quivering at first but rapidly regaining strength and its natural ring,
to echo strangely through the room, I narrated the history of that film.
As I had expected it provoked a fearful wrangle. The fight was sharp and
hot while it lasted, but I thanked my lucky stars that I was not only
well skilled in the technics of photography but the chemistry side as
well. The film in question was sufficient for six exposures. Three had
been made. In addition to the two pictures of my family's farewell which
corresponded to exposures two and three there was another picture, of
archæological interest, concerning a Sussex church, which was exposure
number one. The rest of the film, which would have corresponded to
pictures 4, 5 and 6, had never been exposed.

The film which was held up had been developed by order of the court. The
unexposed portion had been passed through the development processes, and
I experienced a thrill of joy. I saw that I was now on solid ground.

"How did you expose this film?"

"In the usual way. The church was taken first, followed by the two
pictures of my family. The rest of the film has never been exposed."

"That is what you say. But the Court thinks differently. Listen, the two
pictures of your family were taken first and this of the church
last--possibly, indeed probably, in Germany?"

"It was not. No photographer, even the tyro, would pass half a film
through his camera before making an exposure."

For ten minutes we fought tooth and nail over the way in which that film
had been passed through the camera. Then, seeing that they could not