The Phantom Herd

CHAPTER FIVE

A BUNCH OF ONE-REELERS FROM BENTLY BROWN

The Manager of the Acme Film Company cleared his throat with a rasping noise that sounded very loud, coming as it did after fifteen minutes of complete silence. Luck, smoking a cigarette absent-mindedly by the window while he stared out across two vacant lots to a tawdry apartment house,—and saw a sage-covered plain instead of what was before his eyes,—started from his daydream and glanced at Martinson inquiringly. "Well, what do you think of it?" he asked.

Martinson cleared his throat again, and shuffled the typed sheets in his hands. "Seems to lack action, don't it?" he hazarded reluctantly. "Of course, this is a rough draft; I realize that. I suppose you'll strengthen up the plot, later on. Chance for some good cattle-stealing complications, I should think. But I'd boil it down to two reels, Luck, if I were you. There's a lot of atmosphere you couldn't get, anyway—"

"I can get every foot of that atmosphere," Luck put in crisply.

"Oh, I suppose—but you don't want that much. Too expensive, where it doesn't carry the action along. I'd put in some dance-hall scenes; you haven't enough interiors. Make your lead a victim of card sharps, why don't you, and have his sister come there after him? You could get some great dramatic action—have her meet the heavy there—"

"After the tried-and-tested recipe. Sure, Mart! We can take the middle out of that Her-Brother's-Honor film and use that; and if you're afraid the public may recognize it, we'll run it backwards. Or we can mix it with some Western-Girl's-Romance film, or take—"

"Now, Luck, wait a minute. Wait-a-minute!" Martinson's hand went up in the approved gesture of stopping another's speech. "You can give it an original twist. You know you can; you always have."

Luck swore, accustomed though he was to the makeshifts of the business. The street cars had stopped running the night before, while he was still hammering that scenario out on the typewriter; the street cars had stopped running, and the steam heat had been turned off in the hotel where he lived, and he had finished with an old Mexican serape draped about his person for warmth. But his enthusiasm had not cooled, though his room grew chill. He had gone to bed when the typing was done, and had dreamed scene after scene vividly while he slept. Still glowing with the pride of creation, he had read the script while his breakfast coffee had cooled, and he had been the first man in the office, so eager was he to share his secret and see Martinson's eyes gleam with impatience to have the story filmed.

Knowing this, you will know also why he swore. Martinson thrust out his under lip at the oath, and tossed the script neatly into the clear space on the desk. "Oh, if that's the way you feel about it!" His tone was trenchant. "Sorry I offered any suggestions. There are some good bits, if they're worked up right, and I naturally supposed you wanted my opinion."

"I did. I never saw you square up to anything but the same old dime-novel West before. I wanted to see how it would hit you."

"Well, it don't." Martinson waited a minute while that sunk in. When he spoke again, his manner was that of a man who has dismissed a disagreeable subject, and has taken up important business.

"We've made quite a haul since you left. A bunch of one-reelers from Bently Brown. You'll eat 'em up, Luck,—all those stories of his featuring the adventures of the XY cowboys. You've read 'em; everybody has, according to him. They'll be cheap to put on, because the same sets and the same locations will do for the lot. Same cast, too. He blew in here temporarily hard up and wanting to unload, and we got the whole series for next to nothing." He opened a desk drawer, and took out a bundle of folded scripts tied with a dingy blue tape. Martinson was a matter-of-fact man; he really did not understand just how much Luck's new story meant to its author. If he had, he surely would not have been quite so brisk and so frankly elated over that untidy lot of Bently Brown scenarios.

"I had all the synopses numbered and put on top here," he went on, "so you can run them over and see what they're like. A small company will do, Luck. That's one point that struck me. Two or three die, on an average, in the first four hundred feet of every story; so you can double a lot. I've had Clements go over them and start the carpenters on the street set where most of the exterior action takes place; we're behind on releases, you know, and these ought to be rushed. You'd better go over and see how he's making out; you may want to make some changes."

Luck hesitated so long that Martinson was on the edge of withdrawing the proffered scripts. But he took them finally, and ran his eye disparagingly over the titles. "Bently Brown!" he said, as though he were naming something disagreeable. "I'm to film Bently Brown's blood-and-battle stuff, am I?" He grinned, with the corners of his mouth tipped downward so that you never would have suspected it of ever producing Luck's famous smile. "I might turn them into comedy," he suggested. "I expect I could get a punch by burlesquing—"

"Punch!" Martinson pushed his chair back impetuously. "Punch? Why, my godfrey, man, that stuff's all punch!"

Luck curved a palm over his too-expressive mouth while he skimmed the central idea from two or three synopses. Martinson watched him uneasily. Martinson claimed to keep one finger pressed firmly upon the public pulse—wherever that may be found—and to be ever alert for its warning flutterings. Martinson claimed to know a great deal about what the public liked in the way of moving pictures. He believed in Luck's knowledge of the West, but he did not believe that the public would stand for the real West at all; the public, he maintained, wanted its West served hot and strong and reeking with the smoke of black powder. So—

"Well, the market demands that sort of thing," he declared, arguing against that curved palm and the telltale wrinkles around Luck's eyes. "It's all tommyrot, of course. I don't say it's good; I say it's the stuff that goes. We're here to make what the public will pay to look at." Martinson, besides keeping his finger on the public pulse and attending to the marketing of the Acme wares and watching that expenses did not run too high, found a little time in which to be human. "I know, Luck," the human side of him observed sympathetically; "it's just made-to-order melodrama, but business is simply rotten, old man. We've just got to release films the market calls for. There's no art-for-art's-sake in the movie business, and you know it. Now, personally, I like that scenario of yours—"

"Forget it!" said Luck crisply, warning him off the subject. To make the warning keener-edged, he lifted the typed sheets over which he had worked so late the night before, glanced at the top one, gave a snort, and tore them twice down the length of them with vicious twists of his fingers. He did not mean to be spectacular; he simply felt that way at that particular moment, and he indulged the impulse to destroy something. He dropped the fragments into Martinson's waste basket, picked up the bundle of scripts and his hat, and went out with his mouth pulled down at the corners and with his neck pretty stiff.

He went swinging across the studio yard and on past the great stage where the carpenters halted their work while they greeted him, and looked after him and spoke of him when he had passed. Early idlers—extras with high hopes and empty pockets—sent him wistful glances which he did not see at all; though he did see Andy Green and his wife (who had been Rosemary Allen). These two stood hesitating just within the half-open, high board gate fifty yards away. Luck waved his hand and swerved toward them.

"Howdy! Where's the rest of the bunch?" he called out as they hurried up to him. Whereupon the group of extras were sharp bitten by the envy of these two strangers, spoken to so familiarly by Luck Lindsay.

"Do you know, I feel sure the boys are being held in the lost-child place at the police station!" Rosemary Green, twinkled her brown eyes at him from between strands of crinkly brown hair. "I had tags all fixed, with name, age, owner's address and all that, and I was going to hang them around the boys' necks with pale blue ribbon—pale blue would be so becoming! But do you know, I couldn't find them! I feel worried. I should hate to waste thirty-nine cents worth of pale blue ribbon. I can't wear it myself; it makes me look positively swarthy." Rosemary Green had a most captivating way of saying swarthy.

The corners of Luck's mouth came up instantly. "We'll have to send out scouting parties. I need that bunch of desperadoes. Let's look over by the corrals. I've got to go over and see what kind of a street set they're knocking together, anyway.

"Hello! I have sure-enough crying need for all you strays," he exclaimed five minutes later, when they came upon the Flying TJ boys standing disconsolately at the head of the street "set" upon which carpenters were hammering and sawing and painters were daubing. Luck's eyes chilled as he took in the stereotyped "Western" crudeness of the set.

"Well, we sure need you—and need you bad," Pink retorted. "We want to know what town was peeled so they could set the rind up like that and call it a street? Between you and me, Luck, it don't look good to me, back or front. You walk into what claims to be a saloon, and come out on a view of the hills. They tell me the bar of that imitation saloon is away over there on that platform, and they say the bottles are all full of tea. That right?"

Luck nodded gloomily. "Soon as they get the set up, it's going to be your privilege to come boiling out of that saloon, shooting two guns, Pink," he prophesied. "You'll have the fun of killing half a dozen boys that come down from this end shooting as they ride." He put his cigarette between his lips and began to untie the dingy blue tape that bound the scenarios together.

"Ever read any of Bently Brown's stories? They wished a bunch of them on to me while I was gone and couldn't defend myself," he said, as one who breaks bad news. "I'm certainly sorry about this, boys. It's a long way from what I brought you out here to do; and if you want to, you can call the deal off and go home. Rip-snorting, rotten melodrama—cheap as ice in Alaska. Stuff I hate—because it's the stuff that cheapens the West in pictures."

"What about our range picture?" Andy Green began anxiously.

Luck choked back an oath because of Andy's wife. "Ah—they're married to the idea that this rot is what sells best. They don't know what a real Western picture is: they never saw one. And they're afraid to take a chance. I was in hopes—but Mart's the big chief, you know. He'd gone and loaded up with this trash, and so he couldn't see my story at all. I get his viewpoint, all right; he's keen to pry off some real money, and he's afraid to experiment with new tools. But it does seem pretty raw to put you boys working on this cheap studio stuff after getting you out here to do something worth while."

"We're to stay right here, then?" Weary spoke the question that was in the minds of all of them.

"That's the present outlook," Luck confessed with bitterness. "I don't need real country for this junk. I was all primed to show him where I'd have to take my company to New Mexico, but I didn't say anything about it when he sprung this Bently Brown business. This will all be made right here at the studio and out in Griffith Park."

Down deep in Luck's heart there was a hurt he would not reveal to any one. It was built partly of disappointment and an honest dislike for doing unworthy work; it had in it also some personal chagrin at being compelled to put the Happy Family at work in the very class of pictures he had often ridiculed in his talk with them, after bringing them all the way from Montana so that he might produce his big range picture. He stood looking somberly at the set which Clements had planned to save time—and therefore dollars—for the Acme Company. He thought of his range story, as it had first grown out of the night away up there in the plains country; he thought of how he had hurried so that he might the sooner make the vision a reality; how he had talked of it confidently to these men who had listened with growing enthusiasm and interest, until his vision had become their vision, his hopes their hopes.

They had left the Flying U and come with him to help make that big picture of the range. By their eager talk they had helped him to strengthen certain scenes; they had even suggested new, original material as they told of this adventure and that accident, and argued—as was their habit—ever scenes and situations. That was why Andy had spoken of it as their picture. That was why they were here; that was what had brought them early to the studio. And in his hand he held a half dozen or more of those cheap, lurid stories he had always despised; they must let the public see their faces in these impossible, illogical situations, or they must go back and call Luck Lindsay names to salve their disappointment.

The dried little man—whose name was Dave Wiswell—came walking curiously up the fresh-made "street," his sharp eyes taking in the falsity of the whole row of shack-houses that had no backs; bald behind as board fences, save where two-by-fours braced them from falling. He saw the group standing before a wall that purported to be the front of a bank (which would be robbed with much bloodshed in the second scenario) and he hurried a little. Luck scowled at him preoccupiedly, nodded a good morning, and turned abruptly to the others.

"Listen. If you boys are game for this melodrama, I'd like to use you, all right. You'll get experience in the business, anyway, so maybe it won't do you any harm. And if the weather holds good, we'll just make a long hard drive of this bunch of drivel; we'll rush 'em through—sabe? And I'll make it my business to see that Mart doesn't unload any more of the same. You may even get some fun out of it, seeing you're not fed up on this said Western drama, the way I am. Anyway, what's the word? Shall I hop into the machine and go down and buy you fellows a bunch of return tickets, or shall I assign you your parts and wade into this blood and bullets business?"

Weary folded his arms and grinned down at Luck. "I'm all for the blood and bullets, myself," he said promptly. "I'm just crazy to come shooting and yelling down this little imitation street and do things that are bold and bad."

"I should think," interjected Rosemary Green, with a pretty viciousness, "that you'd be ashamed, Luck Lindsay! Do you think we are a bunch of quitters? Give me a part—and a gun—and I'll stand on a ladder behind that hotel window and shoot 'em as fast as they can turn the corner down there." Her brown eyes twinkled hearteningly at him. "I'll pull my hair down, and yell and shoot and wring my hands—Pink, you keep still! I'm positive I can shoot and wring my hands at the same time in a Bently Brown story, can't I, Luck?"

"You certainly can," Luck told her grimly. "You can do worse than that and get by. Well, all right, folks. You prowl around and kill time while I get ready to start. There won't be anything doing till after lunch, at the earliest, so make yourselves at home. I'd introduce you to some of these folks if it was worth while, but it ain't. You'll know them soon enough—most of them to your sorrow, at that." He turned on his heel with a hasty "See yuh later," and plunged into the work before him just as energetically as though his heart were in it.

CHAPTER SIX

VILLAINS ALL AND PROUD OF IT

"Day's work, boys!" called Luck through his little megaphone at three o'clock one day, and doubled up his working script that was much crumpled and scribbled with hasty pencil marks. "No use spoiling good film," he remarked to his assistant, glancing up at the sweeping fog bank, off to the west. "By the time we rehearse the next scene, she'll be too dark to shoot. You go and order these cavalry costumes, Beckitt; and, say! You tell them down there that if they're shy on the number, they better set down and make enough, because they won't see a cent of our money if there's so much as a canteen lacking. And tell 'em to send army guns. That last assortment of junk they sent out was pathetic. I want equipment for fifty U.S. Cavalry, time of the early eighties. That don't mean forty-nine—get me? You're inclined to let those fellows have it their own way too much. I want this cavalry—"

"There ain't any close-ups of cavalry, are there?" Beckitt demurred. "I told them last time I thought those guns would do, because I knew the detail wouldn't—"

"Listen." Luck's tone was deliberately tolerant. "That's maybe the reason you've been searching your soul for all along—the reason why you can't get past the assistant-director stage. I want those fifty cavalrymen equipped! Do you get that?" While his eyes held Beckitt uncomfortably with their stern steadfastness, Luck thrust the script into his coat pocket that had a permanent, motion-picture-director sag to it. "If I meant that any old gun would do, I'd give my orders that way. Now, remember, there isn't going to be any waiting around while you go back and argue, nor any makeshifts, nor anything but fifty cavalrymen fully equipped. Here's the list complete for to-morrow's order. You see that it's filled!"

Beckitt took the list which he should have made himself, since that was what he was paid for doing, and went off in the sulks and the company machine. Luck pulled a solacing cigar from an inner pocket and licked down the roughened outer leaves, and scowled thoughtfully across the studio yard. The camera man was figuring up footage or something, and his assistant was hurrying to get the tripod folded and put away. There was a new briskness in the movements of every one save Luck himself, after he spoke that last sentence through the megaphone.

The Happy Family—or that part of it which had thrown away pitchforks and taken to the pictures—came clanking across the stage toward Luck. You would never have known the Happy Family, unless it were the Native Son who wore his usual regalia in exaggerated form. The Happy Family had wide, flapping chaps that made them drag their feet they were so heavy and so long, and great Mexican spurs whose rowels dug tiny trenches in the ground when they walked. They wore the biggest Stetsons that famous hat brand ever was stamped upon. They had huge bandanas draped picturesquely over their chests, and their sleeves were rolled to the elbows and their eyes rimmed with deep pencil shadings. At their hips swung six-shooters of violent pattern and portent. Around their middles sagged belts filled with blank cartridges. A sack of tobacco was making the rounds as they came on, and Luck watched them through speculatively narrowed lids.

"Say, by cripes, that there saloon is the driest poison-palace I ever surged out of with two guns spittin' death and dumnation!" Big Medicine complained, coming up with the plain intention of lighting his cigarette from Luck's cigar. "How'd we stack up this time, boss? Bein' soused on cold tea, I couldn't rightly pass judgment. How many was it I murdered in cold blood, in that there scene where I laid 'em out with black powder? Four, or five? Pink, here, claims I killed him twicet, whereas he oughta be left alive enough to jump on his horse and ride three hundred and fifty miles to fall dead in his best girl's arms. He claims he made that ride day before yesterday, and done some pitiful weaving around in the saddle, out there in the hills, and that he died in that blond lady's arms first thing this morning, and I hadn't no right to kill him twicet afterwards in the saloon fight. Now I leave it to you, boss. How about this here killin' Pink off every oncet in a while?"

Deep in his throat Luck chuckled. "Well, Pink certainly does die pathetic," he soothed the perturbed murderer, dropping his professional brusqueness for frank comradeship. "He's about the best little close-up dier I ever worked with. He can get a sob anytime he rolls his eyes and gasps and falls backward." He clapped his hand down on Pink's shoulder and gave it a little shake.

"That's all right," drawled the Native Son, taking off his sombrero to deepen the crease and the dents, because three girls were coming across the lot. "But I've got a complaint of my own to make. When you holler for Bud to start the rough stuff, he just goes powder crazy. He shot me up four times in that scene! Twice he held the gun so close my scalp's all powder-marked, and by rights he should have blowed the top of my head plumb into the street. He gets so taken up with this slaughter-house business that he'll wind up by shooting himself a few times if you don't watch him."

"One thing," Weary put in mildly, "I want to speak about, Luck. We need more blood for those murders. I didn't have half enough for all the mortal wounds Bud gave me. By rights that saloon should be plumb reeking with gore when we're all killed off—the way Bud flies at it with those two six-shooters. No bullets hit the walls anywhere, so it stands to reason they all land in a soft spot on our persons. I needed a large bucket of blood—and I had about a half teacupful." He grinned. "Mamma! That was sure some slaughter, though!"

"Where's Tracy Gray Joyce?" Luck inquired irrelevantly, with a hasty glance around them. "To-morrow, he'll have to come into that same slaughter pen and seize the murderer and subdue him by the steely glint of his eye and by his unflinching demeanor." He pulled the corners of his mouth down expressively. "That's the way the scenario reads," he added defensively.

"Well, say, by cripes, he better amble down to the city and buy him some more glint!" Big Medicine bawled, and laughed afterwards with his big haw-haw-haw. "And I'll gamble there ain't enough unflinchin' demeanor on the Coast to put that boy through the scene. Honest-to-gran'-ma, Luck, that there Tracy Gray Joyce gits pale, and his Adam's apple pumps up and down when I come up and smile at him! What color do yuh reckon he'll turn to when he stands up to me right after me slaying all these innocent boys—and me a-foamin' at the mouth and gloatin' over the foul deed I've just did? Say? How's he going to keep that there Adam's apple from shootin' clean up through his hair, and his knees from wobblin'? How—"

"He won't," said Luck suddenly, with a brightening of his eyes. "He won't. I hope they do wobble. You go ahead, Bud, and foam at the mouth. You—you look at Tracy Gray Joyce. Not in the rehearsing, understand; leave out the foam and the gloating till we turn the camera on the scene. Sabe? On the quiet, boys."

"Sure," came the guarded chorus. It was remarkable what a complete understanding there was between Luck and the Happy Family. It was that complete understanding which had kept Luck's spirits up during his unloved task of producing Bently Brown stuff in film.

"Well, say!" Big Medicine leaned close and throttled his voice down to a hoarse whisper. "What kinda hee-ro will your Tracy Gray Joyce look like, when I start up foamin' and gloatin' at him?"

Luck smiled. "That," he said calmly, "is for the camera to find out." He was going to say something more on the subject, but some one called to him anxiously from over toward the office. So he told them adios hurriedly and went his busy way, and left the Happy Family discussing him gravely among themselves.

The Happy Family were so interested in this new work that they were ready to see the bright side even of these weird performances which purported to be Western drama. If you did not take it seriously, all this violence of dress and behavior was fun. The Happy Family was slipping into a rivalry of violence; and the strange part of it was that Luck Lindsay, stickler for realism, self-confessed enthusiast on the uplifting of motion pictures to a fine art, permitted their violence,—which was not as the violence of other, better trained Western actors. The Happy Family, after their first self-conscious tendency to duck behind something or somebody, had come to forget the merciless, recording eye of the camera. They had come to look upon their work as a game, played for the amusement of Luck Lindsay, who watched them always, and for the open ridicule of Bently Brown, writer of these tales of blood and heroics.

And Luck not only permitted but encouraged them in this exaggeration,—to the amazement of the camera man who had turned the crank on more Western dramas than he could remember. Scenes of violence—such as the saloon row in which Big Medicine had forgotten that Pink was to be left alive, and so had killed him twice—made the camera man and the assistant laugh when they should have shuddered; and to wonder why Luck Lindsay, wholly biased though he was in favor of the Happy Family, did not seem to realize that they were not getting the right punch into the pictures.

Luck was not behaving at all in his usual manner with his company. Evenings, instead of holding himself aloof from his subordinates, he would head straight for the furnished bungalow which the Flying U boys had taken possession of, with Rosemary Green to give the home atmosphere which saved the place from becoming a mere bunk-house de luxe. If he could possibly manage it, Luck would reach headquarters in time for dinner—the Happy Family blandly called it supper, of course—and would proceed to forget the day's irritations while he ate what he ambiguously called "real cookin'."

There was a fireplace in that bungalow, and a fairly large living-room surrounding the fireplace. The Happy Family extravagantly indulged themselves in wood, even at the unbelievable price they must pay for it; and after supper they would light the fire and hunt up chairs enough, and roll cigarettes, and talk themselves quite away from the present and into the past of glowing memory.

The horses they rode—before that fireplace—would have made any Frontier Day celebration famous enough to be mentioned in the next encyclopedia published. The herds they took through hard winters and summer droughts would have made them millionaires all, if they could only have turned them into flesh-and-blood animals. They talked of blizzards and of high water and of short grass and of thunderstorms. They added little touches to the big range picture Luck had planned to make. Starting off suddenly in this wise: "Say, Luck, why don't you have—?" and the fires of enthusiasm would flare again in Luck's eyes, and the talk would grow eager.

But—and here was the key to the remarkable interpretation which Luck permitted the Happy Family to give the Bently Brown stories—some time before the evening was too old, Luck would swing the talk around to the work they were doing. He would pull a Bently Brown scenario from his pocket and read, with much sarcastic comment, the scenes they were later to enact. He would incite the Happy Family to poking fun at such lurid performances as Bently Brown described in all seriousness and in detail. He would encourage comment and argument and the play of their caustic imaginations upon the action of the story. He would gradually make them see the whole thing in the light of a huge joke; he would, without saying much himself, bring the Happy Family into the mood of wanting to make Bently Brown appear ridiculous to all beholders.

Is it any wonder, then, if the camera man and the assistants should exchange puzzled glances when Luck put the Happy Family through their scenes? Exits and entrances, the essential details of the action, Luck directed painstakingly, as always he had done. Why, then, said camera man to assistants, should he let those fellows go in and ball up the dramatic business and turn whole scenes into farce with their foolery? And why had he chosen Tracy Gray Joyce as leading man? And that eye-rolling, limp sentimentalist, Lenore Honiwell, as his leading woman? Luck was known to despise these two, personally and professionally. They could not, to save their lives, get through a dramatic scene together without giving the observers a sickish feeling. To see Tracy Gray Joyce lay his hand upon the left side of his cravat and cast his eyes upward always made Luck shiver; yet Tracy Gray Joyce would he have for leading man, and none other. To see Lenore Honiwell throw back her head, close her eyes, and heave one of those terrific motion-picture sighs always made the camera man snort; yet Luck, who before had considered her scarcely worth a civil bow when he met her, had actually coaxed her away from a director who really admired her style of acting.

And when Luck, who had always gone about his work impervious to curious onlookers, suddenly changed his method and ordered all interior sets screened in, and all bystanders away from the immediate vicinity of his exterior scenes, the Acme people began to call him "swell-headed"—when they did not call him worse. Even his excuse that he was working with boys new to the business and did not want them rattled failed to satisfy most of them.

The Happy Family, in the tiny, bare dressing rooms which they called box-stalls in merciless candor, were smearing their faces liberally with cold cream and still arguing among themselves over the doubtful blessing of owning as many lives as a cat, and bewailing the bruises they had received while sacrificing a few of their lives to the blood-lust of Big Medicine and Pink, the two official, Bently-Brown bad men. Outside their two connecting "stalls" a fine drizzle was making the studio yard an empty place of churchyard gloom and incidentally justifying Luck in quitting so early. Big Medicine was swabbing paint from his eyebrows and bellowing his opinion of a man that will keep a-comin', by cripes, after he's shot the third time at close range, and then kick because he takes so much killing off. This was aimed at the Native Son, who had evidently died hard, and who meant to retaliate as soon as he got that dab of paint out of his eye. But the door opened violently against his person and startled him into forgetting his next observation.

This was Luck, and he had the look of a man who owns a guilty secret, and is ready to be rather proud of his guilt,—providing society consents to wink at it with him. He was not smiling, exactly; he had a wicked kind of twinkle in his eyes.

"Hurry up, boys! My Lord, how you fellows do primp and jangle in here! They're going to run our first picture, The Soul of Littlefoot Law. Don't you fel—"

"The which?" Big Medicine whirled upon him, rubbing his left eye into a terrifying, bloodshot condition while he glared with the other.

"The Soul of Littlefoot Law," Luck repeated distinctly with a perfect neutrality of manner.

"'S that what you call all that ridin' and shootin' we done, that you said was by moonlight?" Pink inquired pugnaciously—for a young man who had died the death four different times that day.

"That's what it's called," Luck averred with firmness.

"Aw—where does Soul of Littlefoot Law come in at?" Happy Jack scoffed.

"It doesn't, so far as I know."

"Aw, there ain't no sense in such a name as that. Is that where I got shot off'n my horse, and Bud, here, done his best to run over me?"

"That's the one. My Lord, boys, how long does it take you fellows to get your make-up off? They'll have the film run and passed and released and out on the five-cent circuit on its fifteenth round before you—" Luck, director though he was, found it wise to pass out quickly and hold the door shut behind him for a minute. "Honest, boys, you want to hurry," he called through the closed door. He waited until the sounds within indicated that they were hurrying quite violently, and then he went his way; and he still had the look in his eyes of one who bears in his soul a secret guilt of which he is inclined to be proud.

When the Acme people gathered resignedly in the private projection room, however, Luck's wicked little twinkle had turned a shade anxious. He excused himself from the chair between Martinson and Mollie Ryan, the stenographer, and went over to confer with the Happy Family and the dried little man who kept clannishly together as usual, and he forgot to return to his place.

The Acme people, personally and individually, were sick and tired of all motion pictures that did not portray with vividness the beauty or the talents of themselves, or the faults of their acquaintances. No Acme people, save Lenore Honiwell and Tracy Gray Joyce and a phlegmatic character woman, were in this picture at all. The camera man who took it did not think highly of it and considered the wonderful photography as good as wasted, and he had said as much—and more—to his intimates. Beckitt, Luck's assistant, had privately announced it as the rottenest piece of cheese he had ever seen under a Wild-West label, and disclaimed all responsibility. They of the cutting and trimming clan had not said anything at all. Martinson, having heard the rumors, felt that they confirmed his own suspicion that Luck had made a big blunder in bringing those cowboys into the company. They were not actors. They did not pretend to be actors.

You will see that it was a critical audience indeed that gathered there in the projection room that rainy afternoon to see the trial run of The Soul of the Littlefoot Law. It would take a good deal to win any approbation from that bunch.

And then they were looking at the first scene, which Was a night in Whoopalong, the fake town over there beyond the big stage. The Happy Family, all disguised as cowboys, came surging out of the darkness. H-m-m. That was the bunch that Luck Lindsay had done so much bragging about, and called "real boys," was it? silently commented the audience. No different from any other cowboys, as far as any one could see.

True, they used about half the usual amount of film footage in getting to foreground; probably underspeeded the camera,—an old, old trick which has helped to put the dash and ginger into many a poor horseman's act.

But the "XY cowboys" certainly surged up to foreground, and it was seen that they rode with reins in their teeth, and that each and every man fired two huge six-shooters straight up at the moon every time their horses hit the ground with forefeet. The Happy Family leaned forward and craned around the heads of those in front that they might see all of it. Luck had told them before making this scene to "eat 'em alive," and the Happy Family had very nearly done so. Andy Green nudged his wife, Rosemary, and whispered hurriedly that this was where the camera man had pulled up his tripod by the roots and beat it, thinking he was going to be run over; and that was why the scene was cut unexpectedly just where Andy set his horse on its haunches and posed, a heroic figure of a cowboy rampant, immediately before the lens.

Luck, glancing hurriedly to right and left, slid down and rested the nape of his neck on the back of his chair, slipped a fresh stick of gum between his teeth, hung his hat on his knee, and prepared to view his work with critical mind and impartial, and with his conscience like his body at ease. The thing had certainly started off with zip enough, since zip was what Mart claimed the Public demanded.

The next scene was a continuation of the one before,—the camera man having evidently recovered himself and gotten to work again. The Happy Family, still surging and still shooting two guns apiece at the pale moon, were shown entering the saloon door four abreast and with the rest crowding for place. Still there was zip; all kinds of zip. The Happy Family nudged and grinned in the dusk and were very much pleased with themselves as XY cowboys seeking mild entertainment in town.

Some one behind remarked upon the surging and the shooting, and Big Medicine turned his head quickly and sent a hoarse stage whisper in the general direction of the mumble.

"Ah-h, that there ain't anything! Luck never let us turn ourselves loose there a-tall. You wait, by cripes, till yuh see us where we git warmed up and strung out proper! You wait! Honest to gran'—" It was Luck's elbow that stopped him by the simple expedient of cutting off his wind. Big Medicine gave a grunt and said no more.

Thereafter, the Happy Family discovered that there was a certain continuity in the barbaric performances in which Luck had grinningly encouraged them to indulge themselves. They beheld themselves engaged in various questionable enterprises, and they laughed in naïve enjoyment as certain bloodcurdling traits in their characters were depicted with startling vividness. Accented by make-up and magnified on the screen, the goggling, frog-like ugliness of Big Medicine became like unto ogres of childish memory; his smile was a thing to make one's back hair stand up with a cold, prickling sensation. Happy Jack stared at himself and his exaggerated awkwardness incredulously, with a sheepish grin of appreciation. The rest of them watched and missed no slightest gesture.

So they saw the plot of Bently Brown unfold, scene by scene; unfold in violence and malevolent intrigue and zip and much fighting. Also unfolded something of which Bently Brown had never dreamed; something which the audience, though greeting it with laughter, failed at first to recognize for what it was worth, because every one knew all about the Bently-Brown Western dramas, and every one believed that they were to be made after the usual recipe more elaborately stirred. So every one had been chortling through several scenes before the significance of their laughter occurred to them.

Comedy—that was it. Comedy, that had slipped in with cap and bells just when the door was flung open for black-robed Tragedy. But it was too late to stop laughing when they discovered the trick. They saw it now, in the very sub-titles which Luck had twisted impishly into sly humor that pointed to the laugh, in the deeds of blood that followed. They saw it in the goggling ferocity of Big Medicine; in the innocent-eyed, dimpled fiendishness of Pink; in the lank awkwardness of Happy Jack. They saw it in the sentimental mannerisms of Lenore Honiwell, whose sickish emotionalism slipped pat into the burlesque. They rocked in their seats at the heroics of Tracy Gray Joyce, who could never again be taken seriously, since Luck had tagged him mercilessly as an unconscious comedian.

Oh, yes, there was zip to the picture! But there was no explanation of the title. The Soul of Littlefoot Law remained as great a mystery when the picture was finished as it had been at the start. Littlefoot Law, by the way, was Pink. That much the audience discovered, and no more; for as to his soul, he did not seem to own one.

Luck, still hunched down so that his back hair rubbed against his chair back, was laughing with his jaws wide apart and his fine teeth still gleaming in the half darkness, when Ted, general errand boy at the office, came straddling over intervening laps and laid a compelling hand on his shoulder.

"Say, Luck," he whispered excitedly, "the audience author's with Mart, and they both want t' see you. And, say, I guess you're in Dutch, all right; the author's awful mad, and so is Mart. But say, no matter what they do to you, Luck, take it from me, that pit'cher's a humdinger! I like to died a-laughing!"

CHAPTER SEVEN

BENTLY BROWN DOES NOT APPRECIATE COMEDY

Luck unhooked his hat from his knee, brought his laughing jaws together with that eloquent, downward tilt to the corners of his mouth, sat up straight, considered swiftly the possibilities of the next half hour, and paid tribute in one expressive word of four letters before he went crawling over half a dozen pairs of knees to do battle for his picture. His picture, you understand. For since he had made it irresistible comedy instead of very mediocre drama, he felt all the pride of creation in his work. That was his picture that had set the Acme people laughing,—they who had come to carp and to talk knowingly of continuity and of technique and dramatic values, and to criticize everything from the sets to the photography. It was his picture; he had made it what it was. So he went as a champion rather than as a culprit to face the powers above him.

Martinson and Bently Brown were waiting for him near the door. They were not going to stay and see the next picture run, and that, in Luck's opinion, was a bad-weather sign. But he came up to them cheerfully, turning his hat in his fingers to find the front of it before he set it on his head. (These limp, wool, knockabout hats are always more or less confusing, and Luck was fastidious about his apparel.)

"Ah—Mr. Brown, this is Mr. Lindsay, ah—director who is producing your stories." Martinson's tone was as neutral as he could make it.

Luck said that he was glad to meet Mr. Brown, which was a lie. At the same instant he found the stitched-down bow on his hat, and from there felt his way to the front. At the same time he decided that there was going to be something doing presently, if Mart's manner meant anything at all. Mart was a peaceable soul, and in the approaching crisis Luck knew he would climb hurriedly upon the fence of neutrality and stay there; and Luck could fight or climb a tree as he chose.

They went outside, and Luck turned his eyes sidewise and took a look at Bently Brown. He measured him mentally from pigskin puttees to rakish, stiff brimmed Stetson with careful dimples in the crown and a leather hatband stamped with horses' heads and his initials. In a picture, Luck would have cast Bently Brown, costume and all, for a comedy mining engineer or something of that sort. You know the type: He arrives on the stage that is held up, and is always in the employ of the monied octopus, and the cowboys who pursue and capture the bandits have fun afterwards with the engineer,—so much fun that he crawls out of an up-stairs window in the night and departs hastily and forever from that place. You are perfectly familiar with the character, I am sure.

Luck, after that swift, comprehensive glance, was not greatly alarmed. In that he made his greatest blunder. He should have reckoned with the wounded vanity of the little author who believes himself great. He should have reminded himself that Bently Brown was not a comedy mining engineer, but that touchiest of all mortals, the nearly successful author. He should have taken warning from the stiff-necked, stiff-backed gait of Bently Brown on the short walk to the office. He should have read danger in the blinking lids of his pale eyes, and in his self-conscious manner of looking straight before him.

In the office, then, luck basely deserted one Luck Lindsay, and left him to fight a losing battle. For Bently Brown was incensed, insulted, and outraged over the manner in which The Soul of Littlefoot Law had been filmed. The story had been caricatured out of all semblance to its original self. Littlefoot Law had been shown as having no soul whatever. Instead of being permitted to make the final, supreme sacrifice of his life for the honor of his enemy,—which would have revealed to the audience his possession of a clean white soul in spite of his bad character,—he had been made out a little fiend who would shoot you on the slightest provocation. The girl had been thrust into the background, and the hero had been made into a coward and a paltry villain; they were all desperadoes upon the screen. Never in his life had Bently Brown been made to suffer such an affront. Never had he dreamed that his work would be made a thing to laugh at—

"They certainly did laugh," Luck lazily interrupted. "And believe me, Mr. Brown, it takes real stuff to collect a laugh out of that bunch. It will be a riot with the public; you can bank on that. By the time I get a few more made and released, you can expect to see your name in the papers without paying advertising rates." Whatever possessed Luck to talk that way to Bently Brown, I cannot say. He surely must have seen that the little, over-costumed author was choking with spleen.

"It was a farce!" The small, yellow mustache of Bently Brown was twitching comically with the tremble of his lips beneath. "A bald, unmitigated farce!"

"Surest thing you know," Luck agreed, with that little chuckle of his. "At first I was afraid the crowd wouldn't get it; I didn't know but they might try to take it seriously. Now, I know for certain that it will get over. It will be the cleanest, funniest, farce-comedy series that has ever been filmed." Luck sat up straight and pulled a cigar from his pocket and looked at it absent-mindedly. "Say, those boys of mine are certainly real ones! I wouldn't trade that bunch for the highest-salaried actors you could hand me. Do you know what made that picture such a scream? It was because there wasn't a bit of made-to-order comedy business in the whole film. Those boys didn't think about acting funny just to make folks laugh. They were so doggoned busy having fun with the story and showing up its weak points that they forgot to be self-conscious. If I'd had a regular comedy company working on it, believe me, Mr. Brown, it might have turned out almost as rotten a farce as it would be as a drama!"

Had Bently Brown owned under his pink skin any of the primitive instincts which he was so fond of portraying in his characters, he would have killed Luck without any further argument or delay.

Instead of that he spluttered and stormed like a scolding woman. He lifted first one puttee and then the other, and he shook his fist, and he nodded his head violently, and finally was constrained to lift the leather-banded Stetson from his blond hair and wipe the perspiration from his brow with a lavender initialed handkerchief. He said a great deal in a very few minutes, but it was too involved, too incoherent to be repeated here. Luck gathered, however, that he meant to sue the Acme Company for about nine million dollars damages to his feelings and his reputation, if The Soul of Littlefoot Law was released in its present form. He battered at Luck's grinning composure with his full supply of invectives. When he perceived that Luck's eyes twinkled more and more while they watched him, and that Luck's smile was threatening to explode into laughter, Bently Brown shook his fist at the two of them, shrilled something about seeing his lawyer at once, and went out and slammed the door.

"Lor-dee! He'd make a hit in comedy, that fellow," Luck observed placidly, and lighted the cigar he had been holding. "What's he mean—' sue the company'?"

"He means sue the company," Martinson retorted grimly. "That clause in the contract where we agree to produce his stories in a manner befitting the quality and fame of these several stories in fiction; he's got grounds for action there, and he's going to make the most of it. He's sore, anyway. Some one's been telling him he practically made us a present of his stuff."

"Hell!" said Luck. "Why didn't you say so?"

"Why didn't you say that you were turning that stuff into farce-comedy?" Martinson came back sharply. "I could have told you it wouldn't get by. I knew Brown wouldn't stand for anything like that; and I knew he could put the gaff into us on that 'manner befitting' clause."

"It's a wonder you wouldn't have jarred loose from some of that wisdom," Luck observed tartly. "You never gave me any dope at all on this Bently Brown person. You handed me the junk he stung you on—and believe me, as drama he'd have stung you with it as a present!—you handed it to me to film. I made the most of it."

"You made a mess of it," Martinson corrected peevishly.

"You laughed," Luck pointed out laconically. Then his eyes twinkled suddenly. "'Laugh and the world laughs with you,'" he quoted shamelessly, and took a long, satisfying suck at his cigar.

"The world won't step up and pay damages to Bently Brown," Martinson reminded him, "if that picture is released as it stands. How many have you made, so far?"

"I'm finishing the third; getting funnier, too, as they go along."

"You've got to cut out that funny business. You'll have to retake this whole thing, Luck; make it straight drama. We can't afford a lawsuit, these hard times—and injunctions tying up the releases, and damages to pay when the thing's thrashed out in court. You'll have to retake this whole picture. Nice bunch of useless expense, I must say, when I've been chasing nickels off the expense account of this company and sitting up nights nursing profits! We'll have to cut salaries now, to break even on this fluke. I've left the payroll alone so far. That's the worst of a break like this. The whole company has got to pay for every blunder from now on."

Luck's eyes hardened while he listened. He did not call his work a blunder, and the charge did not sit well coming from another.

"Buy off Bently Brown," he advised crisply. "Offer him a new contract, naming this stuff as comedy. Advertise them as the famous comedies of Bently Brown, the well-known author. Show him some good publicity dope along that line. Give him the credit of making the stories live ones. This series will be a money-maker, and a big one, if ever they reach the screen. You're old enough in the business to know that, Mart. You saw how this film hit the bunch, and you know what it takes to rouse any enthusiasm in the projection room. And take it from me, Mart—this is straight!—that's the only way in God's world to make that series take hold at all. As drama the stuff is hopeless. Absolutely hopeless. It's only by giving it the twist I gave it that it will get over. You do that, Mart. You kid this Bently Brown into being featured as the humorist of the age, and pay him a little something for swallowing his disappointment as a dramatic author. I'll go ahead with my boys, and we'll deliver the goods. You do that, and you'll be setting up nights counting profits instead of nursing them!"

Martinson began to stir up the litter on his desk,—another bad-weather sign. "I can't waste time talking nonsense," he snapped. "I've got plenty to do without that. That stuff has got to be retaken; every foot of it, if you've gone on burlesquing the action. I happen to know that Brown wouldn't consider such a compromise. You've made a bad break, and I believe you made the first one when you brought that bunch of cowboys back with you. If they can do straight dramatic acting, all right; if not, you'd better let them out and start over with professionals."

For a peaceable man, Martinson was angry. He had taken some trouble in smoothing down the ruffled temper of Bently Brown, even before viewing the trial run of the picture. Martinson hated disputes as a cat hates to walk in fresh-fallen snow, and the parting tirade of Bently Brown had affected him unpleasantly.

For a full two minutes Luck smoked and did not speak, and as he had done once before, Martinson repented his harshness when it was too late. "Personally, your version struck me as awfully funny," he began placatingly.

"Who gives a cuss how it struck you personally?" Luck stood up with unexpected haste. "You trim and truckle to every one that comes along with a gold brick, and that's why you have to sit up nights to nurse the profits. If you had a little stiffening in your back, the profits would show up better. You paid good money for this bunch of rot, and turned it over to me to whip into a profitable investment. You can make the rounds of the studio and get a vote on whether I've done it or not. Put it up to your Public; they'll mighty soon let you know whether the film's a money-getter. If it is, your business as general manager and president of the Acme Film Company is to get Bently Brown in line for the production to go on. A clause such as you mention in the agreement with him shows a bigger blunder on your part than anything I've done or ever will do. If you'd had as much sense as Ted, you'd have kept that clause out. If you'd had half as much brains as the comedy burro out in the corral you'd never have loaded up with that stuff, anyway; you'd have seen at a glance that it was rotten.

"Now, I've shown what I can do with those stories. I've taken your bad bargain and put it into a money-making shape. As to the break I made in getting those boys out here, you'll have to show me—that's all. They seem, to have made good all right, judging from the way that film took with the crowd. And if you ask my opinion as a director, they beat any near-professional on the Acme pay roll. My work, and their work, goes right along as it has started—or it stops. If you want those stories worked up in a lot of darned, sickly, slush melodrama, you can set some simp at it that don't know any better." Luck stopped and shut his teeth together against some personal remarks that he would later feel ashamed of having uttered. He turned to the door, swallowed hard, and forced himself to a dignified calm before he spoke again.

"You know my phone number, Mart. By seven in the morning I'll expect to hear from you. You can tell me then whether I'm to go ahead with these stories the way I've started, or whether to pull out of the Company altogether. One or the other. I'll want to know in the morning." Then he went out.

"Dammit, who's running this company—you or I?" Martinson called after him heatedly. But Luck was already standing on the steps and hoisting his umbrella against the drizzle, and he did not give any sign that he heard.

CHAPTER EIGHT

"THERE'S GOT TO BE A LINE DRAWED SOMEWHERES"

By seven o'clock in the morning,—since that was his ultimatum,—Luck was standing in his bare feet and pajamas, acrimoniously arguing with Martinson over the telephone. Usually he was up at six, but he was a stubborn young man, and the day promised much rainfall, anyway. He would have preferred sunshine; the stand he meant to take would have had more weight in working weather. But since he could not prevent the morning from being a rainy one, he permitted more determination to slip into his tones.

Martinson had spent an unpleasant evening with Bently Brown, or so he declared. He had called up several stockholders of the Acme, and had talked the matter over with them, and—

"Well, cut the preamble, Mart," snapped Luck, trying to warm one foot by rubbing it with the other one. "Do I go on with the work, or don't I?"

"From the looks of the weather—" Mart began to temporize.

"Weather cuts no figure with this matter. You know what I mean. What's the decision?" Luck scowled at the pretty girl on his wall calendar, and began to rub his right foot with the left and to curse the janitor with that part of his brain not occupied with the conversation.

"Well, listen. You come out to the office, after awhile, and we'll go into this matter calmly," begged Martinson. "No use in letting that temper of yours run away with you, Luck. You know we all—"

"What did Bently Brown say? Did you put the proposition up to him as I suggested?"

"Luck, you know I told you Brown wouldn't consider—"

"Say, Mart, get all those rambling words out of your system, and then call me up and tell me what I want to know!" And Luck hung up the receiver and went shivering back to bed. From the things he said to himself, he was letting that temper of his run away with him in spite of Martinson's warning.

He had just ceased having spasms of shivering, and had found his warm nest of the night, and was feeling glad that it was raining so that he could stay in bed as long as he liked, when the phone jingled shrilly again. Had he been certain that it was Martinson, Luck would have lain there and let it ring itself tired. But there is always the doubt when a telephone bell calls peremptorily. He waited sulkily until the girl at the switchboard in the office below settled down to prolong the siege. Luck knew that girl would never quit now that she was sure he was in. He crawled out again, this time dragging the bedspread with him for drapery.

"H'l-lo!" There was no compromise in his voice, which was guttural.

"Luck? This is Martinson. You are to retake all of the Bently Brown pictures which you have made so far, under the personal supervision of Bently Brown himself, who will pass upon all film before accepted by the company. This is final."

"Martinson? This is Luck. You and Bently Brown and the Acme Film Company can go where the heat's never turned off. This is final."

Whereupon Luck slammed the receiver into its brackets, trailed over to a table and gleaned "the makings" from among the litter of papers, programs, "stills," and letters, and rolled himself a much-needed smoke. He was sorry chiefly because he had been compelled to use such mild language over the telephone. It would be almost worth a trip to the office just to tell Martinson without stint what he thought of him and all his works.

He crawled back into bed and smoked his cigarette with due regard for the bedclothes, and wondered what kind of a fool they took him for if they imagined for one minute that he would produce so much as a sub-title under the personal supervision of Bently Brown.

After awhile it occurred to him that, unless he relented from his final statement to Martinson, he was a young man out of a job, but that did not worry him much. Of course, if he left the Acme Company, he would have to look around for an opening somewhere else, where he could take his Happy Family and maybe produce....

Right there Luck got up and unlocked his trunk, which was also his chest of treasures, and found the carbon copy of his range scenario. He had not named it yet. In thinking of it and in talking about it with the boys he had been content to call it his Big Picture. If he could place himself and his Big Picture and his boys with some company that would appreciate the value of the combination, his rupture with the Acme Company would be simply a bit of good luck. While he huddled close to the radiator that was beginning to hiss and rumble encouragingly, he glanced rapidly over the meagerly described scenes which were to his imagination so full of color.

"Pam. bleak mesa—snow—cattle drifting before wind. Dale and Johnny dis. riding to foreground. Reg. cold—horses leg-weary—boys all in—"

To Luck, sitting there in his pajamas as close as he could get to a slow-warming steam radiator, those curtailed sentences projected his mental self into a land of cold and snow and biting wind, where the cattle drifted dismally before the storm. Andy Green and Miguel Rapponi were riding slowly toward him on shuffling horses as bone-weary as their masters. Snow was packed in the wrinkles of the boys' clothing. Snow was packed in the manes and tails of the horses that moved with their heads drooping in utter dejection. "Boys all in," said the script laconically. Luck, staring at the little thread of escaping steam from the radiator valve, saw Andy and the Native Son drooping in the saddles, swaying stiffly with the movements of their mounts. He saw them to the last little detail,—to the drift of snow on their hatbrims and the tiny icicles clinging to the high collars of their sourdough coats, where their breath had frozen.

If he could get a company to let him put that on, he would not care, he told himself, if he never made another picture in his life. If he could get a company to send him and the boys where that stuff could be found—

Well, it was only eight o'clock in the morning, a rainy morning at that, when all good movie people would lie late in bed for the pure luxury of taking their ease. But Luck, besides acting upon strong convictions and then paying the price without whimpering, never let an impulse grow stale from want of use. He reached for the fat telephone directory and searched out the numbers of those motion-picture companies which he did not remember readily. Then, beginning at the first number on his hastily compiled list, he woke five different managers out of their precious eight-o'clock sleep to answer his questions.

Whatever they may have thought of Luck Lindsay just then, they replied politely, and did not tell him offhand that there was no possible opening for him in their companies. Three of them made appointments with him at their offices. One promised to call him up just as soon as he "had a line on anything." One said that, with the rainy weather coming on, they were cutting down to straight studio stuff, but that he would keep Luck in mind if anything turned up.

Then I suppose the whole five called him names behind his back, figuratively speaking, for being such an early riser on such a day. Not one of them asked him any questions about his reasons for leaving the Acme; reasons, in the motion-picture business, are generally invented upon demand and have but a fictitious value at best. And since it is never a matter of surprise when any director or any member of any company decides to try a new field, it would seem that change is one of the most unchanging features of the business.

Luck had no qualms of conscience, either for his treatment of Martinson and his overtures, or for his disturbances of five other perfectly inoffensive movie managers. He dressed with mechanical precision and with his mind shuttling back and forth from his Big Picture to the possibilities of his next position. He folded his scenario and placed it in a long envelope, hunted until he found his rubbers, took his raincoat over his arm and his umbrella in his hand, and went blithely to the elevator. It was too stormy for his machine, so he caught a street car and went straight to the bungalow where the Happy Family were still snoring at peace with the world and each other.

Still Luck had no qualms of conscience. He lingered in the kitchen just long enough to say howdy to Rosemary Green who was anxiously watching a new and much admired coffee percolator "to see if it were going to perk," she told him gravely. He assured Rosemary that he had come all the way out there in the hope of being invited to breakfast. Then he went into a sleep-charged atmosphere and gave a real, old-time range yell.

"Why, I saw that peaked little person with Mr. Martinson," Mrs. Andy remarked slightingly at the breakfast table. "Was that Bently Brown? And he has the nerve to want to stand around and boss you—oh, find, me an umbrella, somebody! I shall choke if I can't go and tell him to his silly, pink face what a conceited little idiot he is!" (You will see why it was that Rosemary Green had been adopted without question as a member of the Happy Family.) "I hope you told him straight out, Luck Lindsay, that these boys would simply tear him limb from limb if he ever dared to butt in on your work. Why, it's you that made the picture fit to look at!"

Luck let his eyes thank her for her loyalty, and held out his empty cup for more coffee. "I came out," he drawled quietly, "to find out what you fellows are going to do about it. Of course, they'll get somebody else to go ahead with the stuff, and you boys can stay with it—"

"Well, say! Did you come away out here in the rain to insult us fellers?" Big Medicine roared suddenly from the foot of the table. "I'll take a lot from you, but by cripes they's got to be a line drawed somewheres!"

"You bet. And right there's where we draw it, Luck," spoke up the dried little man who seldom spoke at the table, but concentrated his attention upon the joy of eating what Mrs. Andy set before him. "I come out here to work for you. That peters out, by gorry I'll go back to chufferin a baggage truck in Sioux, North Dakoty. Kin I have a drop more coffee, Mrs. Green?"

While Rosemary proudly brought her new percolator in from the kitchen and refilled his cup, Luck Lindsay sat and endured the greatest tongue-lashing of his life. Furthermore, he seemed to enjoy the chorus of reproaches and threats and recriminations. He chuckled over the eloquence of Andy Green, and he grinned at the belligerence of Pink and the melancholy of Happy Jack.

"I don't guess you're crazy to work under Bently Brown," he finally managed to slide into the uproar. "Do I get you as meaning to stick with me—wherever I go?"

"You get us that way or you get licked," Weary, the mild-tempered one, stated flatly. "You can fire us and send us home, but you can't walk off and leave us with the Acme, 'cause we won't stay."

That was what Luck had ridden twelve cold, rainy miles to hear the Happy Family declare. He had expected them to take that stand, but it was good to hear it spoken in just that tone of finality. He stacked his cup and saucer in his plate, laid his knife and fork across them in the old range style, and began to roll a cigarette,—smoking at the table being another comfortable little bad habit which Rosemary Green wisely and smilingly permitted.

"That being the case," he began cheerfully, "you boys had best go over with me now and give in your two weeks' notice. I'm director of our company till I quit—see? I'll arrange for your transportation home—"

"Aw, gwan! Who said we was goin' home?" wailed Happy Jack distressfully.

"Now, listen! You're entitled to your transportation money. That doesn't mean you'll have to use it for that purpose—sabe? It's coming to you, and you get it. There's a week's salary due all around, too, besides the two weeks you'll get by giving notice. No use passing up any bets like that. So let's go, boys. I've got an appointment at one o'clock, and I may as well wipe the Acme slate clean this forenoon, so I can talk business without any come-back from Mart, or any tag ends to pick up. Grab your slickers and let's move."

That was a busy day for Luck Lindsay, in spite of the fact that it was a stormy one. His interview with Mart, which he endured mostly for the sake of the Happy Family, developed into a quarrel which severed beyond mending his connection with the Acme.

It was noon when he reached his hotel, and his wrath had not cooled with the trip into town. There were two 'phone calls in his mail, he discovered, and one bore an urgent request that he call Hollywood something-or-other the moment he returned. This was from the Great Western Film Company, and Luck's eyes brightened while he read it. He went straight to his room and called up the Great Western.