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son, she'd go to a fine school, wear sweet clothes and her hair in curls. To Mae it was a piquant character, spontaneous and innocent. She loved the transition from rags to riches. Why shouldn't Sir Gallahad be Meg's dream — he was hers.
DeMille was a martinet on the set, lashing everyone toward the perfectionism he strove for. Instead of a labored introduction to the action, he started the picture right off with each character showing his dominant traits, like the start of a good book. He himself jumped up to do a drunk scene, staggering about breaking chairs, smashing bottles the way he wanted Roberts to do it, while Mae cowered in the barrel with one side missing for the camera to peer in. DeMille was depending on Theodore Roberts for depth of performance; he left Mae to gaze appealingly into the blue eyes of leading man Earle Fox. She'd known Earle when he was with Jolson in Dancing Around, she'd danced with him at the Knickerbocker. He was a handsome, clean-cut fellow, the same type as Wally Reid but he lacked something Wally had, some hidden fire.
Back in New York, however, Jay didn't feel Earle lacked anything and every night he was on the phone threatening to come west and put an end to this screen romance. She couldn't risk that. She could imagine Jay rushing onto the set, punching Earle on his well-shaped nose. No one could stage more drama than Jay. She implored DeMille to let her go home. It was very important, a personal matter; and DeMille said fine, they were about to shoot The Big Sister in New York. Slum streets were needed as background, she could make the picture while she was there.
The script was given to her to read on the train. Again she would be a waif, surrounded by sordid characters on the dirty streets. Again she'd wear ugly ragged clothes. But it was an excuse to get to New York and once she got to New York, she'd just tell Mr. Zukor.
Mr. Zukor said the picture was ready to roll. They'd hired New York actors for the other roles but she was the only one to play Betty.
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