"You had me guessing for a time, Miss Ruth," he laughingly said to the
girl of the Red Mill. "I did not know what you were hinting at I see it
now. Wonota is a true redskin. We read about the stoicism of her race,
but we do not realize what that means until we try to fathom an Indian's
deeper feelings.

"I talked with her about her father. She is very proud of him, this
Totantora, as she calls him. But only now and then does she express (and
that in a flash) her real love and admiration for him.

"She is deeply, and justly, angered at that Dakota Joe Fenbrook. But she
scarcely expresses that feeling in her face or voice. She speaks of his
cruelty to her with sadness in her voice merely, and scarcely a flicker
of expression in her countenance."

"Ah!" Ruth said. "Now you see what I see. It is impossible for her to
register changing expressions and feelings as a white girl would. Nor
would she be natural as 'Brighteyes' if she easily showed emotion. Yet
she mustn't be stolid, for if she does the audience will never get what
we are trying to put over."

"The director has got to have judgment--I agree to that," said Mr.
Hammond, nodding. "Wonota must be handled with care. But she's got it in
her to be a real star in time. She photographs like a million dollars!"
and he laughed. "Now if we can teach her to be expressive enough--well,
I am more than ever willing to take the chance with her, provided you,
Miss Ruth, will agree to supply the vehicles of expression."

"You flatter me, Mr. Hammond," returned Ruth, flushing faintly. "I shall