Jean of the Lazy A [48]
Twice the loop circled over her head before she flipped it out straight and true toward the frantic sorrel as he surged by. She caught him fairly by both front feet and swung Pard half away from him. Pard's muscles stiffened against the jerk of the rope, and the sorrel went down with a bump. Pard backed knowingly and braced himself like the trained rope-horse he was, and Jean looked at Robert Grant Burns and laughed.
"I didn't bust him," she disclaimed whimsically. "He done busted himself!" She touched Pard with her heel and rode up so that the rope slackened, and she could throw off the loop. "Did you see how Pard set himself?" she questioned eagerly. "I could have gotten off and gone clear away, and Pard would have kept that horse from getting on his feet. Now you see the difference, don't you? Pard never would have gone down like that."
"Oh, you'll do," chuckled Robert Grant Burns, "I'll pay you a little more and use you and your horse together. Call that settled. Come on, boys, let's get to work."
CHAPTER XIII
PICTURES AND PLANS AND MYSTERIOUS FOOTSTEPS
When Lite objected to her staying altogether at the Lazy A, Jean assured him that she was being terribly practical and cautious and businesslike, and pointed out to him that staying there would save Pard and herself the trip back and forth each day, and would give her time, mornings and evenings to work on her book.
Lite, of course, knew all about that soon-to-be-famous book. He usually did know nearly everything that concerned Jean or held her interest. Whether, after three years of futile attempts, Lite still felt himself entitled to be called Jean's boss, I cannot say for a certainty. He had grown rather silent upon that subject, and rather inclined to keep himself in the background, as Jean grew older and more determined in her ways. But certainly he was Jean's one confidential friend,-- her pal. So Lite, perforce, listened while Jean told him the plot of her story. And when she asked him in all earnestness what he thought would be best for the tragic element, ghosts or Indians, Lite meditated gravely upon the subject and then suggested that she put in both. That is why Jean lavishly indulged in mysterious footsteps all through the first chapter, and then opened the second with blood-curdling war-whoops that chilled the soul of her heroine and led her to suspect that the rocks behind the cabin concealed the forms of painted savages.
Her imagination must have been stimulated by her new work, which called for wild rides after posses and wilder flights away from the outlaws, while the flash of blank cartridges and the smoke-pots of disaster by fire added their spectacular effect to a scene now and then.
Jean, of course, was invariably the wild rider who fled in a blond wig and Muriel's clothes from pursuing villains, or dashed up to the sheriff's office to give the alarm. Frequently she fired the blank cartridges, until Lite warned her that blank cartridges would ruin her gun-barrel; after which she insisted upon using bullets, to the secret trepidation of the villains who must stand before her and who could never quite grasp the fact that Jean knew exactly where those bullets were going to land.
She would sit in her room at the Lazy A, when the sun and the big, black automobile and the painted workers were gone, and write feverishly of ghosts and Indians and the fair maiden who endured so much and the brave hero who dared so much and loved so well. Lee Milligan she visualized as the human wolf who looked with desire upon Lillian. Gil Huntley became the hero as the story unfolded; and while I have told you absolutely nothing about Jean's growing acquaintance with these two, you may draw your own conclusions from the place she made for them in her book that she was writing. And you may also form some idea of what Lite Avery was living through, during those days when his work and his pride held him apart, and Jean did "stunts" to her heart's content with these others.
A letter from the higher-ups in the Great
"I didn't bust him," she disclaimed whimsically. "He done busted himself!" She touched Pard with her heel and rode up so that the rope slackened, and she could throw off the loop. "Did you see how Pard set himself?" she questioned eagerly. "I could have gotten off and gone clear away, and Pard would have kept that horse from getting on his feet. Now you see the difference, don't you? Pard never would have gone down like that."
"Oh, you'll do," chuckled Robert Grant Burns, "I'll pay you a little more and use you and your horse together. Call that settled. Come on, boys, let's get to work."
CHAPTER XIII
PICTURES AND PLANS AND MYSTERIOUS FOOTSTEPS
When Lite objected to her staying altogether at the Lazy A, Jean assured him that she was being terribly practical and cautious and businesslike, and pointed out to him that staying there would save Pard and herself the trip back and forth each day, and would give her time, mornings and evenings to work on her book.
Lite, of course, knew all about that soon-to-be-famous book. He usually did know nearly everything that concerned Jean or held her interest. Whether, after three years of futile attempts, Lite still felt himself entitled to be called Jean's boss, I cannot say for a certainty. He had grown rather silent upon that subject, and rather inclined to keep himself in the background, as Jean grew older and more determined in her ways. But certainly he was Jean's one confidential friend,-- her pal. So Lite, perforce, listened while Jean told him the plot of her story. And when she asked him in all earnestness what he thought would be best for the tragic element, ghosts or Indians, Lite meditated gravely upon the subject and then suggested that she put in both. That is why Jean lavishly indulged in mysterious footsteps all through the first chapter, and then opened the second with blood-curdling war-whoops that chilled the soul of her heroine and led her to suspect that the rocks behind the cabin concealed the forms of painted savages.
Her imagination must have been stimulated by her new work, which called for wild rides after posses and wilder flights away from the outlaws, while the flash of blank cartridges and the smoke-pots of disaster by fire added their spectacular effect to a scene now and then.
Jean, of course, was invariably the wild rider who fled in a blond wig and Muriel's clothes from pursuing villains, or dashed up to the sheriff's office to give the alarm. Frequently she fired the blank cartridges, until Lite warned her that blank cartridges would ruin her gun-barrel; after which she insisted upon using bullets, to the secret trepidation of the villains who must stand before her and who could never quite grasp the fact that Jean knew exactly where those bullets were going to land.
She would sit in her room at the Lazy A, when the sun and the big, black automobile and the painted workers were gone, and write feverishly of ghosts and Indians and the fair maiden who endured so much and the brave hero who dared so much and loved so well. Lee Milligan she visualized as the human wolf who looked with desire upon Lillian. Gil Huntley became the hero as the story unfolded; and while I have told you absolutely nothing about Jean's growing acquaintance with these two, you may draw your own conclusions from the place she made for them in her book that she was writing. And you may also form some idea of what Lite Avery was living through, during those days when his work and his pride held him apart, and Jean did "stunts" to her heart's content with these others.
A letter from the higher-ups in the Great