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MATTHEW, MARK, LUKE, JOHN-AND CECIL 123 sequences, then changing to a saddened woman whose beauty had become spiritual. She was urged to "act all the deadly sins as they leave your body-lust, greed, pride, envy, gluttony, anger, sloth/' Two days later Miss Logan finished the scenes in which she cast out the seven deadly sins. The next day she was guilty of sloth. She overslept, appearing on the set an hour late, one of the more deadly sins on a DeMille set. The cast and crew, tense at the expectance of a DeMille explosion, saw him greet the contrite actress with a fatherly smile. This rare behavior left no explanation except to conclude the showman was affected by the pious atmosphere. When Father Dan Lord arrived at the filming, the story, of Mary and Judas was possibly one-third of the whole plot. But, little by little, an astonishing thing was happening. The priest recalled, "Whenever Christ appeared on the screen, all the other characters simply became background. If Jesus walked into the scene, Magdalene or Judas or both at once became absolutely subordinate characters. His story became so absorb- ing that the fictionary story which had been built up to satisfy modern audiences seemed cheap, unimportant and trivial in comparison. It was becoming the story of Christ alone, and any other story treated as equally important seemed an im- pertinence. By the time I left I had seen the story of Judas and Magdalene cease to be the main or even the secondary story and become a trifling incident, left as a sop to the groundlings/' Father Lord related that they were watching rushes one eve- ning when Mr. DeMille leaned over and touched his hand. "He is great, isn't he?" he said. The priest pretended not to understand. "Warner?" "Jesus," DeMille replied. "He's great." Then after a long pause, "I doubt that we shall need the story of Mary Magdalene and Judas." The clergy were busy with questions that would have strained a scholar's Scriptural knowledge. "Why do not Catholics say,