Jean of the Lazy A by B. M. Bower (classic books for 11 year olds .TXT) 📖

was up in the saddle and gone in a flurry of dusts while Robert Grant Burns stood with his hands on his hips and watched her gloatingly.

"Lord! But that girl's a find!" he ejaculated, and this time he did not seem to care who heard him. He cut the scene just as Jean pulled up at the gate. "See how she set that sorrel down on his haunches?" he chuckled to Pete. "Talk about feature-stuff; that girl will jump our releases up ten per cent., Pete, with the punches I can put into Gay's parts now. How many feet was that scene, twenty-five?"

"Fifteen," corrected Pete. "And every foot with a punch in it. Too bad she's got to double for Gay. She's got the face for close-up work, believe me!"

To this tentative remark Robert Grant Burns made no reply whatever. He went off down the path to meet Jean, critically watching her approach to see how nearly she resembled Muriel Gay, and how close she could come to the camera without having the substitution betrayed upon the screen. Muriel Gay was a leading woman with a certain assured following among movie audiences. Daring horsewomanship would greatly increase that following, and therefore the financial returns of these Western pictures. Burns was her director, and it was to his interest to build up her popularity. Since the idea first occurred to him, therefore, of using Jean as a substitute for Muriel in all the scenes that required nerve and skill in riding, he looked upon her as a double for Muriel rather than from the viewpoint of her own individual possibilities on the screen.

"I don't know about your hair," he told her, when she came up to him and stopped. "We'll run the negative to-night and see how it shows up. The rest of the scene was all right. I had Pete make it. I'm going to take some scenes down here by the gate, now, with the boys. I won't need you till after lunch, probably; then I'll have you make that ride down off the bluff and some close-up rope work."

"I suppose I ought to ride over to the ranch," Jean said undecidedly. "And I ought to try out this sorrel if you want me to use him. Would some other day do just—"

"In the picture business," interrupted Robert Grant Burns dictatorially, "the working-hours of an actor belong to the director he's working for. If I use you in pictures, your time will belong to me on the days when I use you. I'll expect you to be on hand when I want you; get that?"

"My time," said Jean resolutely, "will belong to you if I consider it worth my while to let you have it. Otherwise it will belong to me."

Burns chuckled. "Well, we might as well get down to brass tacks and have things thoroughly understood," he decided. "I'll use you as an extra to double for Miss Gay where there's any riding stunts and so on. Miss Gay is a good actress, but she can't ride to amount to anything. With the clothes and make-up you—impersonate her. See what I mean? And for straight riding I'll pay you five dollars a day; five dollars for your time on the days that I want to use you. For any feature stuff, like that ride down the bluff, and the roping, and the like of that, it'll be more. Twenty-five dollars for feature-stuff, say, and five dollars for straight riding. Get me?"

"I do, yes." Jean's drawl gave no hint of her inner elation at the prospect of earning so much money so easily. What, she wondered, would Lite say to that?

"Well, that part's all right then. By feature-stuff, I mean anything I want you to do to put a punch in the story; anything from riding bucking horses and shooting—say can you shoot?"

"Yes, I think so."

"Well, I'll have use for that, too, later on. The more stunts you can pull off, the bigger hits these pictures are going to make. You see that, of course. And what I've offered you is a pretty good rate; but I expect to get results. I told you I wasn't any cheap John to work for. Now get this point, and get it right: I'll expect you to report to me every morning here, at eight o'clock. I may need you that day and I may not, but you're to be on hand. If I do need you, you get paid for that day, whether it's one scene or twenty you're to work in. If I don't need you that day, you don't get anything. That's what being an extra means. You start in to-day, and if you make the ride down the bluff, it'll be twenty-five to-day. But you can't go riding off somewhere else, and maybe not be here when I want you. You're under my orders, like the rest of the company. Get that?"

"I'll try it for a week, anyway," she said. "Obeying your orders will be the hardest part of it, Mr. Burns. I always want to stamp my foot and say 'I won't' when any one tells me I must do something." She laughed infectiously. "You'll probably fire me before the week's out," she prophesied. "I'll be as meek as possible, but if we quarrel,—well, you know how sweet-tempered I can be!"

Burns looked at her queerly and laughed. "I'll take a chance on that," he said, and went chuckling back to the camera. To have a girl absolutely ignore his position and authority, and treat him in that off-hand manner of equality was a new experience to Robert Grant Burns, terror among photo-players.

Jean went over to where Muriel and her mother were sitting in the shade, and asked Muriel if she would like to ride Pard out into the flat beyond the corrals, where she meant to try out the sorrel.

"I'd like to use you, anyway," she added frankly, "to practice on. You can ride past, you know, and let me rope you. Oh, it won't hurt you; and there'll be no risk at all," she hastened to assure the other, when she saw refusal in Muriel's eyes. "I'll not take any turns around the horn, you know."

"I don't want Muriel taking risks like that," put in Mrs. Gay hastily. "That's just why Burns is going to have you double for her. A leading woman can't afford to get hurt. Muriel, you stay here and rest while you have a chance. Goodness knows it's hard enough, at best, to work under Burns."

Jean looked at her and turned away. So that was it—a leading woman could not afford to be hurt! Some one else, who didn't amount to anything, must take the risks. She had received her first little lesson in this new business.

She went straight to Burns, interrupted him in coaching his chief villain for a scene, and asked him if he could spare a man for half an hour or so. "I want some one to throw a rope over on the run," she explained naively, "to try out this sorrel."

Burns regarded her somberly; he hated to be interrupted in his work.

"Ain't there anybody else you can rope?" he wanted to know. "Where's Gay?"

"'A leading woman,'" quoted Jean serenely, "'can't afford to get hurt!'"

Burns chuckled. He knew who was the author of that sentence; he had heard it before. "Well, if you're as fatal as all that, I can't turn over my leading man for you to practice on, either," he pointed out to her. "What's the matter with a calf or something?"

"You won't let me ride out of your sight to round one up," Jean retorted. "There are no calves handy; that's why I asked for a man."

Whereupon the villains looked at one another queerly, and the chuckle of their director exploded into a full-lunged laugh.

"I'm going to use all these fellows in a couple of scenes," he told her. "Can't you practice on a post?"

"I don't have to practice. It's the sorrel I want to try out." Jean's voice lost a little of its habitual, soft drawl. Really, these picture-people did seem very dense upon some subjects!

"Well, now look here." Robert Grant Burns caught at the shreds of his domineering manner. "My part of this business is producing the scenes. You'll have to attend to the getting-ready part. You—you wouldn't expect me to help you put on your make-up, would you?"

"No, now that I recognize your limitations, I shall not ask any help which none of you are able or have the nerve to give," she returned coolly. "I wish I had Lite here; but I guess Pard and I can handle the sorrel ourselves. Sorry to have disturbed you."

Robert Grant Burns, his leading man and all his villains stood and watched her walk away from them to the stable. They watched her lead Pard out and turn him loose in the biggest corral. When they saw her take her coiled rope, mount the sorrel and ride in, they went, in a hurried group, to where they might look into that corral. They watched her pull the gate shut after her, lean from the saddle, and fasten the chain hook in its accustomed link. By the time she had widened her loop and turned to charge down upon unsuspecting Pard, Robert Grant Burns, his leading man and all his villains were lined up along the widest space between the corral rails, and Pete Lowry was running over so as to miss none of the show.

"Oh, I thought you were all so terribly busy!" taunted Jean, while her loop was circling over her head. Pard wheeled just then upon his hind feet, but the loop settled true over his head and drew tight against his shoulders.

The sorrel lunged and fought the rope, and snorted and reared. It took fully two minutes for Jean to force him close enough to Pard so that she might flip off the loop. Pard himself caught the excitement and snorted and galloped wildly round and round the enclosure, but Jean did not mind that; what brought her lips so tightly together was the performance of the sorrel. While she was coiling her rope, he was making half-hearted buck jumps across the corral. When she swished the rope through the air to widen her loop, he reared and whirled. She jabbed him smartly with the spurs, and he kicked forward at her feet.

"Say," she drawled to Burns, "I don't know what sort of a picture you're going to make, but if you want any roping done from this horse, you'll have to furnish meals and beds for your audiences." With that she was off across the corral at a tearing pace that made the watchers gasp. The sorrel swung clear of the fence. He came near going down in a heap, but recovered himself after scrambling along on his knees. Jean brought him to a stand before Burns.

"I'll have to ask you to raise your price, Mr. Burns, if you want me to run this animal down the bluff," she stated firmly. "He's just what I thought he was all along: a ride-around-the-block horse from some livery stable. When it comes to range work, he doesn't know as much as—"

"Some people. I get you," Burns cut in drily. "How about that horse of yours? Would you be willing to let me have the use of him—at so much per?"

"If I do the riding, yes. Now, since you're here, and don't seem as busy as you thought you were, I'll show you the difference between this livery-stable beast and a real rope-horse."

She dismounted and called to Pard, and Pard came to her, stepping warily because of the sorrel and the rope. "Just to save time, will one of you boys go and bring my riding outfit from the stable?" she asked the line at the fence, whereupon the leading man and all the villains started unanimously to perform that slight service, which shows pretty well how Jean stood in their estimation.

"Now, that's a real, typical, livery-stable saddle and bridle," she observed to Burns, pointing scornfully at the sorrel. "I was going to tell you that I'd hate to be seen in a picture riding that outfit, anyway. Now, you watch how differently Pard behaves with a