Ruth Fielding In the Red Cross; Doing Her Best For Uncle Sam. Emerson Alice B.
is in it and we must think of our own boys who are going, rather than of the needs of the French, or the British, or even the Belgians.”
“Oh, Ruth!” cried Helen suddenly, “perhaps Madame Picolet might help us to get over there.”
“Over to France?”
“I mean to get into some work in France. She knows us. She may have some influence,” said the eager Helen.
But Ruth slowly shook her head. “No,” she said. “If I go over there it must be to work for our own boys. They are going. They will need us. I want to do my all for Uncle Sam – for these United States – and,” she added, pointing to Uncle Jabez’s flag upon the pole in front of the Red Mill farmhouse, “for the blessed old flag. I am sorry for the wounded of our allies; but the time has come now for us to think of the needs of our own soldiers first. They are going over. First our regular army and the guard; then the boys of the draft.”
“Ah, yes! The boys of the draft,” sighed Helen.
Suddenly Ruth seized her chum’s wrist. “I’ve got it, Helen! That is it! ‘The boys of the draft.’”
“Goodness! What’s the matter with you now?” demanded Helen, wide-eyed.
“We will screen it. It will be great!” cried Ruth. “I’ll go and see Mr. Hammond at once. I can write the scenario in a few days, and it will not take long to film it. The story of the draft, and what the Red Cross can and will do for the boys over there. Put it on the screen and show it wherever a Red Cross drive is made during the next few months. We’ll do it, Helen!”
“Oh! Yes! We’ll – do – it!” gasped her chum breathlessly. “You mean that you will do it and that I haven’t the first idea of what it is you mean to do.”
“Of course you have. A big film called ‘The Boys of the Draft,’ taking a green squad right through their training from the very first day they are in camp. Fake the French and war scenes, of course, but show the spectators just what may and will happen over there and what the Red Cross will do for the brave hearts who fight for the country.”
Ruth was excited. No doubt of that. Her cheeks burned. Her eyes shone. She gestured vigorously.
“I know you don’t see it as I do, honey,” she added. “I can visualize the whole thing right now. And Helen!”
“Goodness, yes!” gasped Helen. “What now?”
“I’m going to make Uncle Jabez see it! You just see if I don’t.”
CHAPTER VI – THE PATRIOTISM OF THE PURSE
While she was yet at boarding school at Briarwood Hall Ruth had been successful in writing a scenario for the Alectrion Film Corporation. This is told of in “Ruth Fielding in Moving Pictures.” Its production had been a matter to arouse both the interest and amazement of her friends. Mr. Hammond, the president of the film-producing company, considered her a genius in screen matters, and it was a fact that she had gained a very practical grasp of the whole moving picture business.
“The Heart of a Schoolgirl,” which Ruth had written under spur of a great need at Briarwood Hall, had practically rebuilt one of the dormitories which had been destroyed by fire at a time when the insurance on that particular building had run out.
One of her romantic scenarios had been screened at the Red Mill and on the picturesque Lumano and along its banks. Then, less than a year before, “The Forty-Niners” had been made; and during the succeeding winter this picture had been shown all over the country and, as the theatrical people say, “had played to big business.”
Ruth had bought stock in the corporation and was sometimes actually consulted now by Mr. Hammond and the heads of departments as to the policies of the concern. As the president of the corporation had already written her, the time was about ripe for another “big” film.
Ruth Fielding was expected to suggest the idea, at least, although the working out of the story would probably be left to the director in the field. He knew his people, his properties, and his locations. The bare skeleton of the story was what Mr. Hammond wanted.
Ruth’s success in making virile “The Forty-Niners” urged Mr. Hammond to hope for something as good from her now. And, like most composers of every kind, the real inspiration for the new reel wonder had leaped to life on the instant in her brain.
The idea of “The Boys of the Draft” came from her talk with her chum, Helen Cameron. Helen had a limited amount of pride in Ruth’s success on this occasion for, as she said, she had blunderingly “sicked Ruth on.” But, oddly enough, Ruth Fielding’s first interest in the success of the new picture was in what effect it might have upon Uncle Jabez Potter’s purse.
The drive for Red Cross contributions was on now all over the country. That effort confined to the county in which Cheslow and the Red Mill were located had begun early; but it had gone stumblingly. Indeed, as Helen said, if it was a drive, it was about like driving home the cows!
Mr. Cameron had expected much of Ruth and his own daughter among the farming people; but they were actually behind the collectors who worked in the towns. It was at a time in the year when the men of the scattered communities were working hard out of doors; and it is difficult to interest farmers in anything but their crops during the growing season. Indeed, it is absolutely necessary that they should give their main attention to those crops if a good harvest is to be secured.
But Ruth felt that she was failing in this work for the Red Cross just because she could not interest her uncle, the old miller, sufficiently in the matter. If she could not get him enthused, how could she expect to obtain large contributions from strangers?
After seeing a screen production of Ruth’s play of the old West Uncle Jabez had for the first time realized what a really wonderful thing the filming of such pictures was. He admitted that Ruth’s time was not being thrown away.
Then, he respected the ability of anybody who could make money, and he saw this girl, whom he had “taken in out of charity” as he had more than once said, making more money in a given time – and making it more easily – than he did in his mill and through his mortgages and mining investments.
If Uncle Jabez did not actually bow down to the Golden Calf, he surely did think highly of financial success. And he had begun to realize that all this education Ruth had been getting (quite unnecessary he had first believed) had led her into a position where she was “making good.”
Through this slant in Uncle Jabez’s mind the girl began to hope that she might encourage him to do much more for the cause her heart was so set on than he seemed willing to do. Uncle Jabez was patriotic, but his patriotism had not as yet affected his pocket.
As soon as Uncle Jabez knew that Ruth contemplated helping to make another picture he showed interest. He wanted to know about it, and he figured with Aunt Alvirah “how much that gal might make out’n her idees.”
“For goodness’ sake, Jabez Potter!” exclaimed the little old woman, “ain’t you got airy idee in your head ’cept money making?”
“I calc’late,” said the miller grimly, “that it’s my idees about money in the past has give me what I’ve got.”
“But our Ruthie is going to git up a big, patriotic picture – somethin’ to stir the hearts of the people when they think the boys air actually going over to help them French folks win the war.”
“I wish,” cried the old woman shrilly, “that I warn’t too old and too crooked, to do something myself for the soldiers. But my back an’ my bones won’t let me, Jabez. And I ain’t got no bank account. All I can do is to pray.”
The miller looked at her with his usual grim smile. Perhaps it was a little quizzical on this occasion.
“Do you calc’late to do any prayin’ about this here filum Ruth is going to make, ‘The Boys of the Draft’?” he asked.
“I sartinly be – for her success and the good it may do.”
“By gum! she’ll make money,