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*V AS IN BARNUM 251 In the days that followed, the bungalow's timbers trembled. Never had it witnessed such toil and turmoil, weighing and discarding, joy expectant and hopes dashed, withering sarcasm and open denunciation. One of the writers, harried but nobly unbowed, described the arrangement in crisp military terms: Tm the 'point' man. The chap next door is the first wave. The one across the hall is the supporting troops and the one in the farther office is the reserves. C.B. and his aides are at the end of the corridor with muskets ready for any signs of de- fection." Once, DeMille scanned twelve pages which he had received from Writers Nos. 1, 4 and 6. He ordered them to be reduced to six pages. The writers performed the surgery and a few days later DeMille demanded to know what had happened to cer- tain lines. "The story is not complete without them," he said. They had made the mistake of cutting lines of dialogue thought up by the boss. By November 1950, only a little polishing remained to be done on the script. The writing cost had reached a total of $113,000. One scene of Greatest Show was squarely within the DeMille idiom. The giant circus, breaking camp and rolling off in its 25-car private train to start another season, filled him with exciting thoughts. It promised crowds, action, the helter-skelter dash of tardy performers climbing aboard at the last moment. The departure scene could also be used to play on the romantic strings of the plot—Holly with flirtatious eyes for Sebastian, the debonair flyer; Brad the boss remaining strong and aloof; Klaus the elephant trainer resenting the way Angel looks at Brad DeMille went over these crisscrossing relationships endlessly,