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22 Yes, Mr. DeMille savory repercussions. What will the public say when it reads that Cecil DeMille, a man of power, influence and charitable instincts., is sending a little old lady three or four dollars in return for an investment which she hopes will yield a pension in her old age? The boss appeared unconvinced. "I cannot agree with you. Write the story and let me see it." He rejected the first draft, then a second. The third was not returned. It was not released to the press or ever mentioned again—a tacit pat on the back! The staff rarely caught him off base on the essentials, whether in publicity, music, costuming, set decoration or what not. He amazed studio technicians by his grasp of the mechanics. They long since had learned that he was certain to be at their side when the time came for their contribution to a DeMille picture. He sat with the man who dubbed in sound, or "mixed" the various background noises of the final sound track, or super- vised the musical score. He marched into the laboratories of Paramount, set up quarters, and remained a frightening force in the lives of the technicians for weeks, long after the trial and turbulence had ended on the sound stages. This versatility penetrated even the refinements. And some- times it went far beyond, with DeMille charting a new path for experts in their own field. One such experiment embroiled a gentle yet proud musical director at Paramount. The musician had been ordered to help compose the music for Samson and Delilah. For the tent scene, in which Samson is set upon by the seductive Delilah and shorn of his hair, DeMille wanted "very, very soft music/' "Give me some idea/' pleaded the nervous musician. "Harps." "Harps?" "Yes, harps," purred DeMille, simulating a soft strumming. The man went away and a few days later he paused at