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cusations. "My allegations of cruelty refer to mental cruelty. Charlie did not beat me, but caused me to suffer great mental anguish by his neglect. I never knew where he was or what he was doing. He married me, and as soon as he married me he forgot all about me. He economized in caring for me when ill and preached economy even to and including the funeral arrangements. When I was able to leave the hospital and go home he would not go home with me." She charged that she bought clothes for her husband with her own money; and that her mother had darned and patched Chaplin's socks and pajamas. "Like all artists, Charlie loved bloom and life and youth. During the months before the baby came he was fretful and irritable — and when it did, he didn't seem interested in looking out for me."
Chaplin refused to reply to such "foolish charges." "We were not happy and I did what I thought was right by offering a generous settlement. She wouldn't take it. I'm not going to fight the case."
Chaplin's lawyer, Arthur Wright, warned that his wife could attach all his assets and might claim a share of company property. "The Kid," his most ambitious film up to that time, was on the verge of completion. At this point Chaplin's finances were in a depleted state. His Liberty Loan tour, domestic troubles, and other interruptions had slowed down his output. Payment of a judgment awarded to Essanay for alleged breach of contract, government taxes, and his three-hundred-thousand-dollar investment in "The Kid" had left his bank balance marginal.
One night Chaplin woke Kono and announced that they had to get "The Kid" out of the state. With the negative stuffed in an old suitcase they hurriedly drove by back roads and through desert heat to Salt Lake City, Utah. The laws of this state secured them from legal pro