P.S: The more astute readers may notice that the story is filled with a large number of cinematic references to classic films of the genre, in this case Westerns- have fun spotting them!)Fort Worth, Summer 1879It started, as it always seemed to, with a drink.It had been a hard run, and a long run. They had left San Antonio in the early morning as usual, twenty men in trail denims, open shirts and stetsons with rugged, young horses and rifles slung over their backs, whipping three hundred head of cattle through the dust and heat of the Hill Country, over the dry ranges and cracked creek beds, heading north to the markets and the bars of Kansas. John had been riding in the vanguard, his usual position, Winchester repeater in his hand ready for any sign of trouble as his pony negotiated the dirt ahead, part cattle driver, part cattle protector. The drive was relatively small by local standards- he had ridden with herds ten times its size before- but, as John had learnt many times, no day. You have to put your brain where the action is and freeze the scene in your mind. Then you’ve got about thirty seconds to draw before the scene evaporates and you have to pick a new one. We used to do exercises back in high school. Ms. Stone had us go to various events and we had to come back with at least three sketches of what went on. I’d sketched basketball games, school plays, the PTA meeting, and a horse show. Now that one was a challenge. Nothing like sketching a horse turning barrels. The trick was to ignore any of the extraneous stuff like shadows, saddles, and costumes. You had to just focus on the line of action. I started sketching the girls as they played.I put down half a dozen sketches and moved to the next court. I had a soundtrack from Cirque du Soleil’s Allegria playing in my ears as I spent an hour just plopping down in front of each court, making half a dozen quick action sketches, and then moving on. By noon, I’d sketched some of the doubles and was ready to work.
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