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248 Ites, Mr. DeMitte the good man is, then I know it is not a good story and probably will have trouble at the box office." He confronted his writers. "I want one of you to write the circus story in language that little Jody can understand/' Writer No. 3 was singled out for this undertaking and ordered to work alone in an adjoining office. He produced what became known as "the Jody version," seventeen typewritten pages, single spaced, with roughly 6,000 words. It was an excellent effort and contributed greatly to the final story, largely by tying together loose ends. It began on an appropriate note: "Once upon a time there was a circus," then proceeds, "and the boss of this circus is a strong, tough young fellow called Brad Gable. Brad lives and breathes circus.,. he eats and drinks circus. Brad is in love with Holly, the flyer, but Brad would never tell Holly that he loves her. In fact, he hardly admits it to himself. He knows it isn't good for the boss of a circus to be in love with a performer. When that happens he gets to worrying about her because she might fall and be hurt. She becomes more important to him than the circus, which shouldn't be... r This evaluation of human life vs. circus was not pursued further, but the Jody version developed a kind of life-and-death struggle a la Variety, but without infidelity. The struggle is between Betty Hutton as Holly, and Cornel Wilde as Sebastian, both in the roles of flyers. She goads him into extraordinary feats, figuring that a flyer who has the honor of the center ring ought to be capable of any derring-do. Determined to outshine her, Sebastian goes too far. He is seriously hurt attempting a triple flip through a suspended loop. Now the circus needs a center-ring performer, but the scheming Holly doesn't get the call. Like the hero of Variety, DeMille's circus boss is all circus, so he tells the girl he loves that she can't have the center spot; the circus comes first. Even with the "]ody version" DeMille made it clear he was