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"HIT SEX HARD!" 221 was ready to accept the challenge. He was in no mood to be forced to rest on his Biblical laurels by mere differences of attitude or interpretations. As it was, he had long ago decided on a perfect title for a King of Kings sequel— The Queen of Queens. Shortly after Christmas of the same year studio calm was shattered by a memorandum from Albert Deane of Paramount^ foreign office. Its contents were indeed exasperating to DeMille, already hobbled by forces he normally could ignore or conquer. In the British territories, chiefly Great Britain and Australia, a fairy or pansy is referred to as a quean, the memo advised. True, there was apparent difference in spelling between q-u-e-e-n and q-u-e-a-n, but, Paramount men in London feared, a ribald element might make a play on the title. DeMille was not inclined to regard this quirk in English phonetics as too alarming. He had a flair for pungent titles, and he had used quite a few that crackled with promise of in- cendiary pleasure— Old Wives for New, Forbidden Fruit, The Golden Bed. Mulling over the unfortunate co-incidence of queen and quean, DeMille hit upon another tide that seemed perfect: The Virgin. It had box-office lure and, moreover, "ends any argu- ment about our using Family Portrait and shows we are treating the birth of Christ as set forth in the Bible." He tested it on clergymen; the results were not good. The title was dangerous and, if not offensive, at least misleading in its emphasis on a delicate aspect of the story. So, he went back to Queen of Queens, now willing to take his chances with ribald Britons. Paramount heads, always nervous over a DeMille Biblical, feared that this time there was real cause for alarm. They pre- vailed upon him to postpone further work on The Queen of Queens and produce a picture based on a serial then running in the Saturday Evening Post called "Reap the Wild Wind."