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On Location 85 Arrived on location, Johnny Mahr and Bobbie Harron would climb the wagon, get out the costumes, and bring them to the actor. And if your particular bundle did not arrive in double-quick time and you were in the first or second scene, out you dashed and did a mad scramble on to the wagon where you frantically searched. Suppose it had been left behind! Hughie had a tough time of it trucking by two horse- power when winter came along. So I was very happy some few years later, when calling on Mr. Hugh Ford at the Famous Players' old studio in West Fifty-sixth Street, N. Y., now torn down, to find Hughie there with a comfortable job "on the door." David Griffith was always overly fastidious about "loca- tion." His feeling for charming landscapes and his use of them in the movies was a significant factor in the success of his early pictures. So we had a "location" woman, Gene Gauntier, who dug up "locations" and wrote scenarios for the princely wage of twenty-five dollars weekly. Miss Gauntier will be eternally remembered as the discoverer of Shadyside. Shades of Shadyside! with never a tree, a spot of green grass, or a clinging vine; only sand, rocks, and quarries from which the baked heat oozed unmercifully. Miss Gauntier's aptitude along the location line, however, did not satisfy her soaring ambition, so she left Biograph for Kalem. Under Sidney Olcott's direction, she played Mary in his important production "From the Manger to the Cross," and was the heroine of some charming Irish stories he produced in Ireland. "The Redman and the Child" was the second picture