“Pam. bleak mesa—­snow—­cattle drifting before wind.  Dale and Johnny dis. riding to foreground.  Reg. cold—­horses leg-weary—­boys all in—­”

To Luck, sitting there in his pajamas as close as he could get to a slow-warming steam radiator, those curtailed sentences projected his mental self into a land of cold and snow and biting wind, where the cattle drifted dismally before the storm.  Andy Green and Miguel Rapponi were riding slowly toward him on shuffling horses as bone-weary as their masters.  Snow was packed in the wrinkles of the boys’ clothing.  Snow was packed in the manes and tails of the horses that moved with their heads drooping in utter dejection.  “Boys all in,” said the script laconically.  Luck, staring at the little thread of escaping steam from the radiator valve, saw Andy and the Native Son drooping in the saddles, swaying stiffly with the movements of their mounts.  He saw them to the last little detail,—­to the drift of snow on their hatbrims and the tiny icicles clinging to the high collars of their sourdough coats, where their breath had frozen.

If he could get a company to let him put that on, he would not care, he told himself, if he never made another picture in his life.  If he could get a company to send him and the boys where that stuff could be found—­

Well, it was only eight o’clock in the morning, a rainy morning at that, when all good movie people would lie late in bed for the pure luxury of taking their ease.  But Luck, besides acting upon strong convictions and then paying the price without whimpering, never let an impulse grow stale from want of use.  He reached for the fat telephone directory and searched out the numbers of those motion-picture companies which he did not remember readily.  Then, beginning at the first number on his hastily compiled list, he woke five different managers out of their precious eight-o’clock sleep to answer his questions.

Whatever they may have thought of Luck Lindsay just then, they replied politely, and did not tell him offhand that there was no possible opening for him in their companies.  Three of them made appointments with him at their offices.  One promised to call him up just as soon as he “had a line on anything.”  One said that, with the rainy weather coming on, they were cutting down to straight studio stuff, but that he would keep Luck in mind if anything turned up.

Then I suppose the whole five called him names behind his back, figuratively speaking, for being such an early riser on such a day.  Not one of them asked him any questions about his reasons for leaving the Acme; reasons, in the motion-picture business, are generally invented upon demand and have but a fictitious value at best.  And since it is never a matter of surprise when any director or any member of any company decides to try a new field, it would seem that change is one of the most unchanging features of the business.