they were, occurring in widely separated parts of the story. But they had
to be made, and they required no especial "sets" of scenery; and other
work, such as the building of the stage for interior sets, could go on
with few interruptions. The boys would have to work in their make-up, but
since the make-up was to be nothing more than a sharpening of the
features to make them look absolutely natural upon the screen, it would
not be uncomfortable. This was what Luck had planned for that day.

Before breakfast he had selected a site for his stage, on the sunny
side of the hill back of the house, where it would be partially
sheltered from the sweeping winds of New Mexico. All day he would have
the sun behind him while he worked, and he considered the situation an
ideal one. He had the lumber hauled up there and unloaded, while
Rosemary and Applehead were cooking breakfast for ten hungry people. He
laid out his foundation and explained to the boys just how it should be
built, and even sacrificed his appetite to his impatience by going a
quarter of a mile to where he remembered seeing some old barbed wire
strung along a fence to keep it off the ground so that stock could not
tangle in it. He got the wire and brought it back with him to guy out
the uprights for the diffusers. So on the whole he began the day as
well as even he could desire.

Then little hindrances began to creep in to delay him. For one thing, the
Happy Family had only a comedy acquaintance with grease paint, and their
make-up reminded Luck unpleasantly of Bently Brown's stories. As they
appeared one by one, with their comically crooked eyebrows and their
rouge-widened lips and staring, deep-shadowed eyes, Luck sent them back
to take it all off and start over again under his supervision. The
outcome was that he gave a full hour to making up the faces of his
characters and telling them how to do it themselves. Even Rosemary made