The Moving Picture Boys at Panama Part 22

"Say, for instance--"

"I can't," answered Blake, as Joe paused. "But I'm sure something is going to happen."

"No more collisions, I hope," his chum ventured. "Do you know, Blake, I've wondered several times whether that one to-day was not done on purpose."

Blake stared at his chum, and then, to Joe's surprise replied:

"And I've been thinking the same thing."

"You have?" Joe exclaimed. "Now I say--"

"Hus.h.!.+" cautioned Blake quickly, "he's coming!"

The door of their stateroom opened, and Mr. Alcando entered. He had a room across the corridor.

"Am I intruding?" he asked. "If I am--"

"Not at all. Come in," answered Blake, with a meaning look at his chum.

"I wanted to ask you something about making double exposures on the same film," the Spaniard went on. "You know what I mean; when a picture is shown of a person sitting by a fireside, say, and above him or her appears a vision of other days."

"Oh, yes, we can tell you how that is done," Joe said, and the rest of the evening was spent in technical talk.

"Well, what were you going to say about that collision?" asked Joe of Blake when Mr. Alcando had left them, at nearly midnight.

"I don't think it's exactly safe to say what I think," was Blake's response. "I think he is--suspicious of us," he finished in a whisper. "Let's watch and await developments."

"But what object could he--"

"Never mind--now," rejoined Blake, with a gesture of caution.

Several busy days followed the sinking of the _Nama_. The moving picture boys went through the Miraflores locks, making some fine films, and then proceeded on to the Pacific Ocean breakwater, thus making a complete trip through the Ca.n.a.l, obtaining a series of pictures showing scenes all along the way. They also took several views in the city of Panama itself.

Of course theirs was not the first vessel to make the complete trip, so that feature lost something of its novelty. But the boys were well satisfied with their labors.

"We're not through, though, by any means," said Blake. "We have to get some pictures of Gatun Dam from the lower side. I think a few more jungle scenes, and some along the Panama Railroad, wouldn't go bad."

"That's right," agreed Joe.

So they prepared to make the trip back again to Colon.

Once more they were headed for the locks, this time to be lifted up at Miraflores, instead of being let down. They approached the central pier, were taken in charge by the electrical locomotives, and the big chain was lowered so they could proceed.

Just as the lower gate was being swung open to admit them to the lock, there was a cry of warning from above.

"What's that?" cried Joe.

"I don't know," Blake answered, "but it sounds as though something were going to happen. I didn't have all those feelings for nothing!"

Then came a cry:

"The upper gate! The upper gate is open! The water is coming down!

Put the emergency dam in place! Quick!"

Joe and Blake looked ahead to see the upper gates, which were supposed to remain closed until the boat had risen to the upper level, swing open, and an immense quant.i.ty of foamy water rush out. It seemed about to overwhelm them.

CHAPTER XVIII

THE BIG SLIDE

For a short s.p.a.ce there was a calm that seemed more thrilling than the wildest confusion. It took a few seconds for the rush of water to reach the _Bohio_, and when it did the tug began to sway and tug at the mooring cables, for they had not yet been cast off to enable it to be towed.

Blake rushed toward the lower cabin.

"Where are you going?" cried Joe.

"To get the cameras," replied his chum, not pausing. "This is a chance we mustn't miss."

"But we must escape! We must look to ourselves!" shouted Mr.

Alcando. "This is not time for making moving pictures."

"We've got to make it this time!" Joe said, falling in with Blake.

"You'll find you've got to make moving pictures when you _can_, not when you _want_ to!"

To do justice to Mr. Alcando he was not a coward, but this was very unusual for him, to make pictures in the face of a great danger--to stand calmly with a camera, turning the crank and getting view after view on the strip of celluloid film, while a flood of water rushed down on you. It was something he never dreamed of.

But he was not a "quitter," which word, though objectionable as slang, is most satisfactorily descriptive.

"I'll help!" the young Spaniard cried, as he followed Blake and Joe down to where the cameras and films were kept.

On came the rush of water, released by the accidental opening of the upper lock gates before the lower ones were closed. The waters of Gatun Lake were rus.h.i.+ng to regain the freedom denied them by the building of the locks.

But they were not to have their own way for long. Even this emergency, great as it was, unlikely as it was to happen, had been foreseen by those who built the Ca.n.a.l.

"The dam! Swing over the emergency dam!" came the cry.

The _Bohio_ was now straining and pulling at her cables.

Fortunately they were long enough to enable her to rise on the flood of the rus.h.i.+ng water, or she might have been held down, and so overwhelmed. But she rose like a cork, though she plunged and swayed under the influence of the terrible current, which was like a mill race.

"Use both cameras!" cried Blake, as he and Joe each came on deck bearing one, while Mr. Alcando followed with spare reels of film.

"We'll both take pictures," Blake went on. "One set may be spoiled!"

Then he and his chum, setting up their cameras on the tripods, aimed the lenses at the advancing flood, at the swung-back gates and at the men on top of the concrete walls, endeavoring to bring into place the emergency dam.

It was a risky thing to do, but then Blake and Joe were used to doing risky things, and this was no more dangerous than the chances they had taken in the jungle, or in earthquake land.