Movieland. (1950)

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Guy and I discovered that the Nava j os are a happy people by nature. They smile readily. They live in hogans, little clay and log homes covered over with sagebrush. They raise sheep, and are farmers. They’re A-l samples of naturalness. They tell time by the sun and the moon and never rush for appointments. Guy was particularly fascinated by their silence — which paralleled the breathtaking silence in the canyon itself. They can sit or stand for hours, without a peep or a budge. All of a sudden they will dumbfound you by running off or riding away lickety-split. The joy of mo¬ tion has occurred to them, and they go at it violently. Guy, who is forever after more sun¬ tan, went around barefooted and bare¬ chested. I come from high timber country, so I stuck to my boots and shirt. We had to get into our 1860-style wardrobe when the cameras ground, of course. Our big battle scene was a thriller to make. Five hundred Navajos, hired as extras, to their complete astonishment, became screen actors. They were equipped with rubber-tipped arrows and shot at us as they whooped past on their ponies. They grew so enthusiastic they gave an extra wham to their bows. Guy emerged unscathed. I am still getting warnings from him. In the attack scene one arrow caught me on the head and I sported a robin’s egg-sized lump. I didn’t duck fast enough and another arrow pierced my buckskin jacket on the bias, hit me over the heart, and stunned me. Horrible war whoops and ear-splitting gun shots as men bit the dust all around convinced Calhoun that this was no child’s play. When I came to, all I could see was that ominous half of that arrow left on the outside of me. I yanked it out with both hands and yelled at Guy, “I’m dead!” And it doesn’t hurt too much! is what flashed through my mind. 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