Selma von Sable skimps along on her earnings and on her off hours cuts a dash on Fifth Avenue, where she passes for a member of the smart set. Through a friend she meets Karl Clifford, leading man and producer for a moving picture concern, and bluffs him into thinking she is a member of one of the oldest families in New York. The bluff is so effective that Karl is ashamed of his business and does not confide what is uppermost in his mind, his search for a type to fill the place of the star who is laid up with an accident. He never thinks of the real Selma in that connection nor does she confess that she is a daughter of the rural districts and longs to be an actress and queen it over an army of admirers. Things come to such a pass that Karl is forced to abandon all hope of continuing his interrupted production. He stays up all night reading scenarios for a new story. But the writers are apparently all graduates of correspondence schools. He starts to the studio to dismiss his people, stopping on the way to be shaved. The barber shop the same he has before patronized, is now run by a woman and the barbers are women, too. Karl, under the soothing influence of the chair and soft hands, falls asleep. An impatient customer enters and rather than lose his patronage the proprietress, who is about to shave Karl, asks him to get into the next chair. Then she rushes to the alcove in which the newly arrived barberess is donning her apron, and turn over to her the dozing Karl, while the proprietress operates on the other man. As the girl scrapes the lather from his face she recognizes, from a picture that she has just seen, the well-known moving picture man. It excites her to the point of cutting him. Karl awakes with an ouch, and sees before him, in her simple apron, the very type of girl he wants. It is Selma von Sable. He snatches her up, leaps into his car at the curb and with lather spread everywhere, bursts into the studio with his find. Need this synopsis go any further?