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THE SIGN OF THE BOSS 147 birth of an earthquake and did not leave much room for triumphs of acting, much less any sort of personal tour de force. They were actors who approached a DeMille assignment with something short of boundless enthusiasm. DeMille kept an alert eye for such blackguards, sizing up their attitude by the way they spent their Idle moments on the sets. Those who stood at a discreet distance in the background, intently observing DeMille's management of a scene, were apt to be rewarded with a wave of the hand or an affable comment from the boss—a sort of gentle recognition of their sense for values. On one occa- sion he had promised a young actress a chance in pictures, and possibly a contract, if she proved as capable as her several boosters claimed. On the day she appeared on the set Mr. DeMille was directing a difficult scene. While waiting her turn before the camera, the young woman chatted with a visitor. Noting her indifference, DeMille turned to an aide: "Tell that young woman to take the rest of the day off. We'll call her the moment we are ready for her/' It developed that the moment never came. While he could not always control the doings of his players between scenes, there was nothing to prevent him from main- taining order in the house. He was rabidly sensitive to back- ground noise. "That goddamn murmuring behind my back is a hideous con- spiracy," he would moan amid a rising babel. A half dozen times in the course of a production he would seize the microphone and deliver a passionate tirade on the evils of idle chatter. For the superlative discourtesy he had a pet comment: "WHAT I WANT is QUIET! QUIET BEHIND THE CAMERA AND INTELLIGENCE IN FRONT OF IT. I KNOW I CAN*T HAVE BOTH AT THE SAME TIME BUT IJSTr's SEE IF I CAN GET ONE OR THE OTHER!" We had watched him work tirelessly twelve to fifteen hours almost every day during the Samson shooting. At the start of the episode in which the strong man slays a thousand Philis-