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104 Jes> Mr. DeMille ing swiftly when an accident occurred among the front chari- oteers, telescoping the charge into a wild melee of rearing horses and overturned chariots. Horses tugged frantically at their harness, inflicting painful kicks on several drivers. Some of the animals, goaded by their injuries, broke for the desert, their ripped flanks flapping in the breeze like red bandanas. The pair of $5,000 black stallions were lamed. Two chariots locked in unexpected combat careened into the wall protecting the musicians, and sent the terror-stricken girls screaming from the platform. To DeMille, who might be forgiven an artist's delight in the occasion, it was a scene of admirable fury. He sympathized with, and congratulated, the injured, offering as a solatium the prospect that the scene would make them heroes overnight. The episode was used in the picture to dramatize the fate of the Egyptians when stopped from further advance by a pillar of flame. Nasty rumors were heard. One was published in a daily to the effect that the accident was planned, on the basis of a report that someone saw axles that were partly sawed, but these stories were blandly ignored by the producer. The studio fussed a good deal over an approach to publicize the picture. It feared the public might shy away from it under the impression it was deeply religious, whereas in truth under DeMille's hand it roared with action. DeMille had not yet achieved fame as a muezzin on the stucco parapets of Holly- wood. "Let the Old Testament speak for itself," he advised, and then went out and told the press, "The Ten Command- ments are strong meat and I am going to present them as strong meat." He had hewed closely to the Bible and felt he had little to fear from the censors, although he was convinced no one was ever safe from censors. A ban on The Ten Commandments would amount to an attack on the Book of Exodus; however, he was taking no chances. In a wire-service story he made it