Picture Play Magazine (Mar-Jul 1929)

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52 The Bridge of Fate Eugenie Besserer, the ^46bess, trains Raquel Torres, as Pepita, for her successor. Lily Damita charms the grandees of new-world Spain and becomes the toast of the city. meet the Marquesa, a bejeweled, eccentric old lady, lonely and bitter in selfreproach, following quarrels with her daughter and objection to her marriage. Voluminous letters to Condesa Clara beg, irrationally, the affection of her intellectual daughter. She makes a cult of sorrow, of self -recrimination. Harried by suspicion and mistrustful of all, desperate in her desire for filial attention, she becomes a victim of her own tyrannical love. She runs the scale of emotions, major and minor, genuine and flagons of chicha. They say she is mad, the Limeans. They are not far wrong. Dignity, station, wealth— all these are at her command. A tragic figure, she eats her heart out in distorted self-reproach. Carried in her chair up the snow-driven hills to the Shrine of Santa Maria d'e Chixambuqua, she becomes resigned, the mists clear. Pepita' s gentle courage is her lesson book. On the brink of a new life, she starts the return journey. Approaching the bridge Purity shines from the lovely face of the little Pepita, whom the Abbess has selected to train as her successor. The novice, about to take her vows, is sent to be the grand dame's companion, as a part of her rigid training in unpleasant duties. Obediently Pepita serves her well, and stifles her longing for the convent's tranquil peace. Likewise, the new, astonishing thing that twists her heart when Esteban, the letter-writer, comes to pen the Marquesa 's epistles. Pepita does not know this kind of love — fearing it is a sin, she prays. Esteban writes for the Marquesa the conciliatory letter, inspired by her regeneration at the shrine, and which carries to her daughter for the first time a true message of love. Returning home, Pepita^ her mistress, and Esteban approach the bridge Esteban you cannot know until you have known Manuel; yet, the one being such a carbon of the other, you see but one boy in both. Twins, of uncertain parentage, the butt of the scandal-mongers, they grow up silent and somber against a hostile world. Their likeness and bond of shame gives them a single identity. Manuel's "darkling intelligence" is captivated first by the drama's beauty, next by its interpreter. His feverish love for the flaming Perichole separates them harshly in thought, until Manuel sacrifices this love for that of his brother. Manuel is injured, and dies ; thereafter, Esteban's is but half a story — a split shadow, wandering. Esteban's story, even when Pepita loves him, seems so incomplete, until his shadow is about to meet its twin, as he approaches the bridge [Continued on page 94] Jane Winton, as Condesa Clara, the estranged daughter of the Marquesa, in a love scene with Paul Ellis. d imaginary, all heightened by her daily