The Phantom Herd by B. M. Bower (best ebook reader ubuntu .txt) 📖

To be doubly safe from blurred film, he had brought his ray filter along, for the flakes of snow were large and falling fast. He had chosen a different location, because of the direction of the wind and the difficulty the boys would have had in driving the cattle back in the face of it to the side hill where he had first taken the scenes of the drifting herd.

To-day he "shot" them first as they were filing reluctantly out through a narrow pass which was supposed to be the entrance to the box canyon where the two rustlers, Andy and Miguel, had kept them hidden away. Artistically speaking, the cattle were in perfect condition for such a scene, every rib showing as they trooped past the clicking camera cleverly concealed in a clump of bushes; hip bones standing up, lean legs shambling slowly through the snow that was already a foot deep. Cattle hidden for days and days in a box canyon would not come out fat and sleek and stepping briskly, and Luck was well pleased with the realism of his picture, even while he pitied the poor beasts.

Later he took the drifting of the herd, and he knew in his heart that the scenes were better than those he had lost. He took tragic scenes of the Native Son in his struggle to keep up and to keep going. He took him as he fell and lay prone in the snow beside his fallen horse while the blizzard whooped over him, and the snow fell upon his still face. In his zeal he nearly froze the Native Son, who must lie there during two or three "cut-back" scenes, and while Andy was coming up in search of him. When Andy lifted him and found him actually limp in his arms, the anxiety which a "close-up" revealed in his face was not all art. However, he did not say anything until Luck's voracious scene-appetite had been at least partially satisfied.

"By gracious, I believe the son-of-a-gun is about froze," he snapped out then; Luck grinned mirthlessly and called to Annie for the precious thermos bottle, and poured a cup of strong black coffee, added a generous dash of the apricot brandy which he spoke of familiarly as his "cure-all," and had the Native Son very much alive and tramping around to restore the circulation to his chilled limbs before Bill Holmes had carried the camera to the location of the next scene.

"By rights I should have left you the way you were till I got this last death scene where Andy buries you under the rock ledge so he can get home alive himself," Luck told Miguel heartlessly, when they were ready for work again. "You were in proper condition, brother. But I'm human. So you'll have to do a little more acting, from now on."

With his mats placed with careful precision, he took his dissolve "vision stuff" of the blizzard and the death of Miguel,—scenes which were to torment the conscience of Andy the rustler into full repentance and confession to his father. While the boys huddled around Annie's camp fire and guzzled hot coffee and ate chilled sandwiches, Luck took some fine scenes of the phantom herd marching eerily along the skyline of a little slope.

He "shot" every effective blizzard scene he had dreamed of so despairingly when the weather was fine. Some scenes of especial importance to his picture he took twice, so as to have the "choice-of-action" so much prized by producers. This, you must know, was a luxury in which Luck had not often permitted himself to indulge. With raw negative at nearly four cents a foot, he had made it a point to shoot only such scenes as gave every promise of being exactly what he wanted. But with this precious blizzard that numbed his fingers most realistically while he worked, but never once worried him for fear the sun was going to shine before he had finished, he was as lavish of negative as though he had a million-dollar corporation at his back.

That evening, when they were luxuriating before the fireplace heaped with dry wood which the flames were licking greedily, Luck became, for the first time in months, the old Luck Lindsay who had fascinated them at the Flying U. He told them stories of his days with the "Bill show," and called upon the giggling Annie-Many-Ponies for proof of their truth; whereat Annie-Many-Ponies would nod her head vigorously and declare that it was "No lie. I see him plenty times do them thing. I know." He disputed energetically with Big Medicine over the hardships of the day's work; and as a demonstration of the fact that he was perfectly able to go out right then and shoot another seven hundred feet of film, he seized upon the tom-tom which Annie-Many-Ponies had made from a green calf hide and an old cheese box, and in his moccasins he danced the Sioux Buffalo Dance and several other dances in which Annie-Many-Ponies finally joined and teetered around in the circle which the Happy Family enthusiastically widened for the performers.

Work there was yet to do, and plenty of it. Even if the weather came clear on the morrow as he desired, he must make every minute count, if he would take his picture to the Cattlemen's Convention. Work there was, and problems there were to be solved. But he had his big blizzard stuff, and he had his scenes of the phantom herd. So for an hour or two, on this evening of triumph, Luck Lindsay threw care into a far corner, and danced and sang as the Happy Family had never known he could do.

"Here, Annie, take the drum; it's 'call the dog and put out the fire and all go home.' If my luck stays with me, and the sun shines to-morrow, we'll take these interiors of the double-exposure stuff. And then we'll be eating on the run and sleeping as we ride, till that picture pops out on the screen for the old cattlemen to see. Good night, folks; I'm going to sleep to-night!"

He went out whistling like a schoolboy going fishing. For luck was with him once more, and his Phantom Herd was almost a reality as a picture.

CHAPTER EIGHTEEN A FEW OF THE MINOR DIFFICULTIES

However obliging fate may desire to be, certain of nature's laws must be observed. Whether luck was disposed to stay with Luck Lindsay or not, a storm such as the fates had conjured for his needs could not well blow itself out as suddenly as it had blown itself in; so Luck did not get all of his interior double-exposure stuff done the next day, nor his remaining single-exposure stuff either. When his own reason and Applehead's earnest assurances convinced him that the day after the real blizzard day was going to be unfit for camera work, Luck took Weary, Pink, and the Native Son to Albuquerque, rented a little house he had discovered to be vacant, and set them to work building a drying drum for his prints, according to the specifications he furnished them. He hauled his tanks from the depot and showed the boys how to install them so as to have the benefit of the running water, and got his printer set up and ready to work; for he knew that he would have to make his first prints himself, with the help of the Happy Family, the photographer having neither the room nor the time for the work, and Luck having no more than barely money enough to pay house rent and the charges on his tanks and printer.

Then, being an obliging young man when the fates permitted him to indulge his natural tendencies, Luck made a hurried trip to a certain little shop that had dusty mandolins and watches and guns and a cheap kodak in the dingy window. He went in with his watch in his pocket ticking cheerfully the minutes and hours that were so full of work and worry. When he came out, the watch was ticking just as cheerfully in a drawer and the chain was looped prosperously across his vest from buttonhole to empty pocket. He went straight across to a grocery store and bought some salt pork and coffee and cornmeal and matches which Rosemary had timidly asked him if he could get. She explained apologetically that she was beginning to run out of things, and that she had no idea they were going to have such awful appetites, and that of course there were two extra people to feed, and that they certainly could dispose of their share three times a day,—meaning, of course, Annie-Many-Ponies and Bill Holmes.

Even while his brain was doing swift mental gymnastics in addition and subtraction, Luck had told her he would get whatever she wanted. His watch brought enough to buy everything she asked for except a can of syrup; and that, he told her, the groceryman must have overlooked, for he certainly had ordered it. He called the groceryman names enough to convince Rosemary that her list had not been too long for his purse, and that Luck's occasional statement that he was broke must be taken figuratively; Luck breathed a sigh of relief that Rosemary, at least, was once more spared the knowledge that all was not yet plain sailing to a smooth harbor.

The next day being sunny, Luck finished the actual camera work on The Phantom Herd. That night he and Bill Holmes developed every foot of negative he had exposed since the storm began, and they finished just as Rosemary rapped on the darkroom door and called that breakfast was ready. Bill took it for granted that he could sleep, then, while the negative was drying; but Luck was merciless; that Cattlemen's Convention was only two days off,—counting that day which was already begun,—and there was also a twelve-hour train trip, more or less, between his picture and El Paso.

Bill Holmes had learned to join film in movie theaters, and Luck set him to work at it as soon as he had finished his breakfast. When Bill grumbled that there wasn't any film cement, Luck very calmly went to his trunk and brought some, thereby winning from Rosemary the admiring statement that she didn't believe Luck Lindsay ever forgot a single, solitary thing in his life! So Bill Holmes assembled the film, scene by scene, without even the comfort of cigarettes to keep awake. At his elbow Luck also joined film until the negative in the garret was dry enough to handle, when he began cutting it according to the continuity sheet, ready for Bill to assemble.

Luck's mood was changeable that day. He would glow with the pride of achievement when he held a yard or so of certain scenes to the light and knew that he had done something which no other producer had ever done, and that he had created a film story that would stand up like a lone peak above the level of all other Western pictures. When those night scenes were tinted—and that scene which had for its sub-title Opening Exercises, and which showed the Happy Family mounting Applehead's snakiest bronks and riding away from camp into what would be an orange sunrise after the positive had been through its dye bath—

And then discouragement would seize him, and he would wonder how he was going to get hold of money enough to take him to El Paso and the Convention. And how, in the name of destitution, was he going to pay for that stock of "positive" when it came? Applehead was dead willing to help him,—that went without saying; but Applehead was broke. That last load of horse-feed had cleaned his pockets, as he had cheerfully informed Luck over three weeks before. Applehead was not, and never would be by his own efforts, more than comfortably secure from having to get out and work for wages. He had cattle, but he let them run the range in season and out, and it was only in good years that he had fair beef to ship. He hated a gang of men hanging around the ranch and eating their fool heads off, he frequently declared. So he and Compadre had lived in unprosperous peace, with a little garden and a little grape arbor and a horse for Applehead in the corral, and teams in the pasture where they could feed and water themselves, and a month's supply of "grub" always in the house. Applehead called that comfort, and could not see the advantage of burdening himself with men and responsibilities that he might pile up money in the bank. You can easily see where the coming of Luck and his outfit might strain the financial