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MATTHEW, MARK, LUKE, JOHN-AND CECIL 117 On this basis, then, the story conferences went forward. As they talked, wrote, and talked some more, the Savior half of the story got stronger, the modern part weaker. Finally, as if the Christ had broken from their grasp, the decision was made to devote the entire screenplay to the Gospels. The modern epilogue was abandoned. This decision was received jubilantly by the St. Louis Jesuit, Dan Lord, who had been consulting with the producer from the start. Still, the battle was not yet entirely won. While the Scripture had a strong hold on DeMille, it had not yet pinned him down. Something quite fascinating occurred to DeMille. The char- acter of Mary Magdalene! She had the same old weakness, part and parcel of the DeMille formula, and here it was right in the Scriptures waiting for him to utilize it in the most effective way possible. Yes, the sinner of Magdala should be made use of before her repentance set in. Here, DeMille turned his attention to Judas, the Christ be- trayer. Wait! Is it not true the Bible is silent on Judas* love life? He must have had one; a chap who would betray the Savior of Mankind for thirty pieces of silver no doubt had other interesting vices. DeMille eagerly supplied a few details. First, why did Judas betray Christ? For money! Well, per- haps, but it was a trifling amount for so heinous a deed! No, there had to be something else-a woman's lovef Unquestion- ably, a woman's love. The woman? None other than Mary Magdalene, of virtue both easy and ruthless! The she-devil who lured men to her palace in Magdala, city of pleasure, where, no doubt, she played sweet music and anesthetized her clients with the wines of Chios and Lesbos. The rest of this part of the story was easy. One day Mary Magdalene meets Judas, and he has nothing but eyes for this luscious dame. He wants her but she's an expensive item, and