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12
-THE MOVING PICTURE WEEKLY
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BLUEBIRD PHOTOPLAY With
WILLIAM STOWELL.
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S that the way I really looked in Midvale?" said Elinor, looking at an old photograph which she had found that afternoon in her desk.
"What an innocent I was! And how the much-maligned 'Bohemia' has broadened me, even though I have had to earn my living by raking up stories that people would much rather allow to remain buried."
Elinor Crawford made her escape from the restrictions of village life to attain a career as a writer in New York. Evan Kilvert, an attorney in her home town, had courted her and failed to win her love; his strong opposition to her going to the great city having determined the girl to make every effort to succeed. Her nearest approach to fame was an assignment as special writer upon scandalous topics for a newspaper of sensational bent.
Her life in New York centered around Washington Square, where she established an apartment on the commonwealth plan with Francesca Taft, an artist who had gained some renown and standing in the "Bohemian" colony. When Elinor is assigned by
CAST.
Elinor Crawford Dorothy Phillips
Francesca Taft Gretchen Lederer
Eugenia Darth Gertrude Aster
Evan Kilvert William Stowell
Bertie Vawtry J. B. McLaughlin
(Copyright 1917, Bluebird PJwtoplays, Inc. All Rights Reserved.)
her editor to get a story from Evan Kilvert, now established in New York, on the topic of a famous murder case in which he figured as the defendant's attorney, she fulfills her duty and meets Kilvert for the first time in some years.
The old acquaintance renewed gradually ripens into a revival of Kilvert's affection for Elinor and, to some degree, an awakening of the girl's love for her old admirer. Kilvert's unbending hatred for New York's "fast life," and the denizens of "Bohemia" is something that Elinor finds hard to countenance, let alone overcome. When she introduces him to "her set" he openly remonstrates with her for
living a life of such unmaidenly freedom.
Upon Kilvert's views of life Elinor bases a sneering and satirical story, and takes it to the editor of a sensational paper in the hope of selling it. Not alone does the editor, Bertie Vawtry, buy the manuscript, but he professes a sudden regard for the authoress. The acquaintance thus formed brings Vawtry frequently into Elinor's "Bohemia," and the engagement of Vawtry and Elinor is eventually understood by their friends.
Floating along: on the tide of pleasure and self-satisfaction, Elinor is suddenly wrecked by Vawtry's perfidy. He sends her a note to the effect that he has married, for her money, a rich widow to whom he is indebted for the funds that started his paper. Keeping her own counsel, Elinor leaves "Bohemia," and her disappearance is logically coupled by Francesca Taft and her other friends with the coincident absence of Vawtry from their usual haunts.
Many months later, Elinor comes upon privation and falls exhausted before the window of a cafe where Kilvert is at luncheon. The lawyer goes to her, insists that she eat at his table, and listens to her story. This time the acquaintance results in love, and in the long run thev marry. For a while Elinor deliehts in her newer