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120 Yes, Mr. DeMille ing, penned him a long note which left little doubt that his return to the priesthood was a shortsighted act, of much lesser benefit to mankind. At luncheon that day DeMille reviewed the matter, concluding, "He has gone to serve a greater master." DEMILLE took Father Lord aboard his yacht, sketched out the plan of the story and the motives behind it. Lord had agreed with Will Hays, the code chief, that Holly- wood was entering upon the most important religious work of a generation. At that time eighteen million persons attended movies every day; in a week the number equaled the country's population. To millions of these, Christ was less real than Napoleon or Babe Ruth. Hopefully all this would soon change. Filming started August 24,1926. The clergy prayed for bless- ing—a Protestant bishop, a rabbi, a Catholic priest, a Salvation Army commanding officer, a Mohammedan teacher and a Bud- dhist swami. A ten-stop organ pkyed "Onward, Christian Soldiers 1" each morning as DeMille entered the sound stage and all stood by solemnly. Spiritual mood music was piped in, strains from Handel's "Largo," Dykes' "Holy, Holy, Holy" and Strainer's "The Crucifixion" Bibles were distributed to the principal players, who were asked to acquaint themselves with the four Gospels, and answer to their Biblical names—"Tell Caiaphas to get his make-up on," "We're ready for Jesus," "Peter's wig is slipping, someone fix it." Once an impatient director, demanding to know "where in the hell is Judas?" drew a stinging rebuke from the producer. Players in robes and sandals moved about quietly, talking