THE SONG OF THE OMAHA
through the opening and looked out, and then stepped over the little black dog and stood before her tent to watch the Happy Family mount and ride away with Wagalexa Conka in their midst and with the mountain wagon rattling after them loaded with "props" and the camera and the noon-day lunch and Pete Lowry and Tommy Johnson, the scenic artist. Applehead was going to drive the wagon, and she scowled when he yanked off the brake and cracked the whip over the team.
Luck, feeling perchance the intensity of her gaze, turned in the saddle and looked back. The eyes of Annie-Many-Ponies softened and saddened, because this was the last time she would see Wagalexa Conka go riding away to make pictures—the last time she would see him. She lifted her hand, and made the Indian sign of farewell—the peace-go-with-you sign that is used for solemn occasions of parting.
Luck pulled up short and stared. What did she mean by that? He reined his horse around, half minded to ride back and ask her why she gave him that peace-sign. She had never done it before, except once or twice in scenes that he directed.
115
