This might be the film mentioned in a column in the 22 Sep 1923 Camera: director Tom Gibson was making a series of Ora Carew-starring movies with the same company of actors. They had already finished Waterfront Wolves (1924, see entry). “Part of the studio work is completed, and some exteriors on a beautiful estate near Burlingame, just outside of San Francisco. The company will leave within a few days for the Santa Cruz Mountains, where they will film scenes in an actual lumber camp.”
       Reviewing Paying the Limit, the 31 Aug 1924 Film Daily declared: “As a whole [it] gets off to a rather poor start but improves. Fair story material that contains popular elements of appeal.” The reviewer thought the theme was “not a bad one at that, although it could have been handled with a little more finesse. The titles are an outstanding weak point, especially the initial one which reads: ‘The simple tale of a girl and her past.’ Tom Gibson, who directed the picture, didn’t get his story off to a very good start, allowing too many gaps in the development. This, however, may not be entirely a fault of direction as the picture shows evidence of bad cutting not only in the early reels, but throughout. Ora Carew holds it up well with a first-rate performance, but she isn’t fortunate in having a good supporting cast. Most of the players are amateurish in their work. The plot deals with the efforts of a girl, once known as the ‘firefly,’ to reform. She secures a place as maid to a rich household and learns that a former accomplice is luring her employer’s daughter into marriage for her money. To expose the man would be to expose herself. The daughter steals an option from her father at her lover’s bidding and the maid is accused. How she clears herself and wins the respect of her employer and the heart of his foreman, closes the story.” The photography, the review said, was “sometimes pretty poor,” and Helen Howell as the daughter was “a trifle awkward.”
       The Film Renter and Moving Picture News review, which appeared when the film was about to open in Britain, listed the name of Ora Carew’s character as “Firefly” rather than “Raffles.”
       The third and fourth films in the series were Three Days to Live and Getting Her Man (both 1924, see entries).