Another creature that caused me untold anguish in the photographic field was a young Woodford’s owl called, with singular lack of originality, Woody. Woodfords are very lovely owls, with a rich chocolate plumage splashed and blotched with white, and possessing what must be the most beautiful eyes in the whole of the owl family. They are large, dark and liquid, with heavy lids of a delicate pinky-mauve. These they raise and lower over their eyes in what seems to be slow motion, like an ancient film actress considering whether to make a comeback. This seductive fluttering of eyelids is accompanied by loud clickings of the beak-like castanets. When excited the eyelid fluttering becomes very pronounced and the birds sway from side to side on the perch, as if about to start a hula-hula, and then they suddenly spread their wings and stand there clicking their beaks at you, looking like a tombstone angel of the more fiercely religious variety. Woody would perform all these actions perfectly inside his cage and would, moreover, perform them to order when shown a succulent titbit like a small mouse. I felt sure that, if he was provided with a suitable background, I could get his display on film with the minimum of trouble.
So, in the netting room I used for bird photography I set to and created what looked like a forest tree, heavily overgrown with creepers and other parasites, using green leaves and a blue sky as background. Then I carried Woody out and placed him on the branch in the midst of this wealth of foliage. The action I wanted him to perform was a simple and natural one not calculated to tax even the brain of an owl. With a little co-operation on his part the whole thing could have been over in ten minutes. He sat on the branch regarding us with wide-eyed horror, while I took up my position behind the camera. Just as I pressed the button he blinked his eyes once, very rapidly, and then, as if overcome with disgust at our appearance, he very firmly turned his back on us. Trying to remember that patience was the first requisite of an animal photographer, I wiped the sweat from my eyes, walked up to the branch, turned him round and walked back to the camera. By the time I had reached it Woody once more had his back towards us. I thought that maybe the light was too strong, so several members of the staff were sent to cut branches and these were rigged up so that the bird was sheltered from the direct rays of the sun. But still he persisted in keeping his back to us. It was obvious that, if I wanted to photograph him. I would have to rearrange my set so that it faced the opposite way. After considerable labour about a ton of undergrowth was carefully shifted and rearranged so that Woody was now facing the way he obviously preferred.
During this labour, while we sweated with massive branches and coils of creepers, he sat there regarding us in surprise. He generously allowed me to get the camera set up in the right position (a complicated job, for I was now shooting almost directly into the sun) and then he calmly turned his back on it. I could have strangled him. By this time ominous black clouds were rolling up, preparatory to obscuring the sun, and so further attempts at photography were impossible. I packed up the camera and then walked to the branch, murder in my heart, to collect my star. As I approached he turned round, clicked his beak delightedly, executed a rapid hula-hula and then spread his wings and bowed to me, with the mock-shy air of an actor taking his seventeenth curtain call.
Of course not all our stars caused us trouble. In fact, one of the best sequences I managed to get on film was accomplished with the minimum of fuss and in record time. And yet, on the face of it, one would have thought that it was a much more difficult object to achieve than getting an owl to spread his wings. Simply, I wanted to get some shots of an egg-eating snake robbing a nest. Egg-eating snakes measure about two feet in length and are very slender. Coloured a pinkish-brown, mottled with darker markings, they have strange, protuberant eyes of a pale silvery colour with fine vertical pupils like a cat’s. The curious point about them is that three inches from the throat (internally, of course) the vertebrae protrude, hanging down like stalactites. The reptile engulfs an egg, whole, and this passes down its body until it lies directly under these vertebrae. Then the snake contracts its muscles and the spikes penetrate the egg and break it; the yolk and white are absorbed and the broken shell, now a flattened pellet, is regurgitated. The whole process is quite extraordinary and had never, as far as I knew, been recorded on film.
We had, at that time, six egg-eating snakes, all of which were, to my delight, identical in size and coloration. The local children did a brisk trade in bringing us weaver-birds’ eggs to feed this troupe of reptiles, for they seemed capable of eating any number we cared to put in their cage. In fact, the mere introduction of an egg into the cage changed them from a somnolent pile of snakes to a writhing bundle, each endeavouring to get at the egg first. But, although they behaved so beautifully in the cage, after my experiences with Woody and the water chevrotain, I was inclined to be a bit pessimistic. However, I created a suitable set (a flowering bush in the branches of which was placed a small nest) and collected a dozen small blue eggs as props. Then the snakes were kept without their normal quota of eggs for three days, to make sure they all had good appetites. This, incidentally, did not hurt them at all, for all snakes can endure considerable fasts, which with some of the bigger constrictors run into months or years. However, when my stars had got what I hoped was a good edge to their appetites, we started work.
The snakes’ cage was carried out to the film set, five lovely blue eggs were placed in the nest and then one of the reptiles was placed gently in the branches of the bush, just above the nest. I started the camera and waited.
The snake lay flaccidly across the branches seeming a little dazed by the sunlight after the cool dimness of its box. In a moment its tongue started to flicker in and out, and it turned its head from side to side in an interested manner. Then with smooth fluidity it started to trickle through the branches towards the nest. Slowly it drew closer and closer, and when it reached the rim of the nest, it peered over the edge and down at the eggs with its fierce silvery eyes. Its tongue flicked again as if it were smelling the eggs and it nosed them gently like a dog with a pile of biscuits. Then it pulled itself a little farther into the nest, turned its head sideways, opened its mouth wide and started to engulf one of the eggs. All snakes have a jaw so constructed that they can dislocate the hinge, which enables them to swallow a prey that, at first sight, looks too big to pass through their mouths. The egg-eater was no exception and he neatly dislocated his jaws and the skin of his throat stretched until each scale stood out individually and you could see the blue of the egg shining through the fine, taut skin as the egg was forced slowly down his throat. When the egg was about an inch down his body he paused for a moment’s meditation and then swung himself out of the nest and into the branches. Here, as he made his way along, he rubbed the great swelling in his body that the egg had created against the branches so that the egg was forced farther and farther down.
Elated with this success we returned the snake to his box so that he could digest his meal in comfort, and I shifted the camera’s position and put on my big lenses for close-up work. We put another egg into the nest to replace the one taken, and then got out another egg-eater. This was the beauty of having all the snakes of the same size and coloration: as the first snake would not look at another egg until he had digested the first, he could not be used in the close-up shots. But the new one was identical and as hungry as a hunter, and so without any trouble whatsoever I got all the close-up shots I needed as he glided rapidly down to the nest and took an egg. I did the whole thing all over again with two other snakes and on the finished film these four separate sequences were intercut and no one, seeing the finished product, could tell that they were seeing four different snakes.