In the notorious Erotikon and Ecstasy, Gustav Machatý infused silent cinema with a pulsating lyricism more suited to romantic poetry; the final chapter in the trilogy shows that this heightened sensuality was just as suited for the sound era. Two bored office girls hit the town with two wealthy older lechers, taking in the nightlife while fending off their pince-nez'd, top-hatted escorts' advances. When one man's move involves a large sum of money and some extended innuendo, young Mary (the more naïve of the girls) flees into the night, where a chance encounter with a callused worker leads to romance of the more down-to-earth variety. Machatý put the new sound format to excellent use, juxtaposing the clack-clack monotony of the girls' office drudgery with the jaunty sounds of nocturnal Prague (the bouncy nightclub rhythms are by Jaroslav Jezek, the founder of Czech jazz). The film's images of sensual, delicate romanticism, however, need no soundtrack at all.