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AVARICE AMONG THE AVOCADOS 81 gated and found that it belonged to Jeanie. I brought her to the office, got a doctor out of bed to revive her, and finally delivered her home to her mother done up like a bundle. I did that time after time. But she would not give up the work. She became my blue-ribbon writer, and I would say that most of my plays were written by her, and some were the best original stories of her generation. Jeanie appeared to have caught considerable of the DeMille spirit. When it was decided in 1921 to film Alice Duer Miller s novel Manslaughter, she left Hollywood and, by means of a petty "theft," had herself committed to the Detroit House of Correc- tion under the name of Angie Brown. The firsthand experiences were to help her write a better script from the Miller work, but the escapade was almost spoiled by a fatherly Irish policeman escorting her to the institution; he offered to pay her bond personally. The first night in the House of Correction was enough for the self-ordained larcenist. "I was awakened by a peculiar crawling sensation that meant but one thing—vermin! I prayed for daylight. I wanted to scream and beat my head against the stone walls of the cell, anything to push them away, I was on the verge of panic." She told friends later that she made an attempt at escape, was caught and returned to her cell for two more days and nights. Manslaughter, released in 1922, was a smashing success, cost- ing $380,000 and grossing $1,200,000. It was a story of fast living, woven around a female hot-rodder (Leatrice Joy) sen- tenced to prison for two years after prosecution by her lover, the district attorney, who performs the unmanly deed to save the girl from herself. It gave Mr. DeMille an opportunity to compare the jazzy decadence of the 1920 ? s with Roman times. He dramatized Rome's golden era in a flashback showing, as one critic put it, "men and women half-stupid with drink in an orgy