We see the banker, who had told his young wife that he has a directors' meeting, at a late hour in a cabaret feasting with a stenographer from his office.

She had promised her poor old parents to be home early.

We see the gorgeous roof garden and the tango dances, but our dramatic interest is divided among the frivolous pair, the jealous young woman in the suburban cottage, and the anxious old people in the attic.

Our mind wavers among the three scenes.
The photoplay shows one after another.

Yet it can hardly be said that we think of them as successive.