Part 24 (1/2)
Continued success for it as time should pa.s.s seemed a.s.sured and guaranteed, seeing that Vida Monte, beyond the studios and off the locations, had all her life walked a way so secluded, so inconspicuous and so utterly commonplace that no human being, whether an attache of the company or an outsider, would be likely to miss her, or missing her, to pry deeply into the causes for her absence. So much for the contingencies of the future as those in the secret foresaw it. As for the present, that was simplicity.
As quietly as she had moved in those earlier professional days of hers, when she played small roles in provincial stock companies; as quietly as she had gone on living after film fame and film money came her way; as quietly as she had laid her down and died, so--very quietly--was her body put away in the little cemetery at Hamletsburg. To the physician who had ministered to her, to his good-hearted wife, to the official who issued the burial certificate, to the imported clergyman who held the service, to the few villagers who gathered for the funeral, drawn by the morbid lure which in isolated communities brings folk to any funeral--to all of these the dead woman merely was a stranger with a strange name who, temporarily abiding here, had fallen victim to the plague which filled the land.
Of those who had a hand in the last mortal role she would ever play only Lobel's private secretary, young Appel, who came to pay the bills and take over the private effects of this Sarah Gla.s.sman and after some fas.h.i.+on to play the roles of next friend and chief mourner, kenned the truth. The clergyman having done his duty by a deceased coreligionist, to him unknown, went back to the city where he belonged. The physician hurried away from the cemetery to minister to more patients than he properly could care for. The townspeople scattered, intent upon their own affairs. Appel returned to headquarters, reporting all well.
At headquarters all likewise went well--so briskly well in fact that under the urge for haste things essential were accomplished in less time by fewer craftsmen than had been the case since those primitive beginnings when Lobel's, then a struggling short-handed concern, frequently had doubled up its studio staffs for operative service in the makes.h.i.+ft laboratory. Reporting progress to the president, Mr. Quinlan expanded with self-satisfaction.
”I'm fixing to show you something in the way of a speed record,” he proudly proclaimed. ”The way I looked at it, the fewer people I had rus.h.i.+ng this thing through the factory the less chance there was for loose talk round the plant and the less loose talk there was going on round the plant the less chance there was for maybe more loose talk outside. Yes, I know we'd figured we'd got everything caulked up air-tight, but I says to myself, 'What's the use in taking a chance on a leak if you don't have to?'
”So I practically turned the big part of the job--developing and all the rest of it--over to Josephson, same as we used to do back yonder when we was starting out in this game and didn't have a regular film cutter and the camera man had to jump in and develop and cut and a.s.semble and print and everything. Josephson shot all the scenes for The She-Demon--he knows the run of it better even than the director does. Besides, Josephson is naturally close-mouthed. He minds his own business and never b.u.t.ts in anywhere. To look at him you can't never tell what he's thinking about. But even if he suspected anything--and, of course, he don't--he's the kind that'd know enough to keep his trap shut. So I've had him working like a nailer and he's pretty near done.
”Soon as he had the negative ready, which was late yesterday afternoon after you'd went home, I had it run off with n.o.body there but me and Josephson, and I took a flash at it--and, Lobel, it's a bear! No need for you to worry about the negative--it was a heap too long, of course, in the shape it was yesterday, but it had everything in it we hoped would be in it--and more besides.
”So then without losing a minute I stuck Josephson on the printing machine himself. I'd already gave the girl on the machine a couple of days off to get her out of the way. Josephson stayed on the job alone pretty near all last night, I guess. He had things to himself without anybody to bother him and I tell you he shoved it along.
”Connors ain't lost no time neither. He's got the subt.i.tles pretty near done, and believe it or not, as you're a mind to, but, Lobel, I'm telling you that this time to-morrow morning and not a minute later I'll have the first sample print all cut and a.s.sembled and ready for you to give it a look! Then it'll just be a job of matching up the negative and sticking in the subt.i.tles and starting to turn out the positives faster than the s.h.i.+pping-room gang can handle 'em. I guess that ain't moving, heh?”
”Quinlan,” said Mr. Lobel, ”I give you right.”
By making his word good to the minute the gratified Mr. Quinlan derived additional gratification. At the time appointed they sat in darkness in the body of the projection room--Lobel, Quinlan, Geltfin and Appel, these four and none other--behind a door locked and barred. Promptly on Quinlan's order the operator in the box behind them started his machine and the accomplished rough draft of the great masterpiece leaped into being and actuality upon the lit square toward which they faced.
The beginning was merely a beginning--graphic enough and offering abundant proof that in this epochal undertaking the Lobel shop had spared no expense to make the production sumptuous, but after all only preliminary stuff to sauce the palate of the patron for a greater feast to come and suitably to lead up to the introduction of the star. Soon the star was projected upon the screen, a purring, graceful panther of a woman, to change at once into a sinuous python of a woman and then to merge the feline and the ophidian into a sinister, splendid, menacing composite bespeaking the dramatic conception and the dramatic presentment of all feminine evil, typifying in every move of the lithe, half-clad body, in every s.h.i.+ft of the big eyes, wickedness unleashed and unashamed.
Mr. Lobel sitting unseen in the velvet blackness uttered grunts of approbation. The greatest of all film vampires certainly had delivered the goods in this her valedictory. Never before had she so well delivered them. The grunting became a happy rumble.
But all this, too, was in a measure dedicatory--a foretaste of more vivid episodes to follow, when the glorious siren, displaying to the full her powers of fascination over the souls and the bodies of men, would rise to heights yet greater and the primitive pa.s.sion she so well simulated would s.h.i.+ne forth like a malignant jewel in a setting that was semibarbaric and semicivilized, too, and altogether prodigal and lavish.
The first of these bigger scenes started--the scene where the queen of the apaches set herself to win the price of her hire from the Germans by seducing the young army officer into a betrayal of the Allied cause; the same scene wherein at the time of filming it Mr. Lobel himself had taken over direction from Colfax's hands.
The scene was launched, acquired headway, then was halted as a bellow from Mr. Lobel warned the operator behind him to cut off the power.
”What the h.e.l.l!” sputtered the master. ”There's a blur on the picture here, a sort of a kind of smokiness. Did you see it, Geltfin? Right almost directly in front of Monte it all of a sudden comes! Did you, Quinlan?”
”Sure I seen it,” agreed Geltfin. ”Like a spot--sort of.”
”It wasn't on the negative when I seen it day before yesterday,” stated Quinlan. ”I can swear to that. A little defect from faulty printing, I guess.”
”All right then,” said Mr. Lobel. ”Only where you got efficiency like I got it in this plant such things should have no business occurring.
”Go on, operator--let's see how goes it from now on.”
Out again two shadow figures--the vampire and the vampire's prey--flashed in motion. Yes, the cloudy spot was there, a bit of murky shadow drifting between the pair of figures and the audience. It thickened and broadened--and then from the suddenly constricted throats of the four watchers, almost as though all in the same moment an invisible hand had laid gripping hold on each of their several windpipes, came a chorused gasp.
For they saw how out of the drifting patch of spumy wrack there emerged a shape vague and indistinct and ghostly, but taking on instantly the sharpened outlines of one they recognized. It was the shape, not of Vida Monte, the fabled wrecker of lives, but the shape of her other self, Sarah Gla.s.sman, and the face it wore was not the face of the stage vampire, aflame with the counterfeited evil which the actor woman had so well known how to simulate but the real face of the real woman, who lay dead and buried under a mound of fresh-cut sods seventy miles away--her own face, melancholy and sadly placid, as G.o.d had fas.h.i.+oned it for her.
Out from the filmy umbra it advanced to the center, thus hiding its half-naked double writhing in the embrace of the deluded lover, and clearly revealed itself in long sweeping garments of pure white--fit grave clothes for one lately entombed--with great ma.s.ses of loosened black hair falling like a pall about the pa.s.sionless brooding face; and now lifting reproachful eyes, it looked out across the intervening void of blackness into their staring eyes, and from the folds of the cerement robes raised a bare arm high as though to forbid a lying sacrilege. And stood there then as a wraith newly freed from the burying mold, filling and dominating the picture so that one looking saw nothing else save the shrouded figure and the head and the face and those eyes and that upheld white arm.
Cowering low in his seat with a sleeve across his eyes to shut out the accusing apparition, Mr. Geltfin whispered between chattering teeth: ”I told him! I told him the dead could maybe come back!”
Mr. Quinlan, a bolder nature but even so terribly shaken, was muttering to himself: ”But it wasn't in the negative! I swear to G.o.d it wasn't in the negative!”