“My dear, I’m far too tired to be in a rage with anybody. Good night.”

The door shut.

“My dear, she’s furious.”

“I knew she would be, you shouldn’t have made me read it.”

“She’s been very odd all the evening, I consider.”

“She told me she lunched with Adam before she came down.”

“I expect she ate too much. One does with Adam, don’t you find?”

“Just libido.”

“But you know, I’m rather proud of that character all the same. I wonder why none of us ever thought of Dublin before.”

“Basil, do you think Imogen can have been having an affaire with Adam, really?”

Circumstances

NOTE. — No attempt, beyond the omission of some of the aspirates, has been made at a phonetic rendering of the speech of Gladys and Ada; they are the cook and house-parlourmaid from a small house in Earls Court, and it is to be supposed that they speak as such.

The conversations in the film are deduced by the experienced picture-goer from the gestures of the actors; only those parts which appear in capitals are actual “captions.”

THE COCKATRICE CLUB 2.30 A.M.

A CENTRE OF LONDON NIGHT LIFE.

The “Art title” shows a still life of a champagne bottle, glasses, and a comic mask—or is it yawning?

“Oh, Gladys, it’s begun; I knew we’d be late.”

“Never mind, dear, I can see the way. Oh, I say—I am sorry. Thought the seat was empty—really I did.”

Erotic giggling and a slight struggle.

“Give over, can’t you, and let me get by—saucy kid.”

“’Ere you are, Gladys, there’s two seats ’ere.”

“Well I never—tried to make me sit on ’is knee.”

“Go on. I say, Gladys, what sort of picture is this—is it comic?”

The screen is almost completely dark as though the film has been greatly over-exposed. Fitful but brilliant illumination reveals a large crowd dancing, talking and eating.