Jean of the Lazy A [39]
being fussed with; you can practice on him. He's mean about taking the bit, though, unless you know just how to take hold of him. Come on."
The three of them,--Muriel Gay and her mother and Lee Milligan,--stared at Jean without speaking. To her it seemed perfectly natural that she should walk up and offer to help the girl; to them it seemed not so natural. For a minute the product of the cities and the product of the open country studied each other curiously.
"Come on," urged Jean in her lazily friendly drawl. "It's simple enough, once you get the hang of it." And she smiled before she added, "A latigo is just the strap that fastens the cinch. I'll show you."
"I'll bet Bobby Burns doesn't know that," said Muriel Gay, and got up from the bench. "It's awfully good of you; Mr. Burns is so--"
"I noticed that," said Jean, while Muriel was waiting for a word that would relieve her feelings without being too blunt.
Burns and Pete Lowry and the assistant had gone down the coulee, still studying the bluff closely. "I've got to ride down that bluff," Muriel informed Jean, her eyes following her director gloomily. "He asked me last night if I could throw a rope. I don't know what for; it's an extra punch he wants to put in this picture somewhere. I wish to goodness they wouldn't let him write his own scenarios; he just lies awake nights, lately, thinking up impossible scenes so he can bully us afterwards. He's simply gone nutty on the subject of punches."
"Well, it's easy enough to learn how to saddle a horse," Jean told Muriel cheerfully. "First you want to put on the bridle--"
"Burns told me to put on the saddle first; and then he cuts the scene just as I pick up the bridle. The trouble is to get the saddle on right, and then--that latigo dope!"
"But you ought to bridle him first," Jean insisted. "Supposing you just got the saddle on, and your horse got startled and ran off? If you have the bridle on, even if you haven't the reins, you can grab them when he jumps."
"Well, that isn't the way Burns directed the scene yesterday," Muriel Gay contended. "The scene ends where I pick up the bridle."
"Then Robert Grant Burns doesn't know. I've seen men put on the bridle last; but it's wrong. Lite Avery, and everybody who knows--"
Muriel Gay looked at Jean with a weary impatience. "What I have to do," she stated, "is what Burns tells me to do. I should worry about it's being right or wrong; I'm not the producer."
Jean faced her, frowning a little. Then she laughed, hung the bridle back on the rusty spike, and took down the saddle blanket. "We'll play I'm Robert Grant Burns," she said. "I'll tell you what to do: Lay the blanket on straight,--it's shaped to Pard's back, so that ought to be easy,--with the front edge coming forward to his withers; that's not right. Maybe I had better do it first, and show you. Then you'll get the idea."
So Jean, with the best intention in the world, saddled Pard, and wondered what there was about so simple a process that need puzzle any one. When she had tightened the cinch and looped up the latigo, and explained to Muriel just what she was doing, she immediately unsaddled him and laid the saddle down upon its side, with the blanket folded once on top, and stepped close to the manger.
"If your saddle isn't hanging up, that's the way it should be put on the ground," she said. "Now you do it. It's easy."
It was easy for Jean, but Muriel did not find it so simple. Jean went through the whole performance a second time, though she was beginning to feel that nature had never fitted her for a teacher of young ladies. Muriel, she began to suspect, rather resented the process of being taught. In another minute Muriel confirmed the suspicion.
"I think I've got it now," she said coolly. "Thank you ever so much."
Robert Grant Burns returned then, and close behind him rode Gil Huntley and those other desperados who had helped to brand the calf that other day. Gil was leading a little sorrel with a saddle on,--Muriel's horse evidently.
The three of them,--Muriel Gay and her mother and Lee Milligan,--stared at Jean without speaking. To her it seemed perfectly natural that she should walk up and offer to help the girl; to them it seemed not so natural. For a minute the product of the cities and the product of the open country studied each other curiously.
"Come on," urged Jean in her lazily friendly drawl. "It's simple enough, once you get the hang of it." And she smiled before she added, "A latigo is just the strap that fastens the cinch. I'll show you."
"I'll bet Bobby Burns doesn't know that," said Muriel Gay, and got up from the bench. "It's awfully good of you; Mr. Burns is so--"
"I noticed that," said Jean, while Muriel was waiting for a word that would relieve her feelings without being too blunt.
Burns and Pete Lowry and the assistant had gone down the coulee, still studying the bluff closely. "I've got to ride down that bluff," Muriel informed Jean, her eyes following her director gloomily. "He asked me last night if I could throw a rope. I don't know what for; it's an extra punch he wants to put in this picture somewhere. I wish to goodness they wouldn't let him write his own scenarios; he just lies awake nights, lately, thinking up impossible scenes so he can bully us afterwards. He's simply gone nutty on the subject of punches."
"Well, it's easy enough to learn how to saddle a horse," Jean told Muriel cheerfully. "First you want to put on the bridle--"
"Burns told me to put on the saddle first; and then he cuts the scene just as I pick up the bridle. The trouble is to get the saddle on right, and then--that latigo dope!"
"But you ought to bridle him first," Jean insisted. "Supposing you just got the saddle on, and your horse got startled and ran off? If you have the bridle on, even if you haven't the reins, you can grab them when he jumps."
"Well, that isn't the way Burns directed the scene yesterday," Muriel Gay contended. "The scene ends where I pick up the bridle."
"Then Robert Grant Burns doesn't know. I've seen men put on the bridle last; but it's wrong. Lite Avery, and everybody who knows--"
Muriel Gay looked at Jean with a weary impatience. "What I have to do," she stated, "is what Burns tells me to do. I should worry about it's being right or wrong; I'm not the producer."
Jean faced her, frowning a little. Then she laughed, hung the bridle back on the rusty spike, and took down the saddle blanket. "We'll play I'm Robert Grant Burns," she said. "I'll tell you what to do: Lay the blanket on straight,--it's shaped to Pard's back, so that ought to be easy,--with the front edge coming forward to his withers; that's not right. Maybe I had better do it first, and show you. Then you'll get the idea."
So Jean, with the best intention in the world, saddled Pard, and wondered what there was about so simple a process that need puzzle any one. When she had tightened the cinch and looped up the latigo, and explained to Muriel just what she was doing, she immediately unsaddled him and laid the saddle down upon its side, with the blanket folded once on top, and stepped close to the manger.
"If your saddle isn't hanging up, that's the way it should be put on the ground," she said. "Now you do it. It's easy."
It was easy for Jean, but Muriel did not find it so simple. Jean went through the whole performance a second time, though she was beginning to feel that nature had never fitted her for a teacher of young ladies. Muriel, she began to suspect, rather resented the process of being taught. In another minute Muriel confirmed the suspicion.
"I think I've got it now," she said coolly. "Thank you ever so much."
Robert Grant Burns returned then, and close behind him rode Gil Huntley and those other desperados who had helped to brand the calf that other day. Gil was leading a little sorrel with a saddle on,--Muriel's horse evidently.