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90 Yes, Mr. DeMille scene. In preparing for it DeMille thumbtacked on his walls vivid sketches of dancing girls with undraped bosoms. Visitors learned that the costume designs were authentic Biblical art taken right out of the old masters. These samples of classical exposure may have eased front-office tension a little, but Para- mount had its fingers stoutly crossed: a religious argosy in times of sex and bootleg booze had a suicidal ring about it. DeMille ordered 3,000 costumes of ancient design and $18,000 worth of harness for the horses which would draw three hundred war chariots of the Pharaoh. This, according to DeMille publicists, was "the largest order for chariots in 1,700 years." For the Pharaoh, who would drive the lead chariot in the big pursuit scene, DeMille required something more than ordinary horseflesh. He paid $5,000 for a pair of black thorough- breds found in Kansas City after a considerable search. A hundred dancing girls went to work at the studio on routines for the Calf of Gold revel. Meanwhile, a vivacious globe-trotter named Florence Meehan was dispatched to the Middle East with authority to buy up jeweky and costumes of the correct vintage. Miss Meehan's shipments filled a studio storage room—silks, swords, tiger skins, tapestries, earrings, embossed plates, rubies from the famous mine at Magot, Burma, and a 1,000-year-old suit of Persian armor, and numberless geegaws for dressing the sets. DeMille called in a casting director and told him he wanted 225 orthodox Jewish persons. "I don't want them to be able to speak a word of English." The man looked a little uncertain; where would he get them? "I don't care, that's your problem," said DeMille. "Palestine, Turkey, Russia. I want 'em to chant like their ancestors, like in Moses' time/ 7 Advertisements with these specifications appeared in the daily press, and a booth was set up in a vacant lot at the edge of downtown Los Angeles. The harried casting director got his quota after much wrangling with swarms of applicants, and