er
period,--scenes of carousal which depicted her beloved Andy as a very
wild young man who spent his nights riotously. One full day of sunshine
had also been spent at the stockyards there, taking shipping scenes.

On this day the two women had stayed at home, and Rosemary had nearly
quarreled with Annie-Many-Ponies because Annie would not mend her
stockings, but had spent the whole afternoon teaching Shunka Chistala
to chase prairie dogs, the game being to try and frighten them away
from their holes and then catch them. Annie-Many-Ponies attended to the
strategic direction of the enterprise and let Shunka Chistala do most
of the running. The high, clear laughter of the girl and her
unintelligible cries to the little black dog had irritated Rosemary to
the point of tears.

There had been no more days wasted because of spoiled film,--Luck was
carefully guarding against that,--and it seemed to Rosemary that there
were miles of it developed and dried and pigeon-holed, ready for
assembling. That part of the work she was especially interested in,
because it was done in the house.

To her it might seem that miles of film had been made, but to Luck it
seemed as though the work crawled with maddening deliberation. Delays
fretted him. The mounting expense account worried him, though as a matter
of fact it mounted slowly, considering the work he was doing and the size
of the company he was maintaining. When he took film clippings to a town
photographer to have enlargements made for "stills,"--the pictures which
must accompany each set of prints as advertising matter,--the cost of the
work gave him the blues for the rest of that day. Then there were the
Chavez boys, whom he had found it expedient to use occasionally in his
big range scenes and in his "cow-town stuff." They had no conception of
regular rates as extras, but Luck had a conscience, and he had also
established a precedent. Whenever he used them in pictures, he gave Tomas
five dollars and left it to Tomas to divide with Ramone. And five
dollars, added to other fives and tens and twenty-fives, soon amounts to
an amazing whole when anxiety holds the pencil.

As his story had changed and developed into _The Phantom Herd_ plot, it
had lengthened appreciably, because he could not and would not sacrifice
his big range stuff. And double exposures meant double work, of course.
He found himself with a five-reel picture in the making instead of the
four-reeler he had started