He moved rapidly through this street. It was no place to linger. At the lower end it gave insanely upon a row of three-story brownstone houses which any picture patron would recognize as being wholly of New York. There were the imposing steps, the double-doored entrances, the broad windows, the massive lines of the whole. And beyond this he came to a many-coloured little street out of Bagdad, overhung with gay balconies, vivacious with spindled towers and minarets, and small reticent windows, out of which veiled ladies would glance. And all was still with the stillness of utter desertion. Then he explored farther and felt curiously disappointed at finding that these structures were to real houses what a dicky is to a sincere, genuine shirt. They were pretentiously false. One had but to step behind them to discover them as poor shells. Their backs were jutting beams carried but little beyond the fronts and their stout-appearing walls were revealed to be fragile contrivances of button-lath and thin plaster. The ghost quality departed from them with this discovery. He left these cities of silence and came upon an open space and people. They were grouped before a railway station, a small red structure beside a line of railway track. At one end in black letters, on a narrow white board, was the name Boomerville. The people were plainly Western: a dozen cowboys, a sprinkling of bluff ranchers and their families. An absorbed young man in cap and khaki and puttees came from a distant group surrounding a camera and readjusted the line of these people. He placed them to his liking. A wagon drawn by two horses was driven up and a rancher helped a woman and girl to alight. The girl was at once sought out by the cowboys. They shook hands warmly under megaphoned directions from a man back by the camera. The rancher and his wife mingled with the group. The girl was drawn aside by one of the cowboys. He had a nobler presence than the others; he was handsome and his accoutrements seemed more expensive. They looked into each other’s eyes a long time, apparently pledging an eternal fidelity. One gathered that there would have been an embrace but for the cowboy’s watchful companions. They must say good-by with a mere handshake, though this was a slow, trembling, long-drawn clasp while they steadily regarded each other, and a second camera was brought to record it at a distance of six feet. Merton Gill thrilled with the knowledge that he was beholding his first close-up. His long study of the photo-drama enabled him to divine that the rancher’s daughter was going to Vassar College to be educated, but that, although returning a year later a poised woman of the world, she would still long for the handsome cowboy who would marry her and run the Bar-X ranch. The scene was done. The camera would next be turned upon a real train at some real station, while the girl, with a final look at her lover, entered a real car,