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282 Yes, Mr. DeMilk Calamity Jane caused other trouble. The script called for a scene in which she puts her arms around Hickok's neck, hold- ing him tight, then pulls his head down with a sudden effort and kisses him full on the lips. He pulls her arms down and wipes his lips with the back of his free hand as Calamity ex- claims, "You four-flushin' mule! You ain't wipin' it off—you're rabbin* it in!" The Hays office labeled the shot objectionable because Hickok's reaction to Calamity's kiss "tends to build up the flavor of her being a prostitute." The censors thought it detected other signs of promiscuity in Jane, such as Hickok's remark, "She didn't care much who got her scalp, she didn't care about anything," and "You weren't so touchy last night," a remark uttered by a vagrant. Once more the Hays office backed away upon DeMille's con- tention that Wild Bill Hickok was not a ladies' man and he would wipe off any woman s kiss, no matter what the condition of her morals. One of DeMille's more challenging encounters with censors took place with Carmen back in 1915, when prints of the picture were sent to all state censor boards then in existence— twenty-seven in all. The results seriously impaired DeMille's happiness for months, "Each of the twenty-seven censors found something objectionable, but no two censors objected to the same thing. They asked me to make cuts in twenty-seven different scenes!" There was concerted eyebrow lifting in the Hays office over the Story of Dr. Wassell script. Hays would not approve a GI on Java chasing a Javanese girl because it indicated "illicit sex." A reference to "chop suey" was ordered out; it might offend the Chinese. DeMille was advised to handle carefully the scenes of Wassell "bathing, toweling and putting on his pants/' Also, "the location of the wound in the woman's leg should