Moving Movies.

The story went "Onward and Upward"—an the second act carried on the tale. The introduction of the great modern invenshun of the movie, as the technical setting for the part, showed how the production staff was up to the minute. Now the heroes and the villains became quasi-flesh before our very eyes. No longer the remote play upon emotion, no longer the world-shy doctrinaire, abstraction of the Issues. (Earnest apologies, my respected Oswald S.) but the realities. The heroes were now shown in their true colours (sometimes Technicolor) pushing home the bolts of rifles us if their very lives depended on it. The villains, however, were still rather obscured, being portrayed only behind clouds of dust or aeroplane fuselage.

Of course they couldn't really be shown in the flesh as rather human like men and women, because then where would we be? Or would we?

Already we sensed the close of the story, and reached for our reportorial hat, imagining a mug of milk at Gates's, when The Surprise came. The stark genius of the thing took one's breath away. Suddenly from the front seat in the audience he appeared. The Enemy? No! Tis but the wind. But stay. It is! It is! (Consternation.) That [unclear: amazing] freedom and liberalness which marks the student from his kind, or perhaps it was that same ferocity which the Romans displayed when another Ethiopian was tossed to the lions, or maybe just the vulgar capitalist desire to get a full bob's worth, each and all allowed the Enemy to move up on the stage. A magnificent epilogue. We felt sure all along that we were being fooled and that the villain would really be the misunderstood hero and the pretended heroes were really the Dinkum Enemy in disguise and had very good magic and were really (very hushed) Racketeers.