On Good Friday in these Spanish-Mexican towns of California a ceremonial called “burning Judas” used to take place (and may still, for all I know). Old carts and wheels and pieces of junk in the village are gathered in a heap outside the Mission grounds, and old suits of clothes are stuffed with straw, making effigies of Judas. The villagers set fire to this lot of rubbish and to the Judases as well, and the evil they have brought during the year is supposed to disappear in the smoke from their burning bodies. The handsomest Judas, however, is saved from the conflagration for a more ignominous finish. A healthy young bull is secured and to his formidable horns this Judas is strapped. Then the bull is turned loose, so annoyed by this monstrous thing on his horns that he madly cavorts until Judas’s clothes are torn to shreds and his straw insides are spilled all over the place, and he is done for, completely. Now while we had been rehearsing and taking the wedding scenes, the sacristan, a little old man to whom life meant tending the Mission and ringing the bells at the appointed hour, had been covertly taking us in, and when he saw our gay though holy processional start into the very sanctum of the Mission on Good Friday, his soul revolted. No, that he would not stand for! Something even worse than riding the bull’s horns could happen to Judas; and that was to be thrown at movie actors. So the sacristan picked the prize Judas, and at the climactic scene he dropped him on us, and then broadcasting a roar of Mexican oaths he went on his way, his soul relieved and his heart rejoicing. [Illustration: Mary Pickford as a picturesque Indian, before “curls” and “Mary” had become synonymous terms. (_See p. 168_) ] But we felt differently. There was no telling now what these San Juan hot-heads might do to us. But the seeming lack of reverence of our procession was explained to the little sacristan by the understanding priest. [Illustration: The Hollywood Inn, the setting for “The Dutch Gold Mine,” with Mack Sennett and Eddie Dillon. The players were thrilled at being received in such a hostelry, and the guests amazed at seeing picture actors. (_See p. 158_) ] [Illustration: From “Comrades,” the first picture directed by Mack Sennett, with Mack Sennett and Dell Henderson. (_See p. 204_) ]