lighting features were installed, so that pictures could be shot from several different angles at once, and pieced together later as Keene cut the film. And now there entered something of the touch of genius which had made Keene famous.
He was clever, I had always realized that. Yet in the scenes that were next unfolded I admired not so much the technical tricks—which were familiar enough to me—as the marvelously clever way in which Keene had managed to inject realism into the acting. His characters did not act—they lived.
Or, rather, they died. For in the picture they were thrust into the underground room to die horribly as sacrifices to the monster-god from the Aztec temple. Sacrifice was supposed to bring the thing to life, to cause the jewel in which its existence was bound to flare with fantastic splendor. The first sacrifice was, I think, the most effective.
The underground room in which the god was hidden was large, but quite vacant, save for a curtained alcove which held the idol. A barred doorway led to the upper room, and here Keene appeared on the screen, revolver in hand, herding before him a man—overall-clad, with a stubble of black beard on his stolid face. Keene swung open the door, motioned his captive into the great room. He closed the barred door, and through the grating could be seen busy at a switchboard.
Light flared. The man stood near the bars, and then, at Keene's gesture with his weapon, moved forward slowly to the far wall, He stood there, staring around vaguely, dull apprehension in his face. Light threw his shadow in bold relief on the wall.
Then another shadow leaped into existence beside him.
It was barrel-shaped, gigantic, studded with blunt spikes, and capped by a round dark blob—the life-jewel. The shadow of the monster god! The man saw it. He turned.
Stark horror sprang into his face, and at sight of that utterly ghastly and realistic expression a chill struck through me. This was almost too convincing. The man could not be merely acting.
But, if he was, his acting was superb, and so was Keene's direction. The shadow on the wall stirred, and a thrill of movement shook it. It rocked and seemed to rise, supported by a dozen tentacular appendages that uncoiled from beneath its base. The spikes—changed. They lengthened. They coiled and writhed, hideously worm-like.
It wasn't the metamorphosis of the shadow that held me motionless in my chair. Rather, it was the appalling expression of sheer horror on the man's face. He stood gaping as the shadow toppled and swayed on the wall, growing larger and larger. Then he fled, his mouth an open square of terror. The shadow paused, with an odd air of indecision, and slipped slowly along the wall out of range of the camera.
But there were other cameras, and Keene had used his cutting-shears deftly. The movements of the man were mirrored on the screen; the glaring lights swung and flared; and ever the grim shadow crawled hideously across the wall. The thing that cast it was never shown—just the shadow, and it was a dramatically effective trick. Too many directors, I knew, could not have resisted the temptation to show the monster, thus destroying the illusion—for papier-maché and rubber, no matter how cleverly constructed, cannot convincingly ape reality.
At last the shadows merged—the gigantic swaying thing with its coiling tentacles, and the black shadow of the man that was caught and lifted, struggling and kicking frantically. The shadows merged—and the man did not reappear.
