.
+
+"Where did you get the idea for that scenario?"
+
+He tapped his head with a long forefinger. "Right inside of that skull. I
+do my own thinking," he said.
+
+"You did not have any help about it? You originated the idea of 'Plain
+Mary?'"
+
+He nodded. "You ain't the only person who can write a picture," he
+observed. "And I think that this one they are filming for you is silly."
+
+Ruth stared down at him, but said nothing more. She was ready to go back
+to camp as soon as the others would, and she remained very silent. Mr.
+Hammond had been asking for her, Miss Loder said. When Ruth had got into
+something more presentable than a wet bathing suit, she went to his
+office.
+
+"What do you know about this?" he demanded in plain amazement. "This story
+the old man gave me to read is a wonder! It is one of the best ideas I
+ever saw for the screen. Of course, it needs fixing up a bit, but it's
+great! What did you think of it, Miss Ruth?"
+
+"I am glad you like it, Mr. Hammond," she said, steadying her voice with
+difficulty.
+
+"I do like it, I assure you."
+
+"It is _my_ story, Mr. Hammond!" she exclaimed. "It is the very scenario
+that was stolen from me at home. He's just changed the names of the
+characters and given it a different title, and spoiled some of the scenes.
+But a large part of it is copied word for word from my manuscript!"
+
+"Miss Fielding!" gasped the president of the Alectrion Film Corporation.
+
+"I am telling you the truth," Ruth cried, rather wildly, it must be
+confessed, and then she broke down and wept.
+
+"My goodness! It can't be possible! You--you've let your mind dwell upon
+your loss so much----"
+
+"Do you think I am crazy?" she demanded, flaring up at him, her anger
+drying her tears.
+
+"Certainly not," he returned gently; yet he looked at her oddly. "But
+mistakes have been made----"
+
+"Mistakes, indeed! It is no mistake when I recognize my own work."
+
+"But--but how could this old man have stolen your work--and away back
+there at the Red Mill? I believe he has lived here on the Point for
+years. At least, every summer."
+
+"Then somebody else stole it and he got the script from them. I tell you
+it is mine!" cried Ruth.
+
+"Miss Fielding! Let us be calm----"
+
+"You would not be calm if you discovered somebody trying to make use of
+something you had originated, and calling it theirs--no you wouldn't, Mr.
+Hammond!"
+
+"But it seems impossible," he said weakly.
+
+"That old man is an actor--an old-school actor. You can see that easily
+enough," she declared. "There was such a person about the Red Mill the day
+my script was lost. Oh, it's plain enough."
+
+"Not so plain, Miss Ruth," said Mr. Hammond firmly. "And you must not make
+wild accusations. That will do no good--and may do harm in the end. It
+does not seem probable to me that this old hermit could have actually
+stolen your story. A longshore character like him----"
+
+"He's not!" cried Ruth. "Don't you see that he is playing a part? He is no
+fisherman. No longshore character, as you call him, would be as afraid of
+the sea as he is. He is playing a part--and he plays it just as well as
+the parts Mr. Hooley gives him to play."
+
+"Jove! There may be something in that," murmured the manager.
+
+"He got my script some way, I tell you!" declared Ruth. "I am not going to
+let anybody maul my story and put it over as his own. No, sir!"
+
+"But--but, Miss Ruth!" exclaimed Mr. Hammond. "How are you going to prove
+what you say is true?"
+
+"Prove it?"
+
+"Yes. You see, the burden of proof must be on you."
+
+"But--but don't you believe me?" she murmured.
+
+"Does it matter what I believe?" he asked her gently. "Remember, this man
+has entrusted me with a manuscript that he says is original. At least it
+is written in his own hand. I cannot go back of that unless you have some
+means of proof that his story is your story. Who did you tell about your
+plot, and how you worked it out? Did you read the finished manuscript--or
+any part of it--to any person who can corroborate your statements?"
+
+"Oh, Mr. Hammond!" she cried, with sudden anguish in her voice. "Not a
+soul! Never to a single, solitary person. The girls, nor Aunt Alvirah, nor
+Tom----"
+
+She broke down again and he could not soothe her. She wept with abandon,
+and Mr. Hammond was really anxious for her. He went to the door, whistled
+for one of the boys, and sent for Mrs. Paisley.
+
+But Ruth recovered her composure--to a degree, at least--before the
+motherly old actress came.
+
+"Don't tell anybody! Don't tell anybody!" she sobbed to Mr. Hammond. "They
+will think I am crazy! I haven't a word of proof. Only my word----"
+
+"Against his," said the manager gravely. "I would accept your word, Miss
+Ruth, against the world! But we must have some proof before we
+deliberately accuse this old man of robbing you."
+
+"Yes, yes. I see. I will be patient--if I can."
+
+"The thing to do is to find out who this hermit really is," said Mr.
+Hammond. "Through discovering his private history we may put our finger on
+the thing that will aid you with proof. Good-night, my dear. Try to get
+calm again."
+
+
+
+
+CHAPTER XX
+
+THE GRILL
+
+
+Ruth did not go back to her chums until, under Mother Paisley's comforting
+influence, she had recovered a measure of her self-possession. The old
+actress asked no questions as to the cause of Ruth's state of mind. She
+had seen too many hysterical girls to feel that the cause of her patient's
+breakdown was at all important.
+
+"You just cry all you want to, deary. Right here on Mother Paisley's
+shoulder. Crying will do you good. It is the Good Lord's way of giving us
+women an outlet for all our troubles. When the last tear is squeezed out
+much of the pain goes with it."
+
+Ruth was not ordinarily a crying girl. She had wept more of late,
+beginning with that day at the Red Mill when her scenario manuscript had
+been stolen, than in all her life before.
+
+Her tears were now in part an expression of anger and indignation. She was
+as mad as she could be at this man who called himself "John, the hermit."
+For, whether he was the person who had actually stolen her manuscript, he
+very well knew that his scenario offered to Mr. Hammond was not original
+with him.
+
+The worst of it was, he had mangled her scenario. Ruth could look upon it
+in no other way. His changes had merely muddied the plot and cheapened her
+main idea. She could not forgive that!
+
+The other girls were drowsy when Ruth kissed Mother Paisley good-night and
+entered the small shack. She was glad to escape any interrogation. By
+morning she had gained control of herself, but her eyes betrayed the fact
+that she had not slept.
+
+"You certainly do not look as though you were enjoying yourself down
+here," Tom Cameron said to her at breakfast time, and with suspicion.
+"Maybe we did come to the wrong place for our vacation after all. How
+about it, Ruth? Shall we start off in the cars again and seek pastures
+new?"
+
+"Not now, Tom," she told him, hastily. "I must stay right here."
+
+"Why?"
+
+"Because----"
+
+"That is no sensible reason."
+
+"Let me finish," she said rather crossly. "Because I must see what sort of
+scenario Mr. Hammond finds--if he finds any--in this contest."
+
+"Humph! And you said you and scenarios were done forever! I fancy Mr.
+Hammond is taking advantage of your good nature."
+
+"He is not."
+
+"You are positively snappish, Ruth," complained Tom. "You've changed your
+mind----"
+
+"Isn't that a girl's privilege?"
+
+"Very well, Miladi!" he said, with a deep bow as they rose from the table.
+"However, you need not give all your attention to these prize stories,
+need you? Let's do something besides follow these sun-worshippers around
+to-day."
+
+"All right, Tommy-boy," acclaimed his sister. "What do you suggest?"
+
+"A run along the coast to Reef Harbor where there are a lot of folks we
+know," Tom promptly replied.
+
+"Not in that old _Tocsin_," cried Jennie. "She's so small I can't take off
+my sweater without tipping her over."
+
+"Oh, what a whopper!" gasped Helen.
+
+"Never mind," grinned her twin. "Let Jennie run to the superlatives if she
+likes. Anyway, I would not dream of going so far as the Harbor in that
+dinky little _Tocsin_. I've got my eye on just the craft, and I can get
+her over here in an hour by telephoning to the port. It's the _Stazy_."
+
+"Goody!" exclaimed Jennie Stone. "That big blue yacht! And she's got a
+regular crew--and everything. Aunty won't be afraid to go with us in
+her."
+
+"That's fine, Tom," said his sister with appreciation.
+
+Even Ruth seemed to take some interest. But she suggested:
+
+"Be sure there is gasoline enough, Tom. That _Stazy_ doesn't spread a foot
+of canvas, and we are not likely to find a gas station out there in the
+ocean, the way we did in the hills of Massachusetts."
+
+"Don't fear, Miss Fidget," he rejoined. "Are you all game?"
+
+They were. The girls went to "doll up," to quote the slangy Tom, for Reef
+Harbor was one of the most fashionable of Maine coast resorts and the
+knockabout clothing they had been wearing at Beach Plum Point would never
+do at the Harbor hotels.
+
+The _Stazy_ was a comfortable and fast motor-yacht. As to her
+sea-worthiness even Tom could not say, but she looked all right. And to
+the eyes of the members of Ruth Fielding's party there was no threat of
+bad weather. So why worry about the pleasure-craft's balance and her
+ability to sail the high seas?
+
+"It is only a short run, anyway," Tom said.
+
+As for Colonel Marchand, he had not the first idea about ships or sailing.
+He admitted that only continued fair weather and a smooth sea had kept
+him on deck coming over from France with Jennie and Helen.
+
+At the present time he and Jennie Stone were much too deeply engrossed in
+each other to think of anything but their own two selves. In a fortnight
+now, both the Frenchman and Tom would have to return to the battle lines.
+And they were, deep in their hearts, eager to go back; for they did not
+dream at this time that the German navy would revolt, that the High
+Command and the army had lost their morale, and that the end of the Great
+War was near.
+
+Within Tom's specified hour the party got under way, boarding the _Stazy_
+from a small boat that came to the camp dock for them. It was not until
+the yacht was gone with Ruth Fielding and her party that Mr. Hammond set
+on foot the investigation he had determined upon the night before.
+
+The president of the Alectrion Film Corporation thought a great deal of
+the girl of the Red Mill. Their friendship was based on something more
+than a business association. But he knew, too, that after her recent
+experiences in France and elsewhere, her health was in rather a precarious
+state.
+
+At least, he was quite sure that Ruth's nerves were "all out of tune," as
+he expressed it, and he believed she was not entirely responsible for
+what she had said.
+
+The girl had allowed her mind to dwell so much upon that scenario she had
+lost that it might be she was not altogether clear upon the subject. Mr.
+Hammond had talked with Tom about the robbery at the Red Mill, and it
+looked to the moving picture producer as though there might be some
+considerable doubt of Ruth's having been robbed at all.
+
+In that terrific wind and rain storm almost anything might have blown
+away. Tom admitted he had seen a barrel sailing through the air at the
+height of the storm.
+
+"Why couldn't the papers and note books have been caught up by a gust of
+wind and carried into the river?" Mr. Hammond asked himself. "The river
+was right there, and it possesses a strong current."
+
+The president of the Alectrion Film Corporation knew the Lumano, and the
+vicinity of the Red Mill as well. It seemed to him very probable that the
+scenario had been lost. And the gold-mounted fountain pen? Why, that might
+have easily rolled down a crack in the summer-house floor.
+
+The whole thing was a matter so fortuitous that Mr. Hammond could not
+accept Ruth's version of the loss without some doubt, in any case. And
+then, her suddenly finding in the only good scenario submitted to him by
+any of his company, one that she believed was plagiarized from her lost
+story, seemed to put a cap on the whole matter. Ruth might be just a
+little "off soundings," as the fishermen about Herringport would say. Mr.
+Hammond was afraid that she had been carried into a situation of mind
+where suspicion took the place of certainty.
+
+She had absolutely nothing with which to corroborate her statement. Nobody
+had seen Ruth's scenario nor had she discussed the plot with any person.
+Secrecy necessary to the successful production of anything new in the line
+of picture plays was all right. Mr. Hammond advised it. But in this case
+it seemed that the scenario writer had been altogether too secret.
+
+Had Ruth not chanced to read the hermit's script before making her
+accusation, Mr. Hammond would have felt differently. Better, had she been
+willing to relate to him in the first place the story of the plot of her
+scenario and how she had treated it, her present accusation might have
+seemed more reasonable.
+
+But, having read the really good story scrawled on the scraps of brown
+paper that John, the hermit, had put in the manager's hands, the girl had
+suddenly claimed the authorship of the story. There was nothing to prove
+her claim. It looked dubious at the best.
+
+John, the hermit, was a grim old man. No matter whether he was some old
+actor hiding away here on Beach Plum Point or not, he was not a man to
+give up easily anything that he had once said was his.
+
+The manager was far too wise to accuse the hermit openly, as Ruth had
+accused him. They would not get far with the old fellow that way, he was
+sure.
+
+First of all he called the company together and asked if there were any
+more scenarios to be submitted. "No," being the answer, he told them
+briefly that out of the twenty-odd stories he had accepted one that might
+be whipped into shape for filming--and one only.
+
+Each story submitted had been numbered and the number given to its author.
+The scripts could now be obtained by the presentation of the numbers. He
+did not tell them which number had proved successful. Nor did he let it be
+known that he proposed to try to film the hermit's production.
+
+Mr. Hooley was using old John on this day in a character part. For these
+"types" the director usually paid ten or fifteen dollars a day; but John
+was so successful in every part he was given that Mr. Hooley always paid
+him an extra five dollars for his work. Money seemed to make no difference
+in the hermit's appearance, however. He wore just as shabby clothing and
+lived just as plainly as he had when the picture company had come on to
+the lot.
+
+When work was over for the day, Hooley sent the old man to Mr. Hammond's
+office. The president of the company invited the hermit into his shack and
+gave him a seat. He scrutinized the man sharply as he thus greeted him. It
+was quite true that the hermit did not wholly fit the character he assumed
+as a longshore waif.
+
+In the first place, his skin was not tanned to the proper leathery look.
+His eyes were not those of a man used to looking off over the sea. His
+hands were too soft and unscarred for a sailor's. He had never pulled on
+ropes and handled an oar!
+
+Now that Ruth Fielding had suggested that his character was a disguise,
+Mr. Hammond saw plainly that she must be right. As he was a good actor of
+other parts before the camera, so he was a good actor in his part of
+"hermit."
+
+"How long have you lived over there on the point, John?" asked Mr. Hammond
+carelessly.
+
+"A good many years, sir, in summer."
+
+"How did you come to live there first?"
+
+"I wandered down this way, found the hut empty, turned to and fixed it up,
+and stayed on."
+
+He said it quite simply and without the first show of confusion. But this
+tale of his occupancy of the seaside hut he had repeated frequently, as
+Mr. Hammond very well knew.
+
+"Where do you go in the winter, John?" the latter asked.
+
+"To where it's a sight warmer. I don't have to ask anybody where I shall
+go," and now the man's tone was a trifle defiant.
+
+"I would like to know something more about you," Mr. Hammond said, quite
+frankly. "I may be able to do something with your story. We like to know
+about the person who submits a scenario----"
+
+"That don't go!" snapped the hermit grimly. "You offered five hundred for
+a story you could use. If you can use mine, I want the five hundred. And I
+don't aim to give you the history of my past along with the story. It's
+nobody's business what or who I am, or where I came from, or where I am
+going."
+
+"Hoity-toity!" exclaimed Mr. Hammond. "You are quite sudden, aren't you?
+Now, just calm yourself. I haven't got to take your scenario and pay you
+five hundred dollars for it----"
+
+"Then somebody else will," said the hermit, getting up.
+
+"Ah! You are quite sure you have a good story here, are you?"
+
+"I know I have."
+
+"And how do you know so much?" sharply demanded the moving picture
+magnate.
+
+"I've seen enough of this thing you are doing, now--this 'Seaside Idyl'
+stuff--to know that mine is a hundred per cent. better," sneered the
+hermit.
+
+"Whew! You've a good opinion of your story, haven't you?" asked Mr.
+Hammond. "Did you ever write a scenario before?"
+
+"What is that to you?" returned the other. "I don't get you at all, Mr.
+Hammond. All this cross-examination----"
+
+"That will do now!" snapped the manager. "I am not obliged to take your
+story. You can try it elsewhere if you like," and he shoved the
+newspaper-wrapped package toward the end of his desk and nearer the
+hermit's hand. "I tell you frankly that I won't take any story without
+knowing all about the author. There are too many comebacks in this game."
+
+"What do you mean?" demanded the other stiffly.
+
+"I don't _know_ that your story is original. Frankly, I have some doubt
+about that very point."
+
+The old man did not change color at all. His gray eyes blazed and he was
+not at all pleasant looking. But the accusation did not seem to surprise
+him.
+
+"Are you trying to get it away from me for less than you offered?" he
+demanded.
+
+"You are an old man," said Mr. Hammond hotly, "and that lets you get away
+with such a suggestion as that without punishment. I begin to believe that
+there is something dead wrong with you, John--or whatever your name is."
+
+He drew back the packet of manuscript, opened a drawer, put it within, and
+locked the drawer.
+
+"I'll think this over a little longer," he said grimly. "At least, until
+you are willing to be a little more communicative about yourself. I would
+be glad to use your story with some fixing up, if I was convinced you
+really wrote it all. But you have got to show me--or give me proper
+references."
+
+"Give me back the scenario, then!" exclaimed the old man, his eyes blazing
+hotly.
+
+"No. Not yet. I can take my time in deciding upon the manuscripts
+submitted in this contest. You will have to wait until I decide," said Mr.
+Hammond, waving the man out of his office.
+
+
+
+
+CHAPTER XXI
+
+A HERMIT FOR REVENUE ONLY
+
+
+The bays and inlets of the coast of Maine have the bluest water dotted by
+the greenest islands that one can imagine. And such wild and romantic
+looking spots as some of these islands are!
+
+Just at this time, too, a particular tang of romance was in the air. The
+Germans had threatened to devastate our Atlantic coast from Eastport to
+Key West with a flock of submersibles. There actually were a few
+submarines lurking about the pathways of our coastwise shipping; but, as
+usual, the Hun's boast came to naught.
+
+The young people on the _Stazy_ scarcely expected to see a German
+periscope during the run to Reef Harbor. Yet they did not neglect watching
+out for something of the kind. Skipper Phil Gordon, a young man with one
+arm but a full and complete knowledge of this coast and how to coax speed
+out of a gasoline engine, ordered his "crew" of one boy to remain sharply
+on the lookout, as well.
+
+The _Stazy_ did not, however, run far outside. The high and rocky headland
+that marked the entrance to Reef Harbor came into view before they had
+more than dropped the hazy outline of Beach Plum Point astern.
+
+But until they rounded the promontory and entered the narrow inlet to Reef
+Harbor the town and the summer colony was entirely invisible.
+
+"If a German sub should stick its nose in here," sighed Helen, "it would
+make everybody ashore get up and dust. Don't you think so?"
+
+"Is it the custom to do so when the enemy, he arrive?" asked Colonel
+Marchand, to whom the idiomatic speech of the Yankee was still a puzzle.
+
+"Sure!" replied Tom, grinning. "Sure, Henri! These New England women would
+clean house, no matter what catastrophe arrived."
+
+"Oh, don't suggest such horrid possibilities," cried Jennie. "And they are
+only fooling you, Henri."
+
+"Look yonder!" exclaimed Captain Tom, waving an instructive hand. "Behold!
+Let the Kaiser's underseas boat come. That little tin lizzie of the sea is
+ready for it. Depth bombs and all!"
+
+The grim looking drab submarine chaser lay at the nearest dock, the faint
+spiral of smoke rising from her stack proclaiming that she was ready for
+immediate work. There was a tower, too, on the highest point on the
+headland from which a continual watch was kept above the town.
+
+"O-o-oh!" gurgled Jennie, snuggling up to Henri. "Suppose one of those
+German subs shelled the movie camp back there on Beach Plum Point!"
+
+"They would likely spoil a perfectly good picture, then," said Helen
+practically. "Think of Ruthie's 'Seaside Idyl!'.
+
+"Oh, say!" Helen went on. "They tell me that old hermit has submitted a
+story in the contest. What do you suppose it is like, Ruth?"
+
+The girl of the Red Mill was sitting beside Aunt Kate. She flushed when
+she said:
+
+"Why shouldn't he submit one?"
+
+"But that hermit isn't quite right in his head, is he?" demanded Ruth's
+chum.
+
+"I don't know that it is his head that is wrong," murmured Ruth, shaking
+her own head doubtfully.
+
+Here Jennie broke in. "Is auntie letting you read her story, Ruth?" she
+asked slyly.
+
+"Now, Jennie Stone!" exclaimed their chaperon, blushing.
+
+"Well, you are writing one. You know you are," laughed her niece.
+
+"I--I am just trying to see if I can write such a story," stammered Aunt
+Kate.
+
+"Well, I am sure you could make up a better scenario than that old grouch
+of a hermit," Helen declared, warmly.
+
+Ruth did not add anything to this discussion. What she had discovered
+regarding the hermit's scenario was of too serious a nature to be publicly
+discussed.
+
+Her interview the evening before with Mr. Hammond regarding the matter had
+left Ruth in a most uncertain frame of mind. She did not know what to do
+about the stolen scenario. She shrank from telling even Helen or Tom of
+her discovery.
+
+To tell the truth, Mr. Hammond's seeming doubt--not of her truthfulness
+but of her wisdom--had shaken the girl's belief in herself. It was a
+strange situation, indeed. She thought of the woman she had found
+wandering about the mountain in the storm who had lost control of both her
+nerves and her mind, and Ruth wondered if it could be possible that she,
+too, was on the verge of becoming a nervous wreck.
+
+Had she deceived herself about this hermit's story? Had she allowed her
+mind to dwell on her loss until she was quite unaccountable for her mental
+decisions? To tell the truth, this thought frightened the girl of the Red
+Mill a little.
+
+Practical as Ruth Fielding ordinarily was, she must confess that the shock
+she had received when the hospital in France was partly wrecked, an
+account of which is given in "Ruth Fielding Homeward Bound," had shaken
+the very foundations of her being. She shuddered even now when she thought
+of what she had been through in France and on the voyage coming back to
+America.
+
+She realized that even Tom and Helen looked at her sometimes when she
+spoke of her lost scenario in a most peculiar way. Was it a fact that she
+had allowed her loss to unbalance--well, her judgment? Suppose she was
+quite wrong about that scenario the hermit had submitted to Mr. Hammond?
+The thought frightened her!
+
+At least, she had nothing to say upon the puzzling subject, not even to
+her best and closest friends. She was sorry indeed two hours later when
+they were at lunch on the porch of the Reef Harbor House with some of the
+Camerons' friends that Helen brought the conversation around again to the
+Beach Plum Point "hermit."
+
+"A _real_ hermit?" cried Cora Grimsby, a gay, blonde, irresponsible little
+thing, but with a heart of gold. "And is he a hermit for revenue only,
+too?"
+
+"What do you mean by that?" Helen demanded.
+
+"Why, we have a hermit here, you see. Over on Reef Island itself. If you
+give us a sail in your motor yacht after lunch I'll introduce our hermit
+to you. But you must buy something of him, or otherwise 'cross his palm
+with silver.' He told me one day that he was not playing a nut for summer
+folks to laugh at just for the good of his health."
+
+"Frank, I must say," laughed Tom Cameron.
+
+"I guess he's been in the hermit business before," said Cora, sparkling at
+Tom in his uniform. "But this is his first season at the Harbor."
+
+"I wonder if he belongs to the hermit's union and carries a union card,"
+suggested Jennie Stone soberly. "I don't think we should patronize
+non-union hermits."
+
+"Goody!" cried Cora, clapping her hands. "Let's ask him."
+
+Ruth said nothing. She rather wished she might get out of the trip to Reef
+Island without offending anybody. But that seemed impossible. She really
+had seen all the hermits she cared to see!
+
+She could not, however, be morose and absent-minded in a party of which
+Cora Grimsby and Jennie Stone were the moving spirits. It was a gay crowd
+that crossed the harbor in the _Stazy_ to land at a roughly built dock
+under the high bluff of the wooded island.
+
+"There's the hermit!" Cora cried, as they landed. "See him sitting on the
+rock before the door of his cabin?"
+
+"Right on the job," suggested Tom.
+
+"No unlucky city fly shall escape that spider's web," cried Jennie.
+
+He was a patriarchal looking man. His beard swept his breast. He wore
+shabby garments, was barefooted, and carried a staff as though he were
+lame or rheumatic.
+
+"Dresses the part much better than our hermit does," Helen said, in
+comment.
+
+The man met the party from the _Stazy_ with a broad smile that displayed a
+toothless cavity of a mouth. His red-rimmed eyes were moist looking, not
+to say bleary. Ruth smelled a distinct alcoholic odor on his breath. A
+complete drouth had evidently not struck this part of the State of Maine.
+
+"Good day to ye!" said the hermit. "Some o' you young folks I ain't never
+seed before."
+
+"They are my friends," Cora hastened to explain, "and they come from Beach
+Plum Point."
+
+"Do tell! If you air goin' back to-night, better make a good v'y'ge of it.
+We're due for a blow, I allow. You folks ain't stoppin' right on the
+p'int, be ye?"
+
+Ruth, to whom he addressed this last question, answered that they were,
+and explained that there was a large camp there this season, and why.
+
+"Wal, wal! I want to know! Somebody did say something to me about a gang
+of movin' picture folks comin' there; but I reckoned they was a-foolin'
+me."
+
+"There is a good sized party of us," acknowledged Ruth.
+
+"Wal, wal! Mebbe that fella I let my shack to will make out well, then,
+after all. Warn't no sign of ye on the beach when I left three weeks ago".
+
+"Did you live there on the point?" asked Ruth.
+
+"Allus do winters. But the pickin's is better over here at the Harbor at
+this time of year."
+
+"And the man you left in your place? Where is your house on the point?"
+
+The hermit "for revenue only" described the hut on the eastern shore in
+which the other "hermit" lived. Ruth became much interested.
+
+"Tell me," she said, while the others examined the curios the hermit had
+for sale, "what kind of man is this you left in your house? And who is
+he?"
+
+"Law bless ye!" said the old man. "I don't know him from Adam's off ox.
+Never seed him afore. But he was trampin' of it; and he didn't have much
+money. An' to tell you the truth, Miss, that hutch of mine ain't wuth much
+money."
+
+She described the man who had been playing the hermit since the Alectrion
+Film Corporation crowd had come to Beach Plum Point.
+
+"That's the fella," said the old man, nodding.
+
+Ruth stood aside while he waited on his customers and digested these
+statements regarding the man who claimed the authorship of the scenario of
+"Plain Mary."
+
+Not that Ruth would have desired to acknowledge the scenario in its
+present form. She felt angry every time she thought of how her plot had
+been mangled.
+
+But she was glad to learn all that was known about the Beach Plum Point
+hermit. And she had learned one most important fact.
+
+He was not a regular hermit. As Jennie Stone suggested, he was not a
+"union hermit" at all. And he was a stranger to the neighborhood of
+Herringport. If he had been at the Point only three weeks, as this old man
+said, "John, the hermit," might easily have come since Ruth's scenario was
+stolen back there at the Red Mill!
+
+Her thoughts began to mill again about this possibility. She wished she
+was back at the camp so as to put the strange old man through a
+cross-examination regarding himself and where he had come from. She had no
+suspicion as to how Mr. Hammond had so signally failed in this very
+matter.
+
+
+
+
+CHAPTER XXII
+
+AN ARRIVAL
+
+
+Mr. Hammond was in no placid state of mind himself after the peculiarly
+acting individual who called himself "John, the hermit," left his office.
+The very fact that the man refused to tell anything about his personal
+affairs--who he really was, or where he came from--induced the moving
+picture producer to believe there must be something wrong about him.
+
+Mr. Hammond went to the door of the shack and watched the man tramping up
+the beach toward the end of the point. What a dignified stride he had!
+Rather, it was the stride of a poseur--like nothing so much as that of the
+old-time tragedian, made famous by the Henry Irving school of actors.
+
+"An ancient 'ham' sure enough, just as the boys say," muttered the
+manager.
+
+The so-called hermit disappeared. The moving picture people were gathering
+for dinner. The sun, although still above the horizon, was dimmed by
+cloud-banks which were rising steadily to meet clouds over the sea.
+
+A wan light played upon the heaving "graybacks" outside the mouth of the
+harbor. The wind whined among the pines which grew along the ridge of
+Beach Plum Point.
+
+A storm was imminent. Just as Mr. Hammond took note of this and wished
+that Ruth Fielding and her party had returned, a snorting automobile
+rattled along the shell road and halted near the camp.
+
+"Is this the Alectrion Film Company?" asked a shrill voice.
+
+"This is the place, Miss," said the driver of the small car.
+
+The chauffeur ran his jitney from the railroad station and was known to
+Mr. Hammond. The latter went nearer.
+
+Out of the car stepped a girl--a very young girl to be traveling alone.
+She was dressed in extreme fashion, but very cheaply. Her hair was bobbed
+and she wore a Russian blouse of cheap silk. Her skirt was very narrow,
+her cloth boots very high, and the heels of them were like those of
+Jananese clogs.
+
+What with the skimpy skirt and the high heels she could scarcely walk. She
+was laden with two bags--one an ancient carpet-bag that must have been
+seventy-five years old, and the other a bright tan one of imitation
+leather with brass clasps. She wore a coal-scuttle hat pulled down over
+her eyes so that her face was quite extinguished.
+
+Altogether her get-up was rather startling. Mr. Hammond saw Jim Hooley
+come out of his tent to stare at the new arrival. She certainly was a
+"type."
+
+There was a certain kind of prettiness about the girl, and aside from her
+incongruous garments she was not unattractive--when her face was revealed.
+Mr. Hammond's interest increased. He approached the spot where the girl
+had been left by the jitney driver.
+
+"You came to see somebody?" he asked kindly. "Who is it you wish to see?"
+
+"Is this the moving picture camp, Mister?" she returned.
+
+"Yes," said the manager, smiling. "Are you acquainted with somebody who
+works here?"
+
+"Yes. I am Arabella Montague Fitzmaurice," said the girl, with an air that
+seemed to show that she expected to be recognized when she had recited her
+name.
+
+Mr. Hammond refrained from open laughter. He only said:
+
+"Why--that is nice. I am glad to meet you, my dear. Who are you looking
+for?"
+
+"I want to see my pa, of course. I guess you know who _he_ is?"
+
+"I am not sure that I do, my dear."
+
+"You don't--Say! who are you?" demanded Bella, with some sharpness.
+
+"I am only the manager of the company. Who is your father, child?"
+
+"Well, of all the---- Wouldn't that give you your nevergitovers!"
+exclaimed Bella, in broad amazement. "Say! I guess my pa is your leading
+man."
+
+"Mr. Hasbrouck? Impossible!"
+
+"Never heard of him," said Bella, promptly. "Montague Fitzmaurice, I
+mean."
+
+"And I never heard of him," declared Mr. Hammond, both puzzled and amused.
+
+"What?" gasped the girl, almost stunned by this statement. "Maybe you know
+him as Mr. Pike. That is our honest-to-goodness name--Pike."
+
+"I am sorry that you are disappointed, my dear," said the manager kindly.
+"But don't be worried. If you expected to meet your father here, perhaps
+he will come later. But really, I have no such person as that on my staff
+at the present time."
+
+"I don't know---- Why!" cried Bella, "he sent me money and said he
+was working here. I--I didn't tell him I was coming. I just got sick of
+those Perkinses, and I took the money and went to Boston and got dressed
+up, and then came on here. I--I just about spent all the money he sent me
+to get here."
+
+"Well, that was perhaps unwise," said Mr. Hammond. "But don't worry. Come
+along now to Mother Paisley. She will look out for you--and you can stay
+with us until your father appears. There is some mistake somewhere."
+
+By this speech he warded off tears. Bella hastily winked them back and
+squared her thin shoulders.
+
+"All right, sir," she said, picking up the bags again. "Pa will make it
+all right with you. He wrote in his letter as if he had a good
+engagement."
+
+Mr. Hammond might have learned something further about this surprising
+girl at the time, but just as he introduced her to Mother Paisley one of
+the men came running from the point and hailed him:
+
+"Mr. Hammond! There's a boat in trouble off the point. I think she was
+making for this harbor. Have you got a pair of glasses?"
+
+Mr. Hammond had a fine pair of opera glasses, and he produced them from
+his desk while he asked:
+
+"What kind of boat is it, Maxwell?"
+
+"Looks like that blue motor that Miss Fielding and her friends went off in
+this morning. We saw it coming along at top speed. And suddenly it
+stopped. They can't seem to manage it----"
+
+The manager hurried with Maxwell along the sands. The sky was completely
+overcast now, and the wind whipped the spray from the wave tops into their
+faces. The weather looked dubious indeed, and the manager of the film
+corporation was worried before even he focused his glasses upon the
+distant motor-boat.
+
+
+
+
+CHAPTER XXIII
+
+TROUBLE--PLENTY
+
+
+Even Ruth Fielding had paid no attention to the warning of the Reef Island
+hermit regarding a change in the weather, in spite of the fact that she
+was anxious to return to the camp near Herringport. It was not until the
+_Stazy_ was outside the inlet late in the afternoon that Skipper Phil
+Gordon noted the threatening signs in sea and sky.
+
+"That's how it goes," the one-armed mariner said. "When we aren't
+dependent on the wind to fill our canvas, we neglect watching every little
+weather change. She's going to blow by and by."
+
+"Do you think it will be a real storm?" asked Ruth, who sat beside him at
+the steering wheel and engine, watching how he managed the mechanism.
+
+"Maybe. But with good luck we will make Beach Plum Point long before it
+amounts to anything."
+
+The long graybacks were rather pleasant to ride over at first. Even Aunt
+Kate was not troubled by the prospect. It was so short a run to the
+anchorage behind the Point that nobody expressed fear.
+
+When the spray began to fly over the bows the girls merely squealed a bit,
+although they hastily found extra wraps. If the _Stazy_ plunged and
+shipped half a sea now and then, nobody was made anxious. And soon the
+Point was in plain view.
+
+To make the run easier, however, Skipper Gordon had sailed the motor-yacht
+well out to sea. When he shifted the helm to run for the entrance to the
+bay, the waves began to slap against the _Stazy's_ side. She rolled
+terrifically and the aspect of affairs was instantly changed.
+
+"Oh, dear me!" moaned Jennie Stone. "How do you feel, Henri? I did not
+bargain for this rough stuff, did you? Oh!"
+
+"'Mister Captain, stop the ship, I want to get off and walk!'" sang Helen
+gaily. "Don't lose all hope, Heavy. You'll never sink if you do go
+overboard."
+
+"Isn't she mean?" sniffed the plump girl. "And I am only afraid for
+Henri's sake."
+
+"I don't like this for my own sake," murmured Aunt Kate.
+
+"Are you cold, dear?" her niece asked, with quick sympathy. "Here! I don't
+really need this cape with my heavy sweater."
+
+She removed the heavy cloth garment from her own shoulders and with a
+flirt sought to place it around Aunt Kate. The wind swooped down just then
+with sudden force. The _Stazy_ rolled to leeward.
+
+"Oh! Stop it!"
+
+Bulging under pressure of the wind, the cape flew over the rail. Jennie
+tried to clutch it again; Henri plunged after it, too. Colliding, the two
+managed between them to miss the garment altogether. It dropped into the
+water just under the rail.
+
+"Of all the clumsy fingers!" ejaculated Helen. But she could not seize the
+wrap, although she darted for it. Nor could Ruth help, she being still
+farther forward.
+
+"Now, you've done it!" complained Aunt Kate.
+
+The boat began to rise on another roller. The cape was sucked out of sight
+under the rail. The next moment the whirling propeller was stopped--so
+abruptly that the _Stazy_ shook all over.
+
+"Oh! what has happened?" shrieked Helen.
+
+Ruth started up, and Tom seized her arm to steady her. But the girl of the
+Red Mill did not express any fear. The shock did not seem to affect her so
+much as it did the other girls. Here was a real danger, and Ruth did not
+lose her self-possession.
+
+Phil Gordon had shut off the power, and the motor-boat began to swing
+broadside to the rising seas.
+
+"The propeller is broken!" cried Tom.
+
+"She's jammed. That cape!" gasped the one-armed skipper. "Here! Tend to
+this till I see what can be done. Jack!" he shouted to his crew. "This
+way--lively, now!"
+
+But Ruth slipped into his place before Tom could do so.
+
+"I know how to steer, Tommy," she declared. "And I understand the engine.
+Give him a hand if he needs you."
+
+"Oh, we'll turn turtle!" shrieked Jennie, as the boat rolled again.
+
+"You'll never become a turtle, Jen," declared Tom, plunging aft. "Turtles
+are dumb!"
+
+The _Stazy_ was slapped by a big wave, "just abaft the starboard bow," to
+be real nautical, and half a ton of sea-water washed over the forward deck
+and spilled into the standing-room of the craft.
+
+Henri had wisely closed the door of the cabin. The water foamed about
+their feet. Ruth found herself knee deep for a moment in this flood. She
+whirled the wheel over, trying to bring up the head of the craft to meet
+the next wave.
+
+"Oh, my dear!" groaned Jennie Stone. "We are going to be drowned."
+
+"Drowned, your granny!" snapped Helen angrily. "Don't be such a silly,
+Jennie."
+
+Ruth stood at the wheel with more apparent calmness than any of them. Her
+hair had whipped out of its fastenings and streamed over her shoulders.
+Her eyes were bright and her cheeks aglow.
+
+Helen, staring at her, suddenly realized that this was the old Ruth
+Fielding. Her chum had not looked so much alive, so thoroughly competent
+and ready for anything, before for weeks.
+
+"Why--why, Ruthie!" Helen murmured, "I believe you like this."
+
+Her chum did not hear the words, but she suddenly flashed Helen a
+brilliant smile. "Keep up your pluck, child!" she shouted. "We'll come out
+all right."
+
+Again the _Stazy_ staggered under the side swipe of a big wave.
+
+"Ye-ow!" yelped Tom in the stern, almost diving overboard.
+
+"Steady!" shouted Skipper Gordon, excitedly.
+
+"Steady she is, Captain!" rejoined Ruth Fielding, and actually laughed.
+
+"How can you, Ruth?" complained Jennie, clinging to Henri Marchand. "And
+when we are about to drown."
+
+"Weeping will not save us," flung back Ruth.
+
+Her strong hands held the wheel-spokes with a grip unbreakable. She could
+force the _Stazy's_ head to the seas.
+
+"Can you start the engine on the reverse, Miss?" bawled Gordon.
+
+"I can try!" flashed Ruth. "Say when."
+
+In a moment the cry came: "Ready!"
+
+"Aye, aye!" responded Ruth, spinning the flywheel.
+
+The spark caught almost instantly. The exhaust sputtered.
+
+"Now!" yelled the skipper.
+
+Ruth threw the lever. The boat trembled like an automobile under the
+propulsion of the engine. The propeller shaft groaned.
+
+"Ye-ow!" shouted the excited Tom again.
+
+This time he sprawled back into the bottom of the boat, tearing away a
+good half of Jennie's cape in his grip. The rest of the garment floated to
+the surface. It was loose from the propeller.
+
+"Full speed ahead!" shouted the one-armed captain of the motor-boat.
+
+Ruth obeyed the command. The _Stazy_ staggered into the next wave. The
+water that came in over her bow almost drowned them, but Ruth, hanging to
+the steering wheel, brought the craft through the roller without swamping
+her.
+
+"Good for our Ruth!" shouted Helen, as soon as she could get her breath.
+
+"Oh, Ruth! you always come to our rescue," declared Jennie gratefully.
+
+"Hi! I thought you were a nervous wreck, young lady," Tom sputtered,
+scrambling forward to relieve her. "Get you into a tight corner, and you
+show what you are made of, all right."
+
+The girl of the Red Mill smiled at them. She had done something! Nor did
+she feel at all overcome by the effort. The danger through which they had
+passed had inspired rather than frightened her.
+
+"Why, I'm all right," she told Tom when he reached her. "This is great!
+We'll be behind the shelter of the Point in a few minutes. There's nothing
+to worry about."
+
+"You're all right, Ruth," Tom repeated, admiringly. "I thought you'd lost
+your grip, but I see you haven't. You are the same old Ruthie Fielding,
+after all."
+
+
+
+
+CHAPTER XXIV
+
+ABOUT "PLAIN MARY"
+
+
+Mr. Hammond and the actors with him had no idea of the nature of the
+accident that had happened to the _Stazy_. From the extreme end of Beach
+Plum Point they could merely watch proceedings aboard the craft, and
+wonder what it was all about.
+
+The manager could, however, see through his glasses that Ruth Fielding was
+at the wheel. Her face came out clear as a cameo when he focused the opera
+glasses upon her. And at the change in the girl's expression he marveled.
+
+Those ashore could do nothing to aid the party on the motor-yacht; and
+until it got under way again Mr. Hammond was acutely anxious. It rolled so
+that he expected it to turn keel up at almost any moment.
+
+Before the blasts of rain began to sweep across the sea, however, the
+_Stazy_ was once more under control. At that most of the spectators made
+for the camp and shelter. But the manager of the film corporation waited
+to see the motor-yacht inside the shelter of Beach Plum Point.
+
+The rain was falling heavily, and not merely in gusts, when Ruth and her
+friends came ashore in the small boat. The lamps were lit and dinner was
+over at the main camp. Therefore the automobile touring party failed to
+see Bella Pike or hear about her arrival. By this time the girl had gone
+off to the main dormitory with Mother Paisley, and even Mr. Hammond did
+not think of her.
+
+Nor did the manager speak that evening to Ruth about the hermit's scenario
+or his interview with the old man regarding it.
+
+The three girls and Aunt Kate changed their clothing in the little shack
+and then joined the young men in the dining room for a late supper. Aunt
+Kate was to stay this night at the camp. There was a feeling of much
+thankfulness in all their hearts over their escape from what might have
+been a serious accident.
+
+"Providence was good to us," said Aunt Kate. "I hope we are all properly
+grateful."
+
+"And properly proud of Ruthie!" exclaimed Helen, squeezing her chum's
+hand.
+
+"Don't throw too many bouquets," laughed Ruth. "It was not I that tore
+Jennie's cape out of the propeller. I merely obeyed the skipper's
+orders."
+
+"She is a regular Cheerful Grig again, isn't she?" demanded Jennie,
+beaming on Ruth.
+
+"I have been a wet blanket on this party long enough. I just begin to
+realize how very unpleasant I have been----"
+
+"Not that, Mademoiselle!" objected Henri.
+
+"But yes! Hereafter I will be cheerful. Life is worth living after all!"
+
+Tom, who sat next to her at table (he usually managed to do that) smiled
+at Ruth approvingly.
+
+"Bravo!" he whispered. "There are other scenarios to write."
+
+"Tom!" she whispered sharply, "I want to tell you something about that."
+
+"About what?"
+
+"My scenario."
+
+"You don't mean----"
+
+"I mean I know what has become of it."
+
+"Never!" gasped Tom. "Are you--are--you----"
+
+"I am not '_non compos_,' and-so-forth," laughed Ruth. "Oh, there is
+nothing foolish about this, Tom. Let me tell you."
+
+She spoke in so low a tone that the others could not have heard had they
+desired to. She and Tom put their heads together and within the next few
+minutes Ruth had told him all about the hermit's scenario and her
+conviction that he had stolen his idea and a large part of his story from
+Ruth's lost manuscript.
+
+"It seems almost impossible, Ruth," gasped her friend.
+
+"No. Not impossible or improbable. Listen to what that man on Reef Island
+told me about this hermit, so-called." And she repeated it all to the
+excited Tom. "I am convinced," pursued Ruth, "that this hermit could
+easily have been in the vicinity of the Red Mill on the day my manuscript
+disappeared."
+
+"But to prove it!" cried Tom.
+
+"We'll see about that," said Ruth confidently. "You know, Ben told us he
+had seen and spoken to a tramp-actor that day. Uncle Jabez saw him, too.
+And you, Tom, followed his trail to the Cheslow railroad yards."
+
+"So I did," admitted her friend.
+
+"I believe," went on Ruth earnestly, "that this man who came here to live
+on Beach Plum Point only three weeks ago, is that very vagrant. It is
+plain that this fellow is playing the part of a hermit, just as he plays
+the parts Mr. Hooley casts him for."
+
+"Whew!" whistled Tom. "Almost do you convince me, Ruth Fielding. But to
+prove it is another thing."
+
+"We _will_ prove it. If this man was at the Red Mill on that particular
+day, we can make sure of the fact."
+
+"How will you do it, Ruth?"
+
+"By getting one of the camera men to take a 'still' of the hermit, develop
+it for us, and send the negative to Ben. He and Uncle Jabez must remember
+how that traveling actor looked----"
+
+"Hurrah!" exclaimed Tom, jumping up to the amazement of the rest of the
+party. "That's a bully idea."
+
+"What is it?" demanded Helen. "Let us in on it, too."
+
+But Ruth shook her head and Tom calmed down.
+
+"Can't tell the secret yet," Helen's twin declared. "That would spoil it."
+
+"Oh! A surprise! I love surprises," said Jennie Stone.
+
+"I don't. Not when my chum and my brother have a secret from me and won't
+let me in on it," and Helen turned her back upon them in apparent
+indignation.
+
+After that Ruth and Tom discussed the matter with more secrecy. Ruth said
+in conclusion:
+
+"If he was there at the mill the day my story was stolen, and now submits
+this scenario to Mr. Hammond--and it is merely a re-hash of mine, Tom, I
+assure you----"
+
+"Of course I believe you, Ruth," rejoined the young fellow.
+
+"Mr. Hammond should be convinced, too," said the girl.
+
+But there was a point that Tom saw very clearly and which Ruth Fielding
+did not seem to appreciate. She still had no evidence to corroborate her
+claim that the hermit's story of "Plain Mary" was plagiarized from her
+manuscript.
+
+For, after all, nobody but Ruth herself knew what her scenario had been
+like!
+
+
+
+
+CHAPTER XXV
+
+LIFTING THE CURTAIN
+
+
+Ruth slept peacefully and awoke the next morning in a perfectly serene
+frame of mind. She was quite as convinced as ever that she had been robbed
+of her scenario; and she was, as well, sure that "John, the hermit," had
+produced his picture play from her manuscript. But Ruth no longer felt
+anxious and excited about it.
+
+She clearly saw her way to a conclusion of the matter. If the old actor
+was identified by Ben and Uncle Jabez as the tramp they had seen and
+conversed with, the girl of the Red Mill was pretty sure she would get the
+best of the thief.
+
+In the first place she considered her idea and her scenario worth much
+more than five hundred dollars. If by no other means, she would buy the
+hermit's story at the price Mr. Hammond was willing to pay for it--and a
+little more if necessary. And if possible she would force the old actor to
+hand over to her the script that she had lost.
+
+Thus was her mind made up, and she approached the matter in all
+cheerfulness. She had said nothing to anybody but Tom, and she did not see
+him early in the morning. One of the stewards brought the girls' breakfast
+to the shack; so they knew little of what went on about the camp at that
+time.
+
+The rain had ceased. The storm had passed on completely. Soon after
+breakfast Ruth saw the man who called himself "John, the hermit," making
+straight for Mr. Hammond's office.
+
+That was where Ruth wished to be. She wanted to confront the man before
+the president of the film corporation. She started over that way and ran
+into the most surprising incident!
+
+Coming out of the cook tent with a huge apron enveloping her queer, tight
+dress and tilting forward upon her high heels, appeared Bella Pike! Ruth
+Fielding might have met somebody whose presence here would have surprised
+her more, but at the moment she could not imagine who it could be.
+
+"Ara-bella!" gasped Ruth.
+
+The child turned to stare her own amazement. She changed color, too, for
+she knew she had done wrong to run away; but she smiled with both eyes and
+lips, for she was glad to see Ruth.
+
+"My mercy!" she ejaculated. "If it ain't Miss Fielding! How-do, Miss
+Fielding? Ain't it enough to give one their nevergitovers to see you
+here?"
+
+"And how do you suppose I feel to find you here at Beach Plum Point,"
+demanded Ruth, "when we all thought you were so nicely fixed with Mr. and
+Mrs. Perkins? And Mrs. Holmes wrote to me only the other day that you
+seemed contented."
+
+"That's right, Miss Fielding," sighed the actor's child. "I was. And Miz
+Perkins was always nice to me. Nothing at all like Aunt Suse Timmins. But,
+you see, they ain't like pa."
+
+"Did your father bring you here?"
+
+"No'm."
+
+"Nor send for you?"
+
+"Not exactly," confessed Bella.
+
+"Well!"
+
+"You see, he sent me money. Only on Tuesday. Forty dollars."
+
+"Forty dollars! And to a child like you?"
+
+"Well, Miss Fielding, if he had sent it to Aunt Suse I'd never have seen a
+penny of it. And pa didn't know what you'd done for me and how you'd put
+me with Miz Perkins."
+
+"I suppose that is so," admitted the surprised Ruth. "But why did you come
+here?"
+
+"'Cause pa wrote he had an engagement here. I came through Boston, an' got
+me a dress, and some shoes, and a hat--all up to date--and I thought I'd
+surprise pa----"
+
+"But, Bella! I haven't seen your father here, have I?"
+
+"No. There's a mistake somehow. But this nice Miz Paisley says for me not
+to worry. That like enough pa will come here yet."
+
+"I never!" ejaculated Ruth. "Come right along with me, Bella, and see Mr.
+Hammond. Something must be done. Of course, Mrs. Perkins and the doctor's
+wife have no idea where you have gone?"
+
+"Oh, yes'm. I left a note telling 'em I'd gone to meet pa."
+
+"But we must send them a message that you are all right. Come on, Bella!"
+and with her arm about the child's thin shoulders, Ruth urged her to Mr.
+Hammond's office--and directly into her father's arms!
+
+This was how Arabella Montague Fitzmaurice Pike came to meet her
+father--in a most amazing fashion!
+
+"Pa! I never did!" half shrieked the queer child.
+
+"Arabella! Here? How strange!" observed the man who had been acting the
+part of the Beach Plum Point hermit. "My child!"
+
+Mr. Pike could do nothing save in a dramatic way. He seized Bella and
+hugged her to his bosom in a most stagy manner. But Ruth saw that the
+man's gray eyes were moist, that his hands when he seized the girl really
+trembled, and he kissed Bella with warmth.
+
+"I declare!" exclaimed Mr. Hammond. "So your name is
+something-or-other-Fitzmaurice Pike?"
+
+"John Pike, if it please you. The other is for professional purposes
+only," said Bella's father. "If you do not mind, sir," he added, "we will
+postpone our discussion until a later time. I--I would take my daughter to
+my poor abode and learn of her experience in getting here to Beach Plum
+Point."
+
+"Go as far as you like, Mr. Pike. But remember there has got to be a
+settlement later of this matter we were discussing," said the manager
+sternly.
+
+The actor and his daughter departed, the former giving Ruth a very curious
+look indeed. Mr. Hammond turned a broad smile upon the girl of the Red
+Mill.
+
+"What do you know about _that_?" Mr. Hammond demanded. "Why, Miss Ruth,
+yours seems to have been a very good guess. That fellow is an old-timer
+and no mistake."
+
+"My guess was good in more ways than one," said Ruth. "I believe I can
+prove that this Pike was at the Red Mill on the day my scenario was
+stolen."
+
+She told the manager briefly of the discovery she had made through the
+patriarchal old fellow on Reef Island the day before, and of her intention
+of sending a photograph of Pike back home for identification.
+
+"Good idea!" declared Mr. Hammond. "I will speak to Mr. Hooley. There are
+'stills' on file of all the people he is using here on the lot at the
+present time. If you are really sure this man's story is a plagiarism on
+your own----"
+
+She smiled at him. "I can prove that, too, I think, to your satisfaction.
+I feel now that I can sit down and roughly sketch my whole scenario again.
+I must confess that in two places in this 'Plain Mary' this man Pike has
+really improved on my idea. But as a whole his manuscript does not flatter
+my story. You'll see!"
+
+"Truly, you are a different young woman this morning, Miss Ruth!"
+exclaimed her friend. "I hope this matter will be settled in a way
+satisfactory to you. I really think there is the germ of a splendid
+picture in this 'Plain Mary.'"
+
+"And believe me!" laughed Ruth, "the germ is mine. You'll see," she
+repeated.
+
+She proved her point, and Mr. Hammond did see; but the outcome was through
+quite unexpected channels. Ruth did not have to threaten the man who had
+made her all the trouble. John M. F. Pike made his confession of his own
+volition when they discussed the matter that very day.
+
+"I feel, Miss Fielding, after all that you did for my child, that I cannot
+go on with this subterfuge that, for Bella's sake, I was tempted to engage
+in. I did seize upon your manuscript in that summer-house near the mill
+where they say you live, and I was prepared to make the best use of it
+possible for Bella's sake.
+
+"We have had such bad luck! Poverty for one's self is bad enough. I have
+withstood the slings and arrows of outrageous fortune for years. But my
+child is growing up----"
+
+"Would you want her to grow up to know that her father is a thief?" Ruth
+demanded hotly.
+
+"Hunger under the belt gnaws more potently than conscience," said Pike,
+with a grandiloquent gesture. "I had sought alms and been refused at that
+mill. Lurking about I saw you leave the summer-house and spied the gold
+pen. I can give you a pawn ticket for that," said Mr. Pike sadly. "But I
+saw, too, the value of your scenario and notes. Desperately I had
+determined to try to enter this field of moving pictures. It is a terrible
+come down, Miss Fielding, for an artist--this mugging before the camera."
+
+He went on in his roundabout way to tell her that he had no idea of the
+ownership of the scenario. Her name was not on it, and he had not
+observed her face that day at the Red Mill. And in his mind all the time
+had been his own and his child's misery.
+
+"It was a bold attempt to forge success through dishonesty," he concluded
+with humility.
+
+Whether Ruth was altogether sure that Pike was quite honest in his
+confession or not, for Bella's sake she could not be harsh with the old
+actor. Nor could he, Ruth believed, be wholly bad when he loved his child
+so much.
+
+As he turned over to Ruth every scrap of manuscript, as well as the
+notebooks she had lost, she need not worry about establishing her
+ownership of the script.
+
+When Mr. Hammond had examined her material he agreed with Ruth that in two
+quite important places Bella's father had considerably improved the
+original idea of the story.
+
+This gave Ruth the lead she had been looking for. Mr. Hammond admitted
+that the story was much too fine and too important to be filmed here at
+this summer camp. He decided to make a great spectacular production of it
+at the company's main studio later in the fall.
+
+So Ruth proceeded to force Bella's father to accept two hundred dollars in
+payment for what he had done on the story. As her contract with Mr.
+Hammond called for a generous royalty, she would make much more out of
+the scenario than the sum John Pike had hoped to get by selling the stolen
+idea to Mr. Hammond.
+
+The prospects of Bella and her father were vastly improved, too. His work
+as a "type" for picture makers would gain him a much better livelihood
+than he had been able to earn in the legitimate field. And when Ruth and
+her party left Beach Plum Point camp for home in their automobiles, Bella
+herself was working in a two-reel comedy that Mr. Hooley was directing.
+
+"Well, thank goodness!" sighed Helen, "Ruth has settled affairs for two
+more of her 'waifs and strays.' Now don't, I beg, find anybody else to
+become interested in during our trip back to the Red Mill, Ruthie."
+
+Ruth was sitting beside Tom on the front seat of the big touring car. He
+looked at her sideways with a whimsical little smile.
+
+"I wish you would turn over a new leaf, Ruthie," he whispered.
+
+"And what is to be on that new leaf?" she asked brightly.
+
+"Just me. Pay a little attention to yours truly. Remember that in a week I
+shall go aboard the transport again, and then----"
+
+"Oh, Tom!" she murmured, clasping her hands, "I don't want to think of it.
+If this awful war would only end!"
+
+"It's the only war so far that hasn't ended," he said. "And I have a
+feeling, anyway, that it may not last long. Henri and I have got to hurry
+back to finish it up. Leave it to us, Ruth," and he smiled.
+
+But Ruth sighed. "I suppose I shall have to, Tommy-boy," she said. "And do
+finish it quickly! I do not feel as though I could return to college, or
+write another scenario, or do a single, solitary thing until peace is
+declared."
+
+"And _then_?" asked Tom, significantly.
+
+Ruth gave him an understanding smile.
+
+
+                                THE END
+
+
+
+                   *       *       *       *       *
+
+
+
+                      THE RUTH FIELDING SERIES
+                         By ALICE B. EMERSON
+    _12mo. Illustrated.  Price per volume, 65 cents, postpaid_
+
+            _Ruth Fielding will live in juvenile Fiction_.
+
+    RUTH FIELDING OF THE RED MILL
+        _or Jasper Parloe's Secret_
+
+    RUTH FIELDING AT BRIARWOOD HALL
+        _or Solving the Campus Mystery_
+
+    RUTH FIELDING AT SNOW CAMP
+        _or Lost in the Backwoods_
+
+    RUTH FIELDING AT LIGHTHOUSE POINT
+        _or Nita, the Girl Castaway_
+
+    RUTH FIELDING AT SILVER RANCH
+        _or Schoolgirls Among the Cowboys_
+
+    RUTH FIELDING ON CLIFF ISLAND
+        _or The Old Hunter's Treasure Box_
+
+    RUTH FIELDING AT SUNRISE FARM
+        _or What Became of the Raby Orphans_
+
+    RUTH FIELDING AND THE GYPSIES
+        _or The Missing Pearl Necklace_
+
+    RUTH FIELDING IN MOVING PICTURES
+        _or Helping the Dormitory Fund_
+
+    RUTH FIELDING DOWN IN DIXIE
+        _or Great Days in the Land of Cotton_
+
+    RUTH FIELDING AT COLLEGE
+        _or The Missing Examination Papers_
+
+    RUTH FIELDING IN THE SADDLE
+        _or College Girls in the Land of Gold_
+
+    RUTH FIELDING IN THE RED CROSS
+        _or Doing Her Bit for Uncle Sam_
+
+    RUTH FIELDING AT THE WAR FRONT
+        _or The Hunt for a Lost Soldier_
+
+    RUTH FIELDING HOMEWARD BOUND
+        _or A Red Cross Worker's Ocean Perils_
+
+    RUTH FIELDING DOWN EAST
+        _or The Hermit of Beach Plum Point_
+
+    RUTH FIELDING IN THE GREAT NORTHWEST
+        _or The Indian Girl Star of the Movies_
+
+    RUTH FIELDING ON THE ST. LAWRENCE
+        _or The Queer Old Man of the Thousand Islands_
+
+    RUTH FIELDING TREASURE HUNTING
+        _or A Moving Picture that Became Real_
+
+
+          CUPPLES & LEON COMPANY, Publishers     New York
+
+
+
+
+                     THE BETTY GORDON SERIES
+                        BY ALICE B. EMERSON
+          _Author of the Famous "Ruth Fielding" Series_
+         _12mo. Cloth. Illustrated. Jacket in full colors_
+              _Price per volume, 65 cents, postpaid_
+
+          _A series of stories by Alice B. Emerson which
+          are bound to make this writer more popular than
+          ever with her host of girl readers._
+
+    1.  BETTY GORDON AT BRAMBLE FARM
+        _or The Mystery of a Nobody_
+  At the age of twelve Betty is left an orphan.
+  Her uncle sends her to live on a farm.
+
+    2.  BETTY GORDON IN WASHINGTON
+        _or Strange Adventures in a Great City_
+  In this volume Betty goes to the National Capitol to find her
+  uncle and has several unusual adventures.
+
+    3.  BETTY GORDON IN THE LAND OF OIL
+        _or The Farm That Was Worth a Fortune_
+  From Washington the scene is shifted to the great oil fields of
+  our country. A splendid picture of the oil field operations of to-day.
+
+    4.  BETTY GORDON AT BOARDING SCHOOL
+        _or The Treasure of Indian Chasm_
+  Seeking the treasure of Indian Chasm makes an exceedingly interesting
+  incident.
+
+    5.  BETTY GORDON AT MOUNTAIN CAMP
+        _or The Mystery of Ida Bellethorne_
+  At Mountain Camp Betty found herself in the midst of a mystery
+  involving a girl whom she had previously met in Washington.
+
+    6.  BETTY GORDON AT OCEAN PARK
+        _or Gay Days on the Boardwalk_
+  Adventure in high society let loose on the seashore.
+
+              _Send For Our Free Illustrated Catalogue_
+
+
+          CUPPLES & LEON COMPANY, Publishers     New York
+
+
+
+
+                     THE GIRL SCOUT SERIES
+                         BY LILIAN GARIS
+         _12mo. Cloth. Illustrated. Jacket in full colors_
+              _Price per volume, 65 cents, postpaid_
+
+          _The highest ideals of girlhood as advocated
+          by the foremost organizations of America
+          form the background for these stories and while
+          unobtrusive there is a message in every volume._
+
+    1. THE GIRL SCOUT PIONEERS
+        _or Winning the First B. C._
+  A story of the True Tred Troop in a Pennsylvania
+  town. Two runaway girls, who
+  want to see the city, are reclaimed through
+  troop influence. The story is correct in scout
+  detail.
+
+    2.  THE GIRL SCOUTS AT BELLAIRE
+        _or Maid Mary's Awakening_
+  The story of a timid little maid who is afraid to take part in
+  other girls' activities, while working nobly alone for high ideals.
+  How she was discovered by the Bellaire Troop and came into her
+  own as "Maid Mary" makes a fascinating story.
+
+    3.  THE GIRL SCOUTS AT SEA CREST
+        _or The Wig Wag Rescue_
+  Luna Land, a little island by the sea, is wrapt in a mysterious
+  seclusion, and Kitty Scuttle, a grotesque figure, succeeds in keeping
+  all others at bay until the Girl Scouts come.
+
+    4.  THE GIRL SCOUTS AT CAMP COMALONG
+        _or Peg of Tamarack Hills_
+  The girls of Bobolink Troop spend their summer on the shores of
+  Lake Hocomo. Their discovery of Peg, the mysterious rider, and
+  the clearing up of her remarkable adventures afford a vigorous plot.
+
+    5.  THE GIRL SCOUTS AT ROCKY LEDGE
+        _or Nora's Real Vacation_
+  Nora Blair is the pampered daughter of a frivolous mother. Her
+  dislike for the rugged life of Girl Scouts is eventually changed to
+  appreciation, when the rescue of little Lucia, a woodland waif,
+  becomes a problem for the girls to solve.
+
+              _Send For Our Free Illustrated Catalogue_
+
+
+          CUPPLES & LEON COMPANY, Publishers     New York
+
+
+
+
+                      THE RADIO GIRLS SERIES
+                        BY MARGARET PENROSE
+          _12mo. Cloth. Illustrated. Jacket in full colors_
+              _Price per volume, 65 cents, postpaid_
+
+          _A new and up-to-date series, taking in the
+          activities of several bright girls who become
+          interested in radio. The stories tell of thrilling
+          exploits, out-door life and the great part the
+          Radio plays in the adventures of the girls and
+          in solving their mysteries. Fascinating books
+          that girls of all ages will want to read._
+
+    1.  THE RADIO GIRLS OF ROSELAWN
+        _or A Strange Message from the Air_
+  Showing how Jessie Norwood and her chums became interested
+  in radiophoning, how they gave a concert for a worthy local charity,
+  and how they received a sudden and unexpected call for help out
+  of the air. A girl who was wanted as a witness in a celebrated law
+  case had disappeared, and how the radio girls went to the rescue is
+  told in an absorbing manner.
+
+    2.  THE RADIO GIRLS ON THE PROGRAM
+        _or Singing and Reciting at the Sending Station_
+  When listening in on a thrilling recitation or a superb concert
+  number who of us has not longed to "look behind the scenes" to see
+  how it was done? The girls had made the acquaintance of a sending
+  station manager and in this volume are permitted to get on the program,
+  much to their delight. A tale full of action and not a little
+  fun.
+
+    3.  THE RADIO GIRLS ON STATION ISLAND
+        _or The Wireless from the Steam Yacht_
+  In this volume the girls travel to the seashore and put in a vacation
+  on an island where is located a big radio sending station. The big
+  brother of one of the girls owns a steam yacht and while out with a
+  pleasure party those on the island receive word by radio that the
+  yacht is on fire. A tale thrilling to the last page.
+
+              _Send For Our Free Illustrated Catalogue_
+
+
+  CUPPLES & LEON COMPANY, Publishers     New York
+
+
+
+***END OF THE PROJECT GUTENBERG EBOOK RUTH FIELDING DOWN EAST***
+
+
+******* This file should be named 23116.txt or 23116.zip *******
+
+
+This and all associated files of various formats will be found in:
+https://www.gutenberg.org/dirs/2/3/1/1/23116
+
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+https://www.gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at https://www.gutenberg.org/fundraising/pglaf.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at https://www.gutenberg.org/about/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit https://www.gutenberg.org/fundraising/donate
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit:
+https://www.gutenberg.org/fundraising/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart was the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Most people start at our Web site which has the main PG search facility:
+
+     https://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
diff --git a/23116.zip b/23116.zip
new file mode 100644
index 0000000..8e7e798
--- /dev/null
+++ b/23116.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..a9ac59d
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #23116 (https://www.gutenberg.org/ebooks/23116)