[Laughs at the recollection.

Brown.  And when the uncle sits down upon the band-box and crushes the canary-cage! [Chuckles.

Jones.  Most clever.  But there goes the bell, and the Curtain will be up directly.  Rather clever, I am told.  The Rose of Rouen—­it is founded on the life of Joan of Arc.  I am rather fond of these historical studies.

Brown.  So am I. They are very interesting.

Robinson.  Do you think so?  Well, so far as I am concerned, I prefer Melodrama.  Judging from the title, The Gory Hand should be uncommonly good.

    [Exeunt into Theatre.  After a pause they return to the
    Refreshment Room.

Brown.  Well, it is very clever; but I confess it beats me. (To Bar Attendant.) We will all take soda-water.  No, thanks, quite neat, and for these gentlemen too.

Jones.  Well, I call it a most excellent psychological study.  However, wants a clear head to understand it. (Sips his soda-water.) I don’t see how she can take the flag from the Bishop, and yet want to marry the Englishman.

Robinson.  Ah, but that was before the vision.  If you think it over carefully, you will see it was natural enough.  Of course, you must allow for the spirit of the period, and other surrounding circumstances.

Brown.  Are you going to stay for The Gory Hand?

Jones.  Not I. I am tired of play-acting, and think we have had enough of it.

Robinson.  Well, I think I shall look in.  I am rather fond of strong scenes, and it should be good, to judge from the programme.

Jones.  Well, we will “sit out.”  It’s rather gruesome.  Quite different from the other plays.

Robinson.  Well, I don’t mind horrors—­in fact, like them.  There goes the bell.  So I am off.  Wait until I come back.

Brown.  That depends how long you are away.  Ta, ta!

    [Exit ROBINSON.

Jones.  Now, how a fellow can enjoy a piece like that, I cannot understand.  It is full of murders, from the rise to the fall of the Curtain.

Brown.  Yes—­but ROBINSON likes that sort of thing.  You will see by-and-by how the plot will affect him.  It is rather jumpy, especially at the end, when the severed head tells the story of the murder to the assistant executioner.  I would not see it again on any account.

Jones.  No—­it sent my Maiden Aunt in hysterics.  However, it has the merit of being short. (Applause.) Ah, there it’s over!  Let’s see how ROBINSON likes it.  That tableau at the end, of the starving-coastguardsman expiring under the rack, is perfectly awful! (Enter ROBINSON, staggering in.) Why, my boy, what’s the matter?

Brown.  You do look scared!  Have something to drink?  That will set it all to-rights!