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A WOMAN OF PARIS 109
"If I don't get my salary at once," I assured him, "I won't work in the picture at all."
When I think of it now, my brassiness frightens me. There I was quibbling about a week's salary and my career was hanging in the balance. But Sutherland went to Chaplin and told him what I had said. According to Eddie, Chaplin called me some very unpleasant names but finally ordered a voucher sent through for my salary. Every week I went down and drew my pay check even though I was not called to start work until January 11.
In the meantime I was very busy with the tailors, getting together a wardrobe suitable for a Parisian millionaire. I had a new dress suit and a new dinner jacket made up, as well as an opera cape that cost me $250 and that I have never worn to this day.
In my first interview with Charlie he told me about a marvelous race-track scene that was to be in the picture. I had a gray cutaway made for this scene and ordered a gray top hat to match. Unfortunately the race-track scene was never shot. That beautiful gray cutaway hung in my closet unworn for months and months. But three years later, when I had become a star, I had a race-track scene written into one of my pictures just so I could wear that outfit.
On the day Chaplin hired me for A Woman of Paris he told me the plot of the picture. It sounded like such a trite bit of schmalz that I was not particularly impressed. But Chaplin swore me to secrecy. I must tell the story to no one, not even my wife— especially my wife. He was afraid that it would get around and that somebody might steal it. I never did tell anybody the plot, but I discovered later that Chaplin had told it to everyone. He not only told his friends the plot, but revealed every scene in detail as we shot it.
The story was this: A country boy and girl fall in love. Because of the girl's tyrannical father they decide to elope to Paris, but after the sudden death of the boy's father, he fails to meet his sweetheart at the railroad station. The girl thinks he has aban