I know I was all stirred up, for I was a market woman giving the green cabbages the thrifty stare, when the cab with the curtain pole sticking out four or five feet either side, entered the market-place. M. Dupont, fortified with a couple of absinthe frappés, was trying to manipulate the pole with sufficient abandon to effect the general destruction of the booths. He succeeded very well, for before I had paid for my cabbage something hit me and I was knocked not only flat but considerably out, and left genuinely unconscious in the center of the stage. While I was satisfied he should have them, I wasn’t so keen just then about Mack Sennett’s starring ventures. But he gave a classic and noble performance, albeit a hard-working one. One other picture was released this same year with Mack Sennett in a prominent part--“The Politician’s Love Story.” New York’s Central Park awoke one February morning to find her leafless trees and brush all a-glisten with a sleet that made them look like fantastic crystal branches. When the actors reported at the studio that morning, they found Mr. Griffith in consultation with himself. He did not want to waste that fairyland just a few blocks away. A hurried look through pigeon-holed scripts unearthed no winter story. “Well,” announced our director, “make up everybody, straight make-up. Bobby, pack up the one top hat, the one fur coat and cap, I’ll call a couple of taxis, and on the way we’ll change this summer story into a winter one.” So was evolved “The Politician’s Love Story” in which were scenes where lovers strolled all wrapped up in each other and cuddled down on tucked-away benches. Well, lovers can cuddle in winter as well as summer, and we were crazy to get the silver thaw in the picture; and we got it, though we nearly froze. But we had luxurious taxis to sit in when not needed, and afterwards we were taken to the Casino to thaw out, and were fed hot coffee and sandwiches in little private rooms. “The Curtain Pole” and “The Politician’s Love Story” started the grumbling young Mack Sennett on the road to fame and fortune. Like the grouchy poker player who kicks himself into financial recuperation, Mack Sennett grouched himself into success. CHAPTER XII ON LOCATION--EXPERIENCES PLEASANT AND OTHERWISE Before the first winter drove us indoors there had been screened a number of Mexican and Indian pictures. There was one thriller, “The Greaser’s Gauntlet,” in which Wilfred Lucas, recruited from Kirke La Shelle’s “Heir to the Hoorah” played the daring, handsome, and righteous José. And Wilfred Lucas, by the way, was the first real g-r-a-n-d actor, democratic enough to work in our movies. That had happened through friendship for Mr. Griffith. They had been in a production together.