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250 Yes, Mr. DeMille from criticism, and could approach the luncheon table with stomachs supple and minds at ease. The boss had his hands too full with writing problems to take more than a casual interest in the doings of his other functionaries. Our table, an oblong affair, was next to a wall in the Para- mount studio cafe. DeMille sat in an arm chair, back to the wall, in deference to a maxim, probably apocryphal, that in Hollywood one should have his rear protected and if possible both flanks. Always on DeMille's right sat Berenice Mosk, jot- ting down the boss's comments which might require action. Often a guest was at his left. If there was no guest, a production assistant occupied that chair. The rest, usually about five in number, filled in around the table. Immediately upon the boss's taking his place he was served a generous bowl of potato chips, which he nibbled on during the half-hour or more prior to our being served. This was of course a gesture to eminence and while nothing prevented the staff from ordering a few chips of its own, no one ever did. Though it may be put down as an affirmation of our fallen nature, this pre-luncheon orgy sat askew on our disposition, not improved by the lateness of the hour at which DeMille pre- ferred to lunch. The crunch, crunch, accompanied by digs, often not sly, at the hungry aides for work done or left undone, created a barrier to the healthy flow of the staffs gastric juices, which internists staunchly contend is a requirement of proper di- gestion. The weekly cost for writers at this point was $3,300. After almost a year and a half, the script was only two-fifths finished. The date set for the start of filming was only eight weeks away. DeMille announced he expected the remainder of the script within that time. A seventh man was brought in, at $500 a week, to act as co-ordinator, advisor and general overseer of writers.