LITMIR.BIZ

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paper and a pencil. He had sold his typewriter when he was raising money for this trip, and he was inclined now to regret it. But he sharpened the pencil, laid a large-surfaced “movie” magazine across his knees, and prepared to revise his scenario to meet his present limitations.

      With a good thousand feet of film spoiled through no real fault of his own, and with the expenses he knew he must meet looming inexorably before him, he simply could not afford a leading woman. Therefore, he must change his story, making it a “character” lead instead of the conventional hero and heroine theme. Chance—he called it luck—had sent him Annie-Many-Ponies, who “Wants no monies.” He must change his story so that she would fit into it as the necessary feminine element, but he was discouraged enough that night to tell himself that, just as he had her placed and working properly, the Indian Agent or her father, old Big Turkey, would probably demand her immediate return. In his despondent mood he had no faith in his standing with the Indians or in the letter he had written to the Agent. His “one best bet”, as he put it, was to make her scenes as soon as possible, before they had time to reach him with a letter; therefore he must reconstruct his scenario immediately, so that he could get to work in the morning, whatever the weather.

      He read the script through from beginning to end, and his heart went heavy in his chest. He did not want to change one scene of that Big Picture. Just as it stood it seemed to him perfect in its way. It had the bigness of the West when the West was young. It had the red blood of courage, the strength of achievement, the sweetness of a great love. It was, in short, Luck’s biggest, best work. Still, without a woman to play that lead—

      Luck sighed and dampened his pencil on his tongue and drew a heavy line through the scene where “Marian” first appeared in the story. It hurt him like drawing a hot wire across his hand. It was his first real compromise, his first step around an obstacle in his path rather than his usual bold jump over it. He looked at the pencil mark and considered whether he could not send for a girl young in the profession, who would be satisfied with her transportation and thirty or forty dollars a week while she stayed. He could make all her scenes and send her back. But a little mental arithmetic, coupled with the cold fact that he did not know of any young woman who was capable of doing the work he required and would yet be satisfied with a small salary, killed that new-born hope. He drew a line through the next scene where the girl appeared.

      When he had quite blotted the girl from his story, he was appalled at the gap he must fill in the continuity and in the theme. He had left old Dave Wiswell, his dried little cattleman, a childless old man—or else a “squaw” man whose squaw has, presumably, died before the story began. Somehow he could not “see” his cattleman as one who would set aside the barrier of race and take a squaw for his wife. He could not see Annie-Many-Ponies as anything save what she was—a beautiful young savage with an odd adornment of civilized speech and some of the civilized customs, it is true, but a savage for all that. He did not want to spoil her by portraying her as a half-caste in his picture.

      He must make his story a man’s story, with the full interest centered about the man’s hopes, his temptations, his achievements. The woman—Annie, as he saw the woman now—must be of secondary interest. He laid his head against the chair back in his favorite attitude for uninterrupted thought, and stared into the fire. In this way he had stared out into the night of the Dakota prairie; at first brooding in discontent because things were not as he would have them, then drifting into dreams of what he would like; then weaving his dreams together and creating a something complete in itself. So had he created his Big Picture,—the picture which was already beginning to live in the narrow strips of negative. A few hundred feet of that negative were even dry and filed away ready for cutting; unimportant scenes, to be sure, with all of his “big stuff” yet to be produced. His mind went methodically over the completed scenes, judging each one separately, seeking some change of plot that would yet permit these scenes to be used. From there his thought drifted to the day’s work in the blizzard,—the day’s work that had been lost because of atmospheric conditions. Blizzard stuff he must have, he told himself stubbornly. Not only was that a phase of the range which he must portray if his picture were to be complete; he must have it to lead the story up to that tragic, pitifully eloquent scene which had come out clear and photographically perfect,—the scene of the old cow’s struggle against the storm and of her final surrender, too weak to match her puny strength against the furies of wind and snow and cold. That scene would live long in the minds of those who saw it; that scene alone would lift his picture above the dead level of mediocrity. But he must have another blizzard….

      His eyelids drooped low over his tired eyes; through their narrowing opening he stared at the yellow glow of the fire. Only half awake, he dreamed of the herd drifting down that bleak hillside, with Andy and the Native Son riding doggedly after them. Only half awake, his story changed, grew indistinct, clarified in stray scenes, held aloof from him, grew and changed, and was another story. And always in the background of his mind went that drifting herd. Sometimes snow-whitened, their backs humped in the wind, their heads lowered and swaying weakly from side to side, the cattle marched and marched before him, sometimes obscured by the blackness of night, a vague procession of moving shadows; sometimes revealed suddenly when the lightning split the blackness. Like a phantom herd—

      “The phantom herd!” Aloud he cried the words. “The Phantom Herd!” He sat up straight in his chair. Here was his title, for which his mind had groped so long and could not grasp. His title—

      “What—that you, Luck?” Andy Green’s voice came sleepily from the next room. “What yuh want?”

      “I’ve got my title!” Luck called back, his voice exultant. “And I’ve got my story, too! Get up, Andy, and let me tell you the plot!”

      Whereupon Andy proved himself a real friend and an unselfish one. He felt as if getting up out of bed was the final, supreme torture under which a man may live; but he got up, for there was something in Luck’s voice that thrilled him even through the clogging sleep-hunger. Presently he was sitting in his trousers and socks and shirt, sleepy-eyed beside Luck.

      “Shoot it outa your system,” he mumbled, and began feeling stupidly for his cigarette papers. “E—a-ough!“ he yawned, if so inarticulate a sound may be spelled. “I knew you’d have to work your story over,” he said, more normal of tone after the yawn. And he added bluntly, “Rosemary’s one grand little woman—but she couldn’t act if you trained her a thousand years. What’s your next best bet?”

      “No next best; it’s the picture this time. The Phantom Herd. Get that as a title?”

      “Gee!” Andy softly paid tribute. Then he grinned. “By gracious, they sure didn’t act to me like any phantom herd when we first headed ‘em into that wind!”

      “Them babies are going to march us up to a pile of real money, though,” Luck asserted eagerly.

      “Listen. Here’s the story—the part I’ve changed; all the first part is the same—the trail-herd and all. You’re old Dave’s son, and you’re wild. You quarrel, and he turns you out, thinking he’ll let you rustle for yourself awhile, and maybe tame down and come back more like he wants you to be. But you don’t tame that way. You throw in with Miguel, and you two turn rustlers. You hold a grudge against your dad, and you rustle from him mostly, on the plea that by rights what’s his is yours—you know. Annie is Mig’s sweetheart, and she’s a kind of go-between—keeps you posted on what’s taking place on the outside, and all that. I haven’t,” he explained hastily, “doped out the details yet. I’m giving you the main points I want to bring out. Well, here’s the big stuff; you get a big herd together. You’re holding ‘em in a box canyon,—I know the spot, all right,—waiting for a chance to drive them outa the country; see? This blizzard hits, and you take advantage of it to drive the herd out under cover of the storm. But the blizzard beats you. You trail ‘em along, but there’s only two of you, and you can’t keep ‘em from swinging away from the wind. You try to hold the herd into the storm,—that’s where I’ll get my big storm effects,—but they swing off in spite of you. Your horses get tired; all you can do is follow the herd. Lord! I wish that stuff I took to-day wasn’t spoiled! I sure would have had some big stuff there. Well,

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