The Phantom Herd | Page 2

of his atmosphere scenes, lifted up her voice suddenly, and wailed after him in high-keyed lament that she would see his face no more; and Luck felt a sudden contraction of the throat while he waved his hand to them and rode away.
Well, now he must go on to the next job, which he hoped would be more pleasant than this one had been. Luck hated to give up those Indians. He liked them, and they liked him,--though that was not the point. He had done good work with them. When he directed the scenes, those Indians did just what he wanted, and just the way he wanted it done; Luck was too old a director not to know the full value of such workers.
But the Acme Film Company, caught with the rest of the world in the pressure of hard times, wanted to economize. The manager had pointed out to Luck, during the course of an evening's discussion, that these Indians were luxuries in the making of pictures, and must be taken off the payroll for the good of the dividends. The manager had contended that white men and women, properly made up, could play the part of Indians where Indians were needed; whereas Indians could never be made to play the part of white men and women. Therefore, since white men and women were absolutely necessary. Why keep a bunch of Indians around eating up profits? The manager had sense on his side, of course. Other companies were making Indian pictures occasionally with not a real Indian within miles of the camera, but Luck Lindsay groaned inwardly, and cursed the necessity of economizing. For Luck had one idol, and that idol was realism. When the scenario called for twenty or thirty Indians, Luck wanted Indians,--real, smoke-tanned, blanketed bucks and squaws and papooses; not made-up whites who looked like animated signs for cigar stores and acted like,--well, never mind what Luck said they acted like.
"I can take the Injuns back," he conceded, "and worry along somehow without them. But if you want me to put on any more Western stuff, you'll have to let me weed out some of these Main Street cowboys that Clements wished on to me, and go out in the sagebrush and round up some that ain't all hair hatbands and high-heeled boots and bluff. I've got to have some whites to fill the foreground, if I give up the Injuns; or else I quit Western stuff altogether. I've been stalling along and keeping the best of the bucks in the foreground, and letting these said riders lope in and out of scenes and pile off and go to shooting soon as the camera picks them up, but with the Injuns gone, the whites won't get by.
"Maybe you have noticed that when there was any real riding, I've had the Injuns do it. And do you think I've been driving that stagecoach hell-bent from here to beyond because I'd no other way to kill time? Wasn't another darned man in the outfit I'd trust, that's why. If I take the Indians back, I've got to have some real boys." Luck's voice was plaintive, and a little bit desperate.
"Well, dammit, have your real boys! I never said you shouldn't. Weed out the company to suit yourself. You'll have to take the Injuns back; nobody else can handle the touch-me-not devils. You can lay off the company if you want to, and while you're up there pick up a bunch of cowboys to suit you. You're making good, Luck; don't take it that I'm criticizing anything you've done or the way you did it. You've been turning out the best Western stuff that goes on the screen; anybody knows that. That isn't the point. We just simply can't afford to keep those Indians any longer without retrenching on something else that's a lot more vital. You know what they cost as well as I do; you know what present conditions are. Figure it out for yourself."
"I don't have to," Luck retorted in a worried tone. "I know what we're up against. I know we ought to give them up--but I sure hate to do it! Lor-dee, but I can do things with that bunch! Remember Red Brother?" Luck was off on his hobby, the making of Indian pictures. "Remember the panoram effect I got on that massacre of the wagon train? Remember the council-of-war scene, and the close-up of Young-Dog-Howls-At-The-Moon making his plea for the lives of the prisoners? And the war dance with radium flares in the camp fires to give the light-effect? That film's in big demand yet, they tell me. I'll never be able to put over stuff like that with made-up actors, Martinson. You know I can't."
"I don't know; you're only just beginning