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252 Yes, Mr. DeMille trying to get the writers to squeeze every ounce of drama out of them: DeMille: What is the effect on Brad? What effect on Angel? We have to create a situation between all 5, 6 and 7 char- acters. Holly and Sebastian have challenged each other- Sebastian has an interest in Holly. He's taken an interesting look at her. Angel has said, "Well, here's my chance, I guess/' looking over at Brad. And Brad is busy as hell getting the circus off, and looks around and sees Sebastian either take her hand or 'Can't I help you into the car?' And Angel sees him and you get the little smile on Angel's face You have Klaus getting his elephants into a freight car, and saying, 'Come, Angel, get away from that thing. What you smile at? Get your stuff and get in here.' And Angel going by with some wisecrack to Brad, Well, I see your high flyer's started. Your devil on the ground... / Some wonderful wisecrack she makes. Writer: I haven't played the reactions on Brad and Angel. DeMille: We fill the departure of the circus with wonderful stuff. Some little clown who's left something, some midget falls and someone picks him up. During all this hullabaloo the priest is blessing the train—somebody coming by and crossing themselves. Someone says, 'Look out! Your elephant's got his trunk out!' Well, he's starting to travel, isn't he?' The departure of the train-if one of the snakes got loose and goes up a telephone pole—but we don't want to use snakes. All those people. The fat woman? How about her? How the hell does she get through the door? Does she have to go into the elephant car? The living skeleton—does he help the fat lady? Is there a romance between them? The bearded lady is ter- rified of everything—that I know. She's the most timid. She has beautiful feet and legs and lovely breasts, well dressed, a lovely feminine person with a terrific black beard. A mouse goes by and she nearly climbs to ... All those things converge