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160 Yes, Mr, DeMilk basso chanticleer had no place in his scene. He ordered it caught and turned over to some humane society. The entire company waited as the pursuit led from one tree to another. Time was ticking away the budget, and a few minutes of such capering was sufficient for the producer. Could it be that the agent of some rival producer was behind the ghastly jest? "Find that little son of a bitch and shoot it," he shouted, "and if there's anyone here from a society for the prevention of cruelty to birds 111 be very happy to consult with them in the privacy of my office." 3. FOR years DeMille would not undertake a picture without Eddie Salven, who became indispensable for his ability to marshal large crowds in scenes involving difficult "traffic." The tireless, ebullient Salven eased many a tense DeMille set with his lively humor. Crackling rejoinders which press agents often attributed to their famous clients could be traced to Salven. One of the more famous sluiced out during the pre- liminary work on Samson and Delilah. Salven had paused at a writers' discussion of the scene in which Samson slays the Philistines with the jaw of an ass. After a few minutes, Salven raised a hand. "Just a minute," he said. "The jawbone of an ass! Never! This is a DeMille picture and we gotta use the whole ass" Salven appeared entitled to number himself in the small and brave clique who have undertaken to parry DeMille's thrusts. The claim grew out of one of Salven's most adverse days. DeMille had been roasting him all morning, the abuse growing in volume and variety until Salven could stand it no longer. He