but unsuccessful effort to top Bow in The Perfect Flapper, and soon after she dismissed the whole flapper vogue; "No more flappers...people are tired of soda-pop love affairs." Decades later Moore stated Bow was her "chief rival." Through the Dark, originally shot under the name Daughter of Mother McGinn, was released during the height of the Flaming Youth furor in January 1924. Three weeks later, Painted People was released. After that, she was to star in Counterfeit. The film went through a number of title changes before being released as Flirting with Love in August. In October, First National purchased the rights to Sally for Moore's next film. It would be a challenge, as Sally was a musical comedy. In December, First National purchased the rights to Desert Flower and in so doing had mapped out Moore's schedule for 1925: Sally would be filmed first, followed by The Desert Flower. By the late 1920s, she had accomplished dramatic roles in films such as So Big, where Moore aged through a stretch of decades, and was also well received in light comedies such as Irene. An overseas tour was planned to coincide with the release of So Big in Europe, and Moore saw the tour as her first real opportunity to spend time with her husband, John McCormick. Both she and John McCormick were dedicated to their careers, and their hectic schedules had kept them from spending any quality time together. Moore wanted a family; it was one of her goals. Plans for the trip were put in jeopardy when she injured her neck during the filming of The Desert Flower. Her injury forced the production to shut down while Moore spent six weeks in a body cast in bed. Once out of the cast, she completed the film and left for Europe on a triumphal tour. When she returned, she negotiated a new contract with First National. Her films had been great hits, so her terms were very generous. Her first film upon her return to the States was We Moderns, set in England with location work done in London during the tour. It was a comedy, essentially a retelling of Flaming Youth from an English perspective. This was followed by Irene (another musical in the style of the very popular Sally) and Ella Cinders, a straight comedy that featured a cameo appearance by comedian Harry Langdon. It Must Be