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THE SIGN OF THE BOSS 161 confronted the producer, who was sitting in a high chair and pouring vituperation into the microphone held by the perennial "mike boy." *Tm no mind reader/' the harassed director lashed out furiously. 'Tell me what you want and Til do it. Now! What in hell would you like to have?" Feigning an expression of hurt innocence, DeMille let a few moments elapse as his gaze went slowly from Salven, to crew- men, back to Salven. Then in a low voice, meek, almost cring- ing, he said, Td like to have an assistant director who won't bawl me out in public/' A DeMille favorite of silent days, Thomas Meighan, often testified to the producer's talent for getting results through terror. Meighan apparently was one who came under the boss's hypnotic influence, for he willingly faced the hazards of wild animals and physical upheaval. In Male and Femak, he agreed to play a love scene with a chloroformed leopard flung over his shoulders. A hero making love while wearing a 250-pound neckpiece was viewed not only as unique but the last word in implacable gallantry. Midway in the love scene with Gloria Swanson, Meighan thought he felt movement in the soft under- belly that lay athwart his neck. He was right; the beast was regaining consciousness because of insufficient dosage. Now, in silent films a little movement does not matter, and sounds of course do not matter at all. DeMille was eager to finish the scene and gestured wildly toward a "safety man" with a high- powered rifle. "You're doing great, Tommy! That cat's just dreaming! We can't stop now!" he yelled from behind the camera. Meighan wasn't too sure the cat was only dreaming, for now there were definite tremors and guttural groans; but he kept going, and finished not a second too soon. With a lurch the leopard broke Meighan's hold and flopped crazily to the ground as crewmen with ropes moved in, and actors scattered to safety. Meighan's recollection of this incident remained vivid for