Carl, the first violin in a theater orchestra, loves his violin as a part of himself. Elsa, a poor young girl, living with her widowed mother, is possessed of a remarkable voice. Fired with an ambition to become an operatic star, she applied for a place with the company playing at Carl's theater, and secures an engagement for a small part. She meets Carl and there is an instant sympathy between them. Elsa, on the stage, keeps up her courage through the realization that Carl is sympathizing with her and sustaining her with the magic of his violin. They meet frequently at the theater, and Elsa eventually invites him to call. This he does, bringing his violin with him and playing for her. Through the inspiration of Carl's love and sympathy she develops rapidly in her operatic work and soon attracts public attention. Brown, a wealthy man about town becomes infatuated with her. He presents her with flowers, secures an introduction, and succeeds eventually in inducing her to accept his hospitality at a fashionable cafe. Brown finally makes a proposal to her that shocks her, and she awakens then to the nobility of Carl's love and the poison and sordidness of Brown's infatuation. Carl receives word that his sister Barbara, whom he has not seen for several years, will arrive for a short visit. He writes a note to Elsa asking her to meet him and Barbara at the Florentine Cafe and have lunch with them. He has thew note sent to her dressing room. She is not in when it is left there. Brown calls her at her dressing room while she is still out; finds the note, sees in it an opportunity to turn it to his own account, and accordingly puts it in his pocket. Believing that Elsa's refusal to accede to his proposal is due to love and her regard for Carl, Brown plots to disillusion Elsa by telling her that all men have their affinities and that her beloved Carl is no exception to the rule. She indignantly resents this aspersion upon the character of Carl, but Brown tells her to go with him to the Florentine Cafe about one o'clock the next day. More to prove the falsity of Brown's accusation than because of any suspicion of Carl, she goes with Brown and discovers Carl with a beautiful young woman. The shock of this apparent revelation of Carl's perfidy renders her utterly reckless and desperate. That evening Carl seeks an interview with Elsa to learn of her reason for not joining him and Barbara for lunch; but she silently scorns him. In the midst of her performance that evening her draperies catch fire. Carl springs upon the stage just as Elsa faints. He tears the burning draperies from her with his hands; then falls exhausted. When Elsa recovers she finds herself in the arms of Brown. She believes it is he who saves her. Carl is taken to the hospital, accompanied by Barbara who has been present in the theater, and it is feared he may die. He asks for Elsa. Barbara hastens back to the theater for her. She arrives just as Elsa is about to leave with Brown. Barbara begs her to come to Carl. Elsa, recognizing her as the woman she saw with Carl at the cafe, laughs in her face. Barbara then tells her she is Carl's sister and that it was Carl who saved her and is now probably dying as a result of it. Horror-stricken she hurries with Barbara to the hospital. Carl's life is spared, and he wins Elsa. - Moving Picture World, April 29, 1916
This title has caused much confusion. Frank Borzage produced a project with this working title that we have yet to confirm a release date for. It was shot between January 18th and 31st according to primary resource production ledgers. In addition, Exhibitors Herald of April 15th gives a release summary crediting "Realization" as a Vivian Rich, Alfred Vosburgh vehicle but the American ad in the same issue gives the cast and director as we have recorded it here.