Albert Moore silver painting

Albert Moore silver paintingRene Magritte The Blank Check paintingSir Lawrence Alma-Tadema In the Tepidarium painting
There is a general leave-taking and paying of bills.
“I say, Gladys, ’e’s ’ad a drop too much, ain’t ’e?”
The hero and heroine drive away in a taxi.
Halfway down Pont Street, the heroine stops the taxi.
“Don’t let him come any farther, Adam. Lady R. will hear.”
“Good night, Imogen dear.”
“Good night, Adam.”
She hesitates for a moment and then kisses him.
Adam and the taxi drive away.
Close up of Adam. He is a young man of about twenty-two, clean-shaven, with thick, very dark hair. He looks so infinitely sad that even Ada is shaken.
Can it be funny?
“Buster Keaton looks sad like that sometimes—don’t ’e?”
Ada is reassured.
Buster Keaton looks sad; Buster Keaton is funny. Adam looks sad; Adam is funny. What could be clearer?
The cab stops and Adam gives it all his money. It wishes him “Good-night” and disappears into the darkness. Adam unlocks the front door.
On his way upstairs he takes his letters from the hall table;