While Alice was putting on her hat Ruth looked at her in some surprise.

"Was it?" she repeated.

"Was what?" asked her sister.

"Was it a mistake?"

"Of course it was, Ruth! Didn't I tell you Estelle said he must have taken her for some one else, as she had never been in Portland in her life? Of course, it was a mistake. What makes you think it wasn't?"

"Because, Alice, I am beginning to have doubts regarding Estelle."

"Doubts! You don't mean about the ring?"

"Of course not! But I am beginning to think she is not altogether what she seems to be."

"What do you mean?"

"Well, nothing serious, of course. And if she has done what I think she has it isn't any worse than many girls have done, and have gained by it, rather than lost, though it was risky."

"You mean?"

"I mean that I believe she isn't telling us all she knows. She is hiding something about her past. And I believe it is that she has run away from home because her family would not let her go into moving pictures. You know we sort of suspected that before. Now, in that case, she would have every reason to deny that she had seen that young lieutenant in Portland."

"Why should she, providing I grant that you are right?"

"Because he might know her friends and would tell them where she was. And she doesn't want that known until she has made a reputation. I don't blame her. If ever I ran away——"

"Ruth! you are not thinking of it, are you?"

"Silly! Of course not. But if I should I wouldn't want to run back home until I had something to show for my efforts. It may be that way in Estelle's case. She doesn't want to return like the prodigal son."

"I believe you're entirely wrong," declared Alice. "What I think is that she perhaps comes of good people. When I say that I don't mean that they were any better than we are, but that they so regarded themselves, and would look askance at motion picture players. Well, Estelle doesn't want to bring any annoyance on her family, and that may be the reason she doesn't tell much about herself. But as for that young officer's having seen her, I believe Estelle when she says he is mistaken. Don't you?"

"I don't know what to believe," returned Ruth. "But I'm not going to worry over it."

"And you won't tell her you don't believe she is what she seems to be?"

"Of course not, you little goose! But I'm going to keep my eyes open. You know we may be able to give her some good advice. You and I, Alice, don't meet with near the temptations that assail other girls in this business, and it's because father is with us all the while. Now Estelle isn't so fortunate; so I propose that we sort of look after her."

"Oh, I'm very willing to do that."

"And if we see anything that is likely to cause her trouble, we must shield her from it. That is what I mean by sort of keeping watch over her. At the same time, I believe that she is not altogether what she seems. She is hiding something from us—even though we are trying to be so kind to her. But she doesn't really mean to do it. She is just afraid, I think."

"And you really believe that lieutenant knows her?"

"He may. At least I think, from what you said, that he is honest in his belief. But we will watch and wait. We must try to help Estelle in the hour of trial."

"Of course we will. Now hurry, for they are waiting for us."

"Such a funny thing just happened to me!" cried Estelle to the party of young folks when they were in the automobile and on the way to the village. "I was mistaken for some one else."

"What—again?" asked Alice.

"No, the same incident that you witnessed," and she related the episode of the lieutenant as Alice had detailed it to Ruth.

"That was queer," commented Hal Watson.

"I should say so!" exclaimed Russ.

"Was he at all fresh?" Paul asked, and his air was truculent.

"Not in the least!" Estelle hastened to assure him. "He was honestly mistaken about it, that was all," and she enlarged on the incident, and seemed so genuinely amused by it that Alice nudged her sister as much as to say:

"See how much in error you are."

But Ruth only smiled, and Alice noticed that she regarded Estelle more closely than ever.

The party made merry in the town, going into the "Emporium," for ice-cream sodas; and even the presence of Maurice Whitlow at the other end of the counter, where he was imbibing something through a straw, could not daunt Alice's high spirits. Whitlow smiled and smirked in the direction of his acquaintances, but he received no invitation to join them.

As Estelle was going out in the rear of the party, the extra player slid up to her and asked:

"Mayn't I have the pleasure of buying you some more cream?"

"You may not!" exclaimed Estelle, not turning her head, and there were snickers from the other patrons in the place. Maurice turned the shade of his scarlet tie, and slid out a side door.

"You're getting too popular," chided Alice to her friend. "First it's the young lieutenant, and now it's your former admirer."

"I can dispense with the admiration of both!"

"Even the lieutenant?" asked Ruth, meaningly.

"Oh, he wasn't so bad," and Estelle either was really indifferent, or she assumed indifference in a most finished manner that would have done credit to a more experienced actress than she was.

"What's the matter—are we late?" asked Paul, as, on the way back to Oak Farm, he saw Russ look at his watch and then speed up the car a bit.

"Yes, a little. Mr. Pertell said he wanted to begin that skirmish scene at eleven exactly, and it's ten minutes to that now. We can just about make it. The sun will be in just the right position for making the film. It's in a thicket you know, and the light isn't any too good. That's the scene you girls are in," he went on.

"Speed along," urged Paul. "I've got to get into my uniform and make up a bit."

There is very little "make up" done for moving pictures taken in the open, and not as much done for studio work as there is on the regular stage. The camera is sharper than any eye, and make-up shows very plainly on the screen. Of course, eyes are often darkened and lips rouged a bit to make them appear to better advantage. Even the men make up a little but not much. For close-up views, though, where the faces are more than life size, artistic make-up is very essential. The camera, in this case, is a magnifying glass, and the most peach-blow complexion would look coarse unless slightly powdered.

"We'll be all right if we don't get a puncture," said Hal.

No sooner were these words out of his mouth than there came a hiss of escaping air.

"There she goes!" cried Paul. "Stop, Russ!"

"No, we haven't time. I'm going to keep on. It's better to get in on the rims and cut a shoe to ribbons than to spoil the film."

They sped along in spite of the flat tire. And it was well they did, for Mr. Pertell was anxiously waiting for his players when they arrived at Oak Farm.

"You cut it pretty fine," was his only comment. "Don't do it again. Now get ready for that skirmish scene."

This was one little incident in the big war play. In it Ruth and Alice were to be shown driving along a country road. There was to be an alarm, and a body of Confederate cavalry was to encounter one of the outposts of the Union army. There was to be a skirmish and a fight, and the Union men were to be driven off, leaving some dead and wounded. The girls, though shocked, were to look after the wounded.

All was in readiness. The soldiers, some drawn from the newly-arrived National Guards, were posted in their respective places. Lieutenant Varley was to play the part of one of the wounded Unionists.

"All ready—come on with the carriage!" called Mr. Pertell to Ruth and Alice, who were waiting out of range of the camera. They had rehearsed the direction they were to take. "Go on!" called the director to Russ. "Camera!"

The grinding of the film began, and Ruth and Alice acted their parts as they drove along in the old-fashioned equipage. Suddenly, in front of them the bushes crackled.

"There they come!" cried Ruth, pulling back the horses as called for in the play. "The soldiers!"

But instead of a band of men in blue breaking out on the road, there came a herd of cows, that rushed at the carriage, while the horses reared up and began to back.

"Stop the camera! Stop that! Cut that out!" frantically cried Mr. Pertell through his megaphone. "Hold back those men!" he added to his assistant who had signaled for the Confederates to rush up.