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"HIT SEX HARD!" 223 ... If we were on Mary's face and could see the whiplash descend on the back of Jesus, and could hear the blows, and the ridicule of the Roman soldiers, it would mean far more to us than to her John saying, "Oh, my, this is terrible ." Where the two lovers come out, Miriam is crying, and Judah says, "You mustn't cry—youTI be ill"—this is plain sloppy. Jesus is about to be crucified and this fellow is worrying because Miriam's eyes will be sore from weeping. So far, you haven't told us any story that can excite us much. I know the story is there but you haven't told it. Miriam and Judah: I'd have them watching the cross that's being dragged through the Via Dolorosa. Play different things over that. Perhaps Miriam grabs some water from a jar or bucket that someone has, and tries to get it to Jesus. She is stopped by Judah who says, Tf you do anything—if you try to help Him, they'll kill you." Miriam says, "I don't care—I don't care what they do to me—He raised me from the dead. I want to help Him." A Roman soldier overhears this and looking at her> says, *What did you say?" That's the way to get scenes all through the story. As to the Mother at the bottom of the cross, I don't think it is right for her to cry out, "My Son, my Son."... DeMille looked upon the Catholic Church as the big stum- bling block to The Queen of Queens. At the same time he needed a sensitive thermometer of religious opinion. Catholic approval, he felt, would pretty much guarantee the picture a favorable reaction from religious groups generally. The two men he settled upon as official advisors were Father Lord and Bishop (then Monsignor) Fulton J. Sheen, two of the finest Catholic minds* DeMille was aware now that his story treatment had some extremely touchy areas, chiefly the relationship between the Virgin Mary and husband Joseph. Hidden away in DeMille's mind was the possibility of staging Salome's famous dance of the veils, to sort of counteract the heavy overburden of piety. If "color" was needed, Salome