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 anyways, that last crack of the director's appealed to me. I quoted him a price which I figured would knock him insensible, but he calmly says my figure is jake with him and writes me a check. I got it yet—try and cash it!

But it was really Myrtle Magnificent which made the Kid consent to bein' filmed. That very mornin' she had captured his unqualified admiration by doin' some blood-curdlin' feats of recklessness in a plane flown by a stunt flyer and supposedly the big thrill of the picture. Courage is the one thing Kid Roberts is crazy about and has more of himself than anybody I ever played around with. So he tells me that if this charmin' girl is willin' to risk that schoolgirl complexion and her young life by cuttin' capers on the wing of a airplane slicin' the breeze at a hundred miles the hour, he's willin' to risk breakin' a rule by lettin' her camera him for her movie.

Accordin'ly a battery of cameras and these fearful Kleig lights is set up around the trainin' ring and every move of Kid Roberts photographed from every possible angle. The director was particularly keen on what he calls "close-ups" and took a flock of these, especially of the Kid's most effective punches, many of which we had just invented for this highly important setto with Knockout Ford.

Three days of this stuff and I chased the movie company out of the camp on the run! Only for Kid Roberts I would of murdered 'em all in hot blood, for I'm red-headed with rage. The Kid's got to step in the ng with Kayo Ford in less than forty-eight hours