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THE SIGN OF THE BOSS 171 He turned and glared at Rosson. After a few moments, Rosson said softly, "I didn't shoot that scene, Mr. DeMille." "You didn't! Then who did?" "That was one of yours, sir/' Like a flash, DeMille barked, "I don't care who shot the scene, I say it stinks and it has got to come out!" In the early days DeMille had a cameraman whose skill was marred by an unfortunate habit He would forget to remove the cover from the camera lens, the equivalent of shooting without film* When he was engaged, DeMille gave specific in- structions as to this failing. "If you discover you have forgotten the cover," DeMille advised, "don t tell anyone. Just leave the studio quietly and don't come back." One day the man did forget; he left the studio without a word and was not heard from again. The Hollywood climate bred an appetite for wealth that could be attained with speed and, if at all possible, honor. At the height of its most acquisitive era, the colony bristled in- ternally with resourcefulness, sly gambits and display of wits. On the prowl for largess, the untalented chased studio execu- tives with lively vigor, well-dressed mendicants wreathed in smiles. With this much hounding going on night and day, affable and deceptive as it was, dispensers of favors were ever on their guard. Personages like DeMille were often forced into protective retreat, sweeping aside all appeals of favor-seekers and proposition-makers. It was only a short step to two-fisted cynicism. We took the same attitude in the bungalow: No deal was right unless we got it on our terms. DeMille himself had adopted the policy years before. He had a knack for polite, adroit escape from his pursuers. On the other hand, his own talent for pursuit was not incon- siderable. In the early 1920's he set out to buy Margaretta Tutfle's