Mabel Trunelle had a rather crowded hour at the Biograph. She had had considerable experience at the Edison studio and was well equipped in movie technique. She had come on recommendation of her husband, Herbert Pryor, and she succeeded, even though a wife--which was unusual, for wives of the good actors were not popular around the studio. If an actor wanted to keep on the right side of the director, he left his wife at home; that meant a sacrifice often enough, for there were times without number when women were needed and a wife could have been used and the five dollars kept in the family, but the majority preferred not to risk it. Dell Henderson and George Nichols succeeded quite well with this “wife” business, but they seem to have been the only ones besides Mr. Pryor. Florence Barker, a good trouper who had had stock experience in Los Angeles, her home town, now happened along to enjoy popularity, and to become Frank Powell’s leading woman. Through her Eleanor Kershaw, sister to Willette, and wife to the late Thomas H. Ince, happened to come to the Biograph. Quite the most pathetic figure at the studio was Eleanor Kershaw Ince. In deep mourning for her mother who had just been killed in an accident, and all alone, with a tiny baby at home, she put in brave hours for her little five-dollar bills. When six o’clock came and her work was not finished, how she fretted about her little one. That baby, Tom Ince’s eldest child “Billy,” is now a husky lad and he probably doesn’t know how we all worried over him then. Miss Kershaw played sad little persons such as the maid in “The Course of True Love,” flower girls, and match girls, in wispy clothes, on cold November days, offering their wares on the streets of Coytesville and Fort Lee. There was the blond and lily-like Blanche Sweet, an undeveloped child too young to play sweethearts and wives, but a good type for the more insignificant parts, such as maids and daughters. David wanted to use her this first winter in a picture called “Choosing a Husband,” so he tried her out, but finding her so utterly unemotional, he dismissed her saying, “Oh, she’s terrible.” Then he tried Miss Barker and had her play the part. But he directed Miss Sweet in her first picture, “All on Account of a Cold.” Mr. Powell liked Miss Sweet’s work, and so did Doc, and so Mr. Powell used her in the first picture he directed, “All on Account of the Milk.” Mr. Powell was rehearsing in the basement of No. 11 while Mr. Griffith was doing the same upstairs. Mary Pickford played the daughter and Blanche Sweet, the maid, and in the picture they change places.