"Well, then, why not bring her along with you in the morning?" suggested Mr. Herzog, with a placating gesture, he being now vaguely contrite over having in some utterly inexplicable way given offense to this touchy old party, and somehow impressed by the other's tremendous show of outraged dignity. "I suppose there's no harm in that. If Gillespie likes her looks he might give her a show at some little thing or other; you never can tell. And he's a great hand for making his own finds. And if he don't fall for her you pass her along to me for a screen test, and if she comes clean there I might work her in among the extras and let her pick up a little money that way to carry her along. Get me?" Which generous avowal so mollified the old Captain that, in token of his forgiveness and his gratitude, he bestowed upon Mr. Herzog a most ceremonious handshake at parting. As it turned out, here was one beginner who needed no rehearsals. Noting how aptly the aged novice seemed to slip into the personality of the part as soon as he had put on the costume, with its saffron vest, its curl-brimmed, bell-crowned high hat, its blue coat that was swallow-tailed and tall in the collar, "and large gilt buttons size of a dollar"--see the poem for further details--Gillespie decided that a rehearsal might be a mistake. It might make this eleventh hour addition to the cast self-conscious, which of course was what Gillespie above all things desired to avoid. He didn't want Captain Teal to try to act. As he repeatedly emphasized, he just wanted him to be himself. Nor did it occur to Gillespie, any more than it occurred to Herzog, assisting him in the day's job, to take the old man into their confidence touching on what of theme and development had gone before in the making of this masterpiece of an historical production, or on what would follow after. Players of character bits are not supposed to know what the thing's about. Indeed, there are times when the patron of the silent drama, going to his favorite theater and viewing the completed work, is inclined to believe that some of the principal performers could have had but a hazy conception of what it was all about. Nobody, one figures, ever explained the whys and wherefores to them, either. However, that is neither here nor there, this being no critique of the technique of the motion-picture art but merely an attempt to describe an incident in the filming of one particular scene in one particular motion-picture, namely the epic entitled "Two Lovers of War-Time."