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84 Yes, Mr. DeMille generally offends Leila in just about everything he does. So, she discards James and marries Schuyler van Sutphen, who is wealthy, too. Schuyler is a fashion plate and dances divinely. But he has eyes for women other than Leila. And as he philanders he drinks. Now, Leila has to put up with the smell of liquor instead of onion, and her Kfe is no longer happy. One day James reappears. Lo and behold he is not the old James; he is slim around the waist, he smokes cigars with a holder, his mustache is gone. A very attractive chap, in- deed, and still with money, too. So Leila takes him back, fashioned splendidly to her tastes. This proved out so profitably that DeMille did a switch. In Why Change Your Wife?, the wife is the bore and the husband finds diversion in a pleasure-loving flapper whom he ultimately marries, then sheds upon discovery that she is a worse house- hold drudge than the original missus. There was a tug at the public heartstrings in the plight of a poor seamstress in Forbidden Fruit, an original DeMille melo- drama. A distracted hostess finds she is one person short at her fancy dinner party, and presses the seamstress into service as a substitute guest. The little Cinderella turns into a radiant charmer, and is energetically courted by her handsome and wealthy dinner partner. The chap doesn't know the girl is mar- ried. She is, though, and to a grisly brute who "openly trades her for money," as the subtitle discreetly puts it. The seamstress suffers real torment—shall she follow the finer life or shall she return to that husband?—in the following interplay of triangular love, murder and robbery. The receipts from The Virginian shone like a caliph's jewels. The studio had big plans for original stories, but these were jettisoned, and the struggle for stage plays was on. Zukor's company with its motto, Famous players in -famous plays, was profiting from its tie-in with Dan Frohman, and was at the moment trying to make a similar arrangement with David