“Fancy!” responded Jennie.  “An old-fashioned’ Indian.”

“I think Helen is right,” said Ruth, quietly.  “Wonota would like to have pretty clothes, I am sure.”

“Then,” said Helen, with more animation, “let us chip in—­all three of us—­and purchase the very nicest kind of an outfit for Wonota—­a real party dress and ‘all the fixin’s,’ girls!  What say?”

“I vote ‘Aye!’” agreed Jennie.

“The thought is worthy of you, Helen,” said Ruth proudly.  “You always do have the nicest ideas.  And I am sure it will please Wonota to be dressed as were some of the girls we saw in the audiences at the theatres we took her to.”

“But!” ejaculated Jennie Stone, “we can’t possibly get that sort of clothes out of a mail-order catalog.”

“I know just what we can do, Jennie.  There is your very own dressmaker—­that Madame Jone you took me to.”

“Oh!  Sure!  Mame Jones, you mean!” cried the fleshy girl with enthusiasm.  “Aunt Kate has known Mame since she worked as an apprentice with some Fifth Avenue firm.  Now Madame Jone goes to Paris—­when there is no war on—­twice a year.  She will do anything I ask her to.”

“That is exactly what I mean,” Helen said.  “It must be somebody who will take an interest in Wonota.  Send your Madame Jone a photograph of Wonota—­”

“Several of them,” exclaimed Ruth, interested as well, although personally she did not care so much for style as her chums.  “Let the dressmaker get a complete idea of what Wonota looks like.”

“And the necessary measurements,” Helen said.  “Give her carte blanche as to goods and cost—­”

“Would that be wise?” interposed the more cautious Ruth.

“Leave it to me!” exclaimed Jennie Stone with confidence.  “We shall have a dandy outfit, but Mame Jones will not either overcharge us or make Wonota’s frock and lingerie too outre.”

“It win be fine!” declared Helen.

“I believe it will,” agreed the girl of the Red Mill.

“It will be nothing less than a knock-out,” crowed Jennie, slangily.

The three friends had plenty of topics of conversation besides new frocks for Ruth’s Indian star.  The work of making the scenes of the prologue of “Brighteyes” went on apace, and although they all escaped acting in any of the scenes, they watched most of them from the sidelines.

Mr. Hooley had found a bright little girl (although she had no Indian blood in her veins) to play the part of the sick child in the Indian wigwam.  These shots were taken in a big hay barn near the special car standing at Clearwater, and with the aid of the electric plant that had been set up here the “interiors” were very promising.

Several other “sets” were built in this make-shift studio, for all the scenes were not out-of-door pictures.  The prologue scenes, however, aside from the interior of the chief’s lodge, were made upon the open plain on the Hubbell Ranch not more than ten miles from the Clearwater station.  Two weeks were occupied in this part of the work, for outside scenes are not shot as rapidly as those in a well equipped studio.  When these were done the company moved much farther into the hills.  They were to make the remaining scenes of “Brighteyes” in the wilderness, far from any human habitation more civilized than a timber camp.