natural high cheekbones and hollow temples and he also worked closely with cinematographer Walter J. Harvey to ensure the lighting in each shot emphasised Wordsworth's features. Leakey also created Carroon's mutating arm. The hand was created from a cast of the hand of an arthritis victim, enlarged and exaggerated by Leakey. The rest of the arm was built up using latex and rubber and, inside, had a series of plastic tubes through which fluid was pumped to give the effect of the arm swelling. A large sponge-rubber prosthetic was used for a brief scene in the zoo showing Carroon's mutation had advanced further. The shrivelled corpses of Carroon's victims, glimpsed from time to time in the film, were also made by Leakey. Les Bowie provided the special effects: he had made his name perfecting an improved technique for matte painting, called the delineating matte, and formed a company with Vic Margutti that specialised in matte effects. Bowie provided a number of matte paintings to enhance the scale of certain key shots in the film, including the crashed rocket, the Westminster Abbey set, and the shot of Quatermass walking away from the Abbey at the climax of the film. Partly because of the concerns raised by the BBFC and partly on account of the low budget, Val Guest kept the creature largely off-screen for much of the film, feeling that audiences' imaginations would fill in the blanks more effectively than he and the special effects team could deliver on-screen. For the climactic scenes at Westminster Abbey, however, Bowie created a monster from tripe and rubber and photographed it against a model of the Abbey. Sparks and fireworks were used for the shots of the creature being electrocuted. Michael Carreras felt something was missing when he viewed the first cut of this scene: he said, "There was this great glob of something hanging about on the scaffolding. And they had put in the best music they could and put the best effects on it, but it meant nothing as far as I was concerned … absolutely nothing at all". An eye was added to the model of the monster and a human scream added to the soundtrack to give the creature some semblance of humanity in its final moments. Models were also used for the rocket blasting off in the film's final shot. Music John Hotchkis was originally hired to compose the