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232 Yea, Mr. DeMilk At another stage in the writing, he was unhappy over t progress of an episode in which Samson takes refuge in Delilal tent. Pacing back and forth and gesticulating, he told the write why he was unhappy: "This is an emotional, powerful scene that has to squee: tears out of a stone wall. The characters don't believe wh they're doing and neither do we. "When Samson comes into this wonderful place to take refuj —when she pulls him in, he sees this little girl that he kicke out, the little girl who has run away from home to go to he We must play with that situation like a cat plays with a mous It's beautiful stuff. She may keep her back to him for a whi or needle him for a while or she might say, *Why are you tryxc to get away?' And then she turns around. He sees who she i And he cries out, 'Jesus H. Christ! DELILAH!' "Does she try to bait him? Does she say, 'Nuts to you Maybe she is going to call the guard—and he takes her in h arms and kisses her so she can't talk for ten minutes. She say Tve waited a long time for that kiss.' He says, 'You'll wait long time for the next one.' And she says, "By God, I will ca the guard.' And she goes to call the guard after she's gotten hir where he's a little loose in the knees. We can have an audienc so delighted and so afraid with a scene like that. We're dealin with liquid fire." DeMille: What is the situation created at the end of the scene Writer: Delilah is frustrated, What she wants to do now is t< fulfill her promise to make Samson crawl. DeMille: Yes, she has a mad on—but does she want to destroy him? Writer: Before she destroys him physically, she wants to de stroy him, spiritually. DeMille: Ummm— Writer: She wants to make his heart and soul cry out. DeMille: Why?