The Agony and the Ecstasy (1965), Khartoum (1966),andAntony and Cleopatra (1972).Heston""s portrayal of Moses as an eloquent orator and speaker was not true to the Biblical account (Exodus 4:10), hat stated how Moses was not eloquent ("slow of speech, and.During a dark, quiet night in the wooded area near the cabin, the driver (the woman""s husband) reaches for his oily, rag-wrapped gun in the glove compartment where bullets are also concealed.Was it a reactionary message piece against imperfect, "liberal" judicial trends that let ""sicko"" criminals get away, literally, with murder? Or was Siegel encouraging audiences to empathically identify with the indiscriminate vengeance of the violent, anarchic, unrestrained vigilante ""killer"" on the side of the law who acts as an autonomous police power?The screenplay, credited to husband-and-wife team Harry Julian Fink & R.The yard boss pulls out a revolver and with a series of gunshots, fires at his adversary.The victim locks his adversary in a stranglehold.When the train reaches a bridge, both tumble sideways from the top of the car into he water below.The train whistles loudly as they fall.[Capital and Labor symbolically drown together in the moral lesson of the film.] Through the gurgling water, "THE END" slowly dissolves into view with a swelling musical finale.In a dark, projection screening room, successful comedy film director John ""Sully"" Sullivan (Joel McCrea) rises to his feet.