The Greatest Works of B. M. Bower - 51 Titles in One Volume (Illustrated Edition). B. M. Bower
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 resources of Applehead, even though Luck tried to bear all extra expense for him. No, thought Luck, Applehead would have to mortgage something if he were to attempt raising money then. And Luck would have taken a pack-outfit and made the trip to El Paso on horseback before he would see Applehead go in debt for him. As it was, he was seriously considering that pack-horse proposition as a last resort, and trying to invent some way of shaving his work down so that he would have time for the trip. But certain grim facts could not be twisted to meet his needs. He simply had to print his positive for projection on the screen. And that positive simply had to go through certain processes that took a certain amount of time; and it simply had to be dry and polished before he could wind it on his reels. Reels? Lord-ee! He didn’t have any reels to wind it on!
“What’s the matter? Spoil something?” Bill Holmes asked indifferently, pausing to look at Luck before he took up the next strip of celluloid ribbon with its perforated edges and its little squares of shadowlike pictures that to the unpractised eye looked all alike.
“No. What reel is that you’re on now? We want to be in town before dark with this stuff, so as to start the printer going to-night.” By printing, that night, and by hard riding, he might be able to make it, he was thinking.
“Think we’ll be through in time?”
“Certainly, we’ll be through in time.” Luck held up another strip to see where to cut it. “We’ve got to be through!”
“I’m liable to be joining this junk by the sides instead of the ends, before long,” Bill hinted.
“No, you won’t do anything like that.” Luck’s voice had a disturbing note of absolute finality.
Bill looked at him sidelong. “A fellow can’t work forever without sleep. My head’s splitting right now. I can hardly see—”
“Yes, you can see well enough to do your work—and do it right! Get that?”
Bill grunted. Evidently he got it, for he said no more about his head, or about sleep. He did glance frequently out of the tail of his eye at Luck’s absorbed face with his jaw set at a determined angle and his great mop of iron-gray hair looking like a heavy field of grain after a thunderstorm, standing out as it did in every direction. Now and then Luck pushed it back impatiently with the flat of his palm, but he showed no other sign of being conscious of anything at all save the picture; though he could have told you offhand just how many times Bill turned his eyes upon him.
At noon they were not through, and to Bill the attempt to finish that day seemed hopeless, not to say insane. But by four o’clock they were done with the cutting and joining, and had their film carefully packed and in the mountain wagon, and were ready to drive through the slushy mud which was the aftermath of the blizzard to the little house in Albuquerque which the boys had turned into a crude but efficient laboratory.
There Luck continued to be merciless in his driving energy. He canvassed the moving-picture theaters of the town and borrowed reels on which to wind his film when it was once ready for winding. He went back to the little house and set every one within it to work and kept them at it. He printed his positive, dissolved his aniline dye, which was to be firelight effect, in the bathtub,—and I should like to know what the landlord thought when next he viewed that tub! He made an orange bath for sunrise effects in one of the stationary tubs, and his light blue for night tints in the other. He buzzed around in that little house like a disturbed blue-bottle fly that cannot find an open window. He had his sleeves rolled to his shoulders and his hair more tousled than ever; he had blue circles under his eyes and dabs of dye distributed here and there on his face and his arms; he had in his eyes the glitter of a man who means to be obeyed instantly and implicitly, whatever his command may be,—and if you want to know, he was obeyed in just that manner.
Happy Jack and Big Medicine took turns at the crank of the big drying drum, around which Andy and Weary had carefully wound the wet film. Being a crude, home-made affair, the crank that kept that drum turning over and over did not work with the ease of ball-bearings. But Happy Jack, rolling his eyes up at Luck when he hurried past to attend to something somewhere, did not venture his opinion of the task. Nor did Big Medicine bellow any facetious remarks whatever, but turned and sweated, and used the other hand awhile, and turned and turned, and goggled at Luck whenever Luck came within his range of vision, and changed off to the other hand and turned and turned, and still said nothing at all.
Bill Holmes went to sleep about midnight and came near ruining a batch of firelight scenes in the analine bath, and after that Luck did all the technical part of the work himself. The Happy Family did what they could and wished they were not so ignorant and could do more. They could not, for instance, help Luck in the final assembling of the polished film and the putting in of the sub-titles and inserts. But they could polish that film, after he showed them how; so Pink and Weary did that. And at daylight Luck shook Bill Holmes awake and set him to work again.
Just to show that Luck was human, even though he was obsessed by a frenzy of work, he sent the boys outside, whenever one of them could be spared, for the smoke they craved and could not have among that five thousand feet of precious but highly inflammable film. But he did not treat himself to the luxury of a cigarette.
Luck had not yet solved the problem of meeting the expense of the trip to El Paso. Riding down with a pack-horse would take him too long; the best he could do would not be quick enough; for the Convention would be over before he got there, and his trip therefore useless. He worked just as fast, however, as though