The House That Shadows Built (1928)

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190 THE HOUSE THAT SHADOWS BUILT event of a fire, it would surely bring down the wall. Meyer, who is something of an engineer, did not believe him. And to move the film safe to another locality would entail innumerable inconveniences. He appealed to the fire commissioners. They had the matter under advisement, when the expected happened — also the unexpected. On the night of September ii, 1915, Packy McFarland and Mike Gibbons fought in New York for the lightweight championship. The studio, from top to bottom, happened to be mad over boxing. Virtually everyone was going — except Frank Meyer. Mechanical superintendent of the firm, he served also as its filmcutter. Absorbed in a peculiarly intricate problem, he determined to work it out that night and gave away his ticket. As they passed out on their way to dinner, the studio force guyed his enslavement to duty. By half-past six the studio was empty except for a few mechanics working overtime on the lower floor, and Frank Meyer, cutting film on the upper. The safe stood open, and hundreds of thousands of dollars’ worth of negatives and prints lay scattered over the shelves. Finally, one of the stage hands, an Italian, was visiting a friend in a flat just across the light-well. The mechanics looked out of their window. They saw the Italian making wild, dramatic gestures. He was a bit of a clown; they took his performance for some of his characteristic monkeyshines and responded with de