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"HIT SEX HARD!" 233 Writer: Because Samson is responsible for the death of her father and sister. DeMille: He brought death and destruction on her family, then laughed at her. Writer: In the course of the scene she brings him to the point of just— DeMille: He wants to take her, yes? Writer: And just as he is about to, she turns him down. DeMille: He wants to seduce her. She leads him on. She gets him hot, then says nothing doing. Writer: She tortures him. DeMille: Up to now I think we have tried to write this scene a little from the grand opera standpoint rather than from two people. You have got to get it down where I believe it. Joe and Mabel down behind the cotton mill by the Los Angeles River. When you get it on that basis, it will be true. An audience will just laugh when she gives him that talk [waving an earlier draft of the scene] about her arms and eyes. If Delilah talks about herself she can't be much. I've never heard Betty Grable say she has a good figure. But if Samson talks about Delilah's legs ... If he says, "My God, what you have grown into? Even your feet are pretty—" From the earliest days, DeMille broke sharply with the usual Hollywood method of screenplay writing. He renounced the custom of sending a writer off to some distant retreat with an order to return several weeks later with a complete story draft. DeMille stationed writers in the bungalow and worked with writers in the most uncompromising sense of the phrase. He felt he could drive them to greater literary heights if he kept at them. He once told us, "I fracture my writers, I keep at them until they are half crazy and in the end the blood and tears will get me what I want. I rarely accept their first efforts/' What he feared most was a lot of "pretty" conversation be- tween his story characters. "Pretty writing can ruin a picture." 1