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.”