The Phantom Herd Part 11

"We'll eat when we have more time!" Luck shouted back. "Send Applehead out here, will you?"

Presently Applehead appeared with a large piece of cake in one hand and a well-picked chicken wing in the other. "What yuh want?" he inquired lazily, in the tone that implies extreme physical comfort.

"I want your big team to haul some lumber out from town. Where are they?

If you don't mind catching them up while I help get this stuff unloaded, we'll have things moving around here directly."

"Sh.o.r.e I'll ketch 'em up fur ye, soon as I find Compadre and give him this here bone. He's been kinda off his feed since that coyote clumb his frame. He was under the house, but I reckon so many strange voices kinda got his goat. There ain't ary yowl to be got outa that hole no more.

Come, kitty-kitty-kitty!"

Luck threw out his hands despairingly, and then laughed. Applehead's tender solicitude for his cat was a fixed characteristic of the man, and Luck knew there was no profit in argument upon the subject. He began unloading the lighter pieces of baggage while the boys fed the livery teams. The others came straggling down from the house, lighting their after-dinner cigarettes and glancing curiously at the adobe out-buildings which were so different from anything in Montana. The sagebrush slopes wore a comfortable air of familiarity, even though the boys were more accustomed to bunch gra.s.s; but an adobe stable was a novelty.

Fast as they came near him, Luck put them to work. There was plenty to do before they could even begin work on the Big Picture, but Luck seemed to have thought out all the details of camp-setting with the same attention to trifles which he had shown in the making of a picture. In half an hour he had every one busy, including old Applehead, who, having located Compadre in the stable loft and left the chicken wing at the top of the ladder, had saddled his horse and gone off into a far pasture to bring in all the horses down there, so that Luck could choose whatever animals he wished to use. Dave Wiswell, the dried little man, was helping Rosemary wash the dishes and put away the food supplies they had brought out with them, as fast as Happy Jack could carry them up from the wagon. Andy Green was ruthlessly emptying the only closet--a roomy one, fortunately--in the house, and tacking up black paper which Luck had brought, so that it might serve as a dark room. Big Medicine and Pink were clearing out the one-roomed adobe cabin which Applehead called the "ketch-all," so that the boys could sleep there until the bunk-house was repaired.

Luck was unpacking his camera and swearing softly to himself while he set it up, and wishing that his experience as a.s.sistant camera-man was not quite so far in the past. He foresaw difficulties with that camera until he got in practice, but he did not say anything about it to the others.

He got it together finally, put in the two-hundred-foot magazine of negative that he had brought with him to use while waiting for his big order to arrive, made a few light tests, and went up to the house to see if Andy had the dark room dark enough.

He found Andy defending himself as best he could from a small domestic storm. In his anxiety to have that dark room fixed just the way Luck wanted it, Andy had purloined a shelf which Rosemary needed, and which she meant to have, if words could restore it to its place behind the kitchen stove. Andy had the shelf down and was taking out bent nails with a new hammer when Luck came to the door with his arms full of packages of chemicals and a ruby lamp.

"What can a fellow do?" Andy was inquiring plaintively. "There ain't another board on the place that's the right width. I looked. Luck's got to have a shelf; you don't expect him to keep all his junk on the floor, do you? I'm sorry, but I've just got to have it, girl."

"You've just got to put that shelf back, Andy. Where do you expect me to put things? There isn't a pantry on the place, and only that one d.i.n.ky little cupboard over there. I can't keep my dishes on the floor, and cooking is going to be pretty important, itself, around this camp!"

"Soon as the lumber gets here, I'll have Andy build you a cupboard," Luck soothed her. "You haven't got many conveniences here, and that's a fact.

But we'll get things straightened out, _p.r.o.nto_. Got any bones or sc.r.a.ps left, Mrs. Andy? That little black dog that followed us out is here yet.

He didn't go back with the boys. I found him curled up in the wagon shed just now; poor little devil looks about starved. His ribs stand out worse than a cow that's wintered on a sheep range."

With Rosemary's attention diverted to the little black dog, Andy got the shelf nailed firmly upon the wall of the dark room. And immediately Luck proceeded to use it to its fullest capacity and announced that he needed another one, whereat Andy groaned.

"Say, I'm a brave man, all right, but I don't dare to swipe any more shelves," he protested. "Not from my wife, anyway. Timber must sure be scarce in this man's country. I never did see a place so shy of boards as this ranch is."

"Well, let's see if there are any barrels," said Luck. "I've been studying on how to rig up some way to develop my film. If we can find some half barrels and knock the heads out, I can wind the negative around them with the emulsion side out, and dip it in the bigger barrels of developer; see how I mean? Believe me, this laboratory problem is going to be a big one till I can see my way to getting tanks and film racks out here. But I believe barrels will work all right. And, say! There's some old hose I saw out by the windmill tank; you get that, and see if you can't run it under the house and up through a hole in the floor. I expect it leaks in forty places, but maybe you can mend it. And we ought to have some way to run the water out in a trough or something. You see what you can do about that, Andy, while I go and unpack the rest of my camera outfit. There's a garret up over the ceiling, here, and you'll have to see what shape it's in for drying film. Stop all the cracks so dust can't blow in. I want to start taking scenes to-morrow morning, you know. I've got two hundred feet of raw stock to work with till the other gets here.

I've got to develop my tests before to-morrow so I'll know what I'm doing. I can't afford to spoil any film."

"Well, hardly," Andy agreed. "By gracious, I hope you're making the rest of the bunch hump themselves, too. Honest, I'd die if I saw anybody sitting around in the shade, right now!"

"Andy, did you go and take that shelf after all?" came the reproachful voice of Rosemary from the kitchen, and Luck retreated by way of the front door without telling Andy just how busy the other boys were.

The "ketch-all," where Big Medicine and Pink were clearing out the acc.u.mulation of years, was enveloped in a cloud of dust. Down in the corral a dozen horses were circling, with Applehead moving cautiously about in the middle dragging his loop and making ready for a throw. There was one snuffy little bay gelding that he meant to turn over to Luck for a saddle horse, and he wanted to get him caught and in the stable before showing him to Luck. Happy Jack was wobbling up the path with an oversized sack of potatoes balanced on his shoulder, and his face a deep crimson from the heat and his exertions. Down in the stable the little black dog, enlivened by the plate of bones Rosemary had given him, had scented the cat in the loft and was barking hysterically up the ladder.

Luck stepped out briskly, cheered by the atmosphere of bustling preparation which surrounded him. That he was the moving spirit which directed all these activities stimulated him like good old wine. It was for his Big Picture that they were preparing. Already his brain was at work upon the technique of picture production, formulating a system which should as far as possible eliminate the risk of failure because of the handicaps under which he must work.

Having to be his own camera-man, and to work without an a.s.sistant, piled high the burden of work and responsibility; but he could not afford to pay the salaries such a.s.sistants would demand. He had a practical knowledge of camera craft, since he had worked his way up through all branches of the game, and he was sure that with practice he could do the photographic work. He hoped to teach Andy enough about it so that he could help; Andy seemed to have an adaptability superior to some of the others and would learn the rudiments readily, Luck believed.

The lack of a leading woman was another handicap. He could not afford to hire one, and he could not very well weave a love story into his plot without a woman. He was going to try Rosemary, since her part would consist mostly of riding in and out of scenes and looking pretty,--at least in the earlier portion. And by the time he was ready to produce the dramatic scenes, he hoped that she would be able to act the part. It was a risk, of course, and down deep in his heart he feared that much of her charm would never reach the screen; but he must manage somehow, since there would be no money to spend on salaries. He ought to have a character woman, too,--which he lacked.

But other things he did have, and they were the things that would count most for success or failure. He had his real boys, for instance; and he had his real country; and, last and most important of all, he had his story to tell. In spite of his weariness, Luck was almost happy that first afternoon at Applehead's ranch. He went whistling about his task of directing the others and doing two men's work himself, and he refused to worry about anything.

That evening after supper, when they were all smoking and resting before Applehead's big rock fireplace, Luck's energy would not let him dwell upon the trivial incidents of their trip, which the Happy Family were discussing with reminiscent enjoyment. Applehead's booming laugh was to Luck as a vague accompaniment to his own thoughts darting here and there among his plans.

"Aw, gwan!" Happy Jack was exclaiming in his habitual tone of protest.

"Conductor lied to me, is how I come to be over to that place when the train started to pull out. I was buyin' something. I wasn't talking to no Mexican girl. I betche--"

"Now, while we're all together," Luck broke suddenly into Happy's explanation, "I'm just going over the scenario from start to finish and a.s.sign your parts. Applehead, I'm going to cast you for the sheriff. You won't need to do any acting at all--"

"We-ell, if I do, I calc'late I got some idee uh how a shurf had oughta ack," Applehead informed him with a boastful note in his voice, and pulled himself up straighter in his chair. "I was 'lected shurf uh this county four different terms right hand runnin', and if I do say it, they wasn't n.o.body ever said I didn't do my duty. Ary man I went after, I come purty near bringin' him into camp, now I'm tellin' ye! This here old girl has sh.o.r.e talked out in meetin', in her time, and there wasn't ary man wanted to face her down in an argument, now I'm tellin' ye." He got up and took his old six-shooter off the mantel and held it lovingly in his palm. Very solemnly he licked his thumb and polished a certain place along the edge of the yellow ivory handle, and held it so the Happy Family could see three tiny notches.

"Them's three argyments she sh.o.r.e settled," he stated grimly, and turned slowly upon Luck.

"Yes-s, I calc'late I can play shurf for ye, all right enough."

Luck looked up at him with his eyes shining, remembering how staunch a friend Applehead had been in times past, and how even his boastings were but a nave recognition of facts concerning himself. Applehead Forrman was fifty-six years old, but Luck could not at that moment recall a man more dangerous to meet as an enemy or more loyal to have as a friend.

"I calc'late you can," he agreed in his soft, friendly drawl. "Sit down and turn your good ear this way, Applehead, so this story can soak in.

You'll see where you come in as sheriff, and you'll sabe just what you'll have to do. Bud, here, will be the outlaw that blows into the cow-camp and begins to mix things. He's the one you'll have to settle. So here's the way the story runs:"

"Say, boss, make it short and sweet, can't you?" Andy begged. He was sitting on the floor with his head against Rosemary's knees, and his eyelids were drooping drowsily. "By gracious, n.o.body'll have to sing me to sleep to-night! I'm about ready to hit the hay right now."

"I'll cut out the atmosphere and just stick to the action, then," Luck conceded. "I want to get you all placed, so we can get to work in the morning without any delay. _Sabe_?"

"Shoot," murmured Pink, opening his eyes with some effort "I can listen for five minutes, maybe."

"I can't, I don't believe," the Native Son yawned. "But go ahead, _amigo_. My heart's with you, anyway, whether my eyes are open or shut."

Luck was pretty sleepy himself, after two nights and a day spent in a chair car, with another day of hard labor to finish the ordeal. But his enthusiasm had never been keener than when, in the land of sage and cactus, he first unfolded his precious scenario and bent forward to read by the light of the fire. He forgot to skip the "atmosphere."

Scene by scene he lived the story through. Scene by scene he saw his Big Picture grow vivid as ever the reality would be. Once or twice he glanced up and saw Applehead leaning forward with his elbows on his knees and his pipe gone cold in his fingers, absorbed, living the story even as Luck lived it.

A long, rumbling snore stopped him with a mental jolt. He came back to reality and looked at the Happy Family. Every one of them, save Rosemary, was sound asleep; and even Rosemary was dreaming at the fire with her eyes half closed, and her fingers moving caressingly through the unconscious Andy's brown hair.

"Let 'em be. You go ahead and read it out," Applehead muttered, impatient of the pause.

So Luck, with his audience dwindled to one bald-headed old rangeman, read the story of what he meant to create out there in the wild s.p.a.ces of New Mexico.

CHAPTER ELEVEN

JUST A FEW UNFORESEEN OBSTACLES

It is surprising how much time is consumed by the little things of life,--unimportant in themselves, yet absolutely necessary to a satisfactory accomplishment of the big things. Luck, looking ahead into the next day, confidently expected to be making scenes by the time the light was right,--say nine o'clock in the morning. He had chosen several short, unimportant scenes, such as the departure of old Dave Wiswell, his cattleman of the picture, from the ranch; his return, and the saddling of horses and riding away of the boys. Also he meant to make a scene of the arrival of the sheriff after having received word of the presence of Big Medicine, the outlaw, at the ranch. Rosemary, too, as the daughter of old Dave, must run down to the corral to meet her father. Scattered scenes they were, occurring in widely separated parts of the story. But they had to be made, and they required no especial "sets" of scenery; and other work, such as the building of the stage for interior sets, could go on with few interruptions. The boys would have to work in their make-up, but since the make-up was to be nothing more than a sharpening of the features to make them look absolutely natural upon the screen, it would not be uncomfortable. This was what Luck had planned for that day.

Before breakfast he had selected a site for his stage, on the sunny side of the hill back of the house, where it would be partially sheltered from the sweeping winds of New Mexico. All day he would have the sun behind him while he worked, and he considered the situation an ideal one. He had the lumber hauled up there and unloaded, while Rosemary and Applehead were cooking breakfast for ten hungry people. He laid out his foundation and explained to the boys just how it should be built, and even sacrificed his appet.i.te to his impatience by going a quarter of a mile to where he remembered seeing some old barbed wire strung along a fence to keep it off the ground so that stock could not tangle in it. He got the wire and brought it back with him to guy out the uprights for the diffusers. So on the whole he began the day as well as even he could desire.

Then little hindrances began to creep in to delay him. For one thing, the Happy Family had only a comedy acquaintance with grease paint, and their make-up reminded Luck unpleasantly of Bently Brown's stories. As they appeared one by one, with their comically crooked eyebrows and their rouge-widened lips and staring, deep-shadowed eyes, Luck sent them back to take it all off and start over again under his supervision. The outcome was that he gave a full hour to making up the faces of his characters and telling them how to do it themselves. Even Rosemary made her brows too heavy and her lips too red, and her cheeks were flushed unevenly. Luck was a busy man that morning, but he was not taking scenes by nine o'clock, for all his haste.

With a kindly regard for Rosemary's nervousness lest she fail him, he set up his camera and told her to walk down part way to the corral, looking--supposedly--to see if her dad had come home. She must stand there irresolutely, then turn and walk back toward the camera, registering the fact that she was worried. That sounds simple enough, doesn't it?

What Luck most wanted was to satisfy himself as to whether Rosemary could possibly play the part of old Dave's daughter. If she could, he would sleep sounder that night; if she could not,--Luck was not at all clear as to what he should do if she failed. He told her just where to walk into the "scene," which is the range of the camera. He went down part way to the corral and drew a line with his toe, and told her to stop when she reached that line and to look away up the trail which wound down among the rocks and sage. When he called to her she was to turn and walk back, trying to imagine that she was much worried and disappointed.