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Act III · Chicago

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Act three of Chicago by Maureen Watkins. This is a LibriVox recording. All
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LibriVox recordings are in the public domain. For more information or to volunteer,
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please visit LibriVox dot org. Act three, Scene one, seven weeks later,
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a morning in June, the prisoner's room before court opens. A small
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room, dingy and bare, with great high brown walls that are beginning to
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scale off. A door at the right leads to the bridge of size,
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A window at the left looks upon air shaft and gray brick wall, and
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a center door opens into a small vestibule, through which may be seen two
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other doors, one directly opposite leading to the jury room, and one at
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the right to the court room. A long, bare table, half a
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dozen straight chairs, and a bleary mirror constitute the furnishings. Flowers stacked on
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the table, dresses thrown over a chair in the corner, the makeup boxes
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open. It looks like the dressing room of a star. The prisoner's bailiff
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sits by the door, sleeping in tilted chair. Now and then it drops
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to the floor with a thud, but he quickly writes it and resumes his
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dream. Roxy sits in a chair at left of table, turned relatively as
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it will be the witness stand in the following scene. She wears a dress
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with meaning heavy white crape with surplus collar and bishop's sleeves. A nun would
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envy its chastity, white shoes and hose of perplexing nudity. Her feet are
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crossed carelessly, and one lily hand dangles a cigarette. Her eyes wide and
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innocent stare soulfully at the blank wall that represents the jury. Flynn paces up
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and down at the right, coaching from the sideline. My innocent, unborn
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babe, Throw your head back nobly, she does. That's right. Oh
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wait, don't look at the jury on that you forget them. Seek the
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eyes of your husband. He'll be over here. He's divorced me, cast
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me off. I've got that, all right, but still the father of
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my child. Flynn with deep emotion and the man you really love. Once
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the jury get that, and the fact he wants you back, why they'll
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fall all over themselves to play cupid and restore you to his arms. Roxy
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studies vanity case and adjusts makeup. All right, Where do we go from
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here? My innocent unborn babe, that's all. You finished your story,
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the plain, unvarnished statement of a simple, god fearing working girl. You've
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got it, got it. I could say it in my sleep. Then
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the cross examination, he'd better watch his step, that Harrison. If he
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calls me names like he did yesterday, you cry, I'll crown him.
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No, you won't. God, if that jury ever saw you in action,
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remember, no matter what he says or how mad he gets, you
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shrink and cower. Illustrates, She imitates and cry till the jury are ready
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to knock him down. Grins. They always lose when they bulldoze a woman.
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And if he says they didn't use physical violence to get those confessions,
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Roxy with alacrity, I'll hold my arm out for you to see the marks.
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Does so right? And when you answer him, I don't know.
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I don't remember Axe part for her weak frightened always to the jury with a
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little flutter, blinks his eyes appealingly. She imitates, especially that twenty minute
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egg in the corner. Roxy rises saunters to large mirror, say you don't
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have to tell me how to handle them babies. I ain't watched them three
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days for nothing. Darkly, I've done everything but give them my phone number.
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Flynn laughs coarsely. That'll come later. Beautiful work, Roxy with languid
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complaisance technique. I've got it. There's a quick knock at the door.
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Sunshine with an armful of flowers. Jake lounges on the threshold through the open
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door, a glimpse of the courtroom noise and confusion. Flynn joins Jake.
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Sunshine crosses to Roxy, good morning and how is she today? Gives her
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the flowers from the parent teachers. Roxy tremulous voice, lovely, it's kind
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friends like these. Overcome with emotion. Sunshine triumphantly and another baby carriage.
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Dear, that's five. Roxy involuntarily shutters, places flowers with others. Jake
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in doorway to Flynn. Biggest crowds in sloban Leopold, get ready to shut
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your stuff, Billy, voice of babe outside. Come on, Billy if
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you want in on this picture. Flynn goes. Roxy gives a slide across
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the room, but Jake bars her. That ain't your cue man. Only
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this time, sweetheart, I'll call you on the stage. Set closes door
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after him. Sunshine, who's been fluttering over letters and wires on table,
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any more proposals. Oh yes, a beautiful one from a New York million
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who wants to adopt me, and one from a widower in Colorado hands her
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the letter a chance to forget and a name for your fatherless child. Do
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you think you could ever? Roxy leans back, wan and pale. It's
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hard all alone, but shakes her head sadly. I can only laugh once
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her lip trembles on the verge of tears. Sunshine pats her hand, dear
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missus hart to Flynn, who returns. Isn't it wonderful the way she bears
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up? Flynn gravely? We must let her rest now a terrible strain,
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you understand, Sunshine nods and goes. Roxy revives, and Flynn takes papers
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from briefcase and runs through them. Better go on with my plea before the
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judge gets here. Let's see where were we? Roxy resumes seat that represents
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the witness stand. Flynn sits at the table across from her. You told
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how they rushed in that night and found me in my kimona. Hmm.
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Got to cut this sum. If we finished today today to the jury by
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eight and a verdict of I ten, that'll catch the home. But maybe
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Harrison. We've just agreed three hours for him and three for me. But
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me, Oh, it won't take long for you. Roxy softly, as
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her eyes narrow, Flynn writing does not see. I hope not sigh,
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pause, burst of confidence. But I'm so worried. Nonsense when they hear
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my speech. But mister Flynn, this dress, Flynn looks up, startled
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dress. If you finished tonight, I can't walk out of You're all in
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white nonsense. If I only had a coat. You've been so particular about
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my clothes. I don't give a damn if you wear gunnysack. After the
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verdict, I wish I could feel that way. Oh, dear, I
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hope I can keep my mind on his questions. You will, all right
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now snap into this, he will ask, And I do. Hope I
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don't get tangled up and forget. There's so much to remember. That would
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be awful. Wouldn't it all on account of a silly old coat or a
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cape? Maybe that wouldn't cost over a hundred dollars. Flynn stares in exasperation
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than dawning comprehension, reaches for his purse and counts out the money. You've
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learned a great deal in three months. My dear Roxy puts money in envelope
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with note thank you, dear mister. Flynn gives envelope to bailiff. Miss
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Sunshine, please he goes. She drops the languid pose and earns to Flynn
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with a hearty grin at a boy, let's go. Flynn returns to Brief.
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He'll ask you why you didn't tell them the story you told this morning.
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Yeah, I've wondered about that too. You droop your head. Let
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us think when and to whom did you finally reveal the dearest secret of a
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woman's heart only after long gray days in jail, when her soul cried out
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for sympathy. Then I'll point to marry Sunshine to a woman and the state's
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attorney wonders why she didn't confide in him? And you look modest, still
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drooping, Flynn nods mm hmm. They threatened and tortured and were successful in
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tearing from her the confession of her weakness. What do I do? Lynn
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waves for silence, the frailty that is woman in loving too well, but
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she kept locked within the sanctuary of her heart. Roxy, on her own
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initiative, tries to follow with effective pantomime, the sacred secret of her coming
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motherhood looks up and catches her in ludicrous pose. What the hell, Roxy,
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with dignity, I'm only trying to do what you say, Flynn grimly.
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We're not playing charades. Droop. That's all you do? Droop.
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Then I turned towards you. I'm thankful, I'm glad. I'm proud that
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you did. Roxy heart. Roxy lifts head expectantly. Then what do I
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do? Flynn glares at her. What do you want to do? Turn
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a cartwheel? Roxy rebelliously looks kind of dumb just to sit there. I'll
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take care of that, you droop, and that's all. She tosses her
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head, unconvinced as he skims down the page. Hm sorry sorry, hm.
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Ah, here we are. If sorrow could avail Fred Caseley would be
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here now, for she'd give her life and gladly to bring the dead man
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back. You nod, she does raptly. But we can't do that,
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gentleman. You may take her life, as the state asks, but it
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won't bring Caseley back. That's always news to him. Now now ah,
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here's where you start to cry. Covers his face completely with his hands in
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demonstration, Roxy sarcastically, why don't you get me a mask? Softly,
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very softly? Orchestral gesture? And for what purpose? To protect society?
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Do you fear that weeping girl meets Roxy's glare of cold suspicion? Weep,
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you fool? Can't you see how damn silly Roxy hastily takes handkerchief? Oh
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yes, I was so interested. I forgot weep for her reformation, long
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speech ending we can't give her happiness. You lift your head and listen to
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a mist of tears. She does. No, it is too late for
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that, betrayed, crushed. We can let her pick up the broken fragments
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of life, the tangled threads quiver your lip. We can give her another
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chance. And that's all for you, Oh for me. What's the rest
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of it about Flynn with satisfaction, Harrison? What's he got to do with
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it? I'll show it ain't just as he wants, but conviction, for
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that means promotion. And how long will that take? Flynn careless? Oh
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an hour or so, Roxy aghast an hour or so talking about him?
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What's the big idea? Why it gets their minds off of you? Oh?
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It does? Does it? And It gets them thinking what a dirty
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crook he is? Say, whose trial is this mine? Or Harrison's?
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Flynn chuckles as he takes a cigar his before I get through, And don't
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I crucify him. Roxy drums her fingers ominously on the table, seething,
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And where do I come in? What do I do? Flynn roaring?
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My god? Is this a circus? Sit still? That's what you do,
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and look downcast and sad, far off, not at the jewelry,
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or burrow your head and your arms on the table. Roxy bangs her hand
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down on the table, like, hell I do. HiT's me they want
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to see, not you hopping around like a little fat monkey, Flynn Purple.
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It's my speech that brings them. Dear God, they've had enough of
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your damned face, and it's my speech that'll save your neck significantly if it's
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saved. They stand glaring at each other, and Roxy yields sulkily. All
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right, go ahead and talk then, but not about Harrison. Say I'm
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running this and I'm paying for it, and in advance, remember that,
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so don't get cute, or I'll throw the whole damn thing over walk out
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on you. Roxy throws chair to one side and starts after him. You
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goddamned old crook, Shut up, you dirty little The door opens to admit
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Sunshine and Jake and the bailiff his honest here Billy to Roxy, Come on,
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Cinderella. The stage is set. There's an instant transformation. Flynn gathers
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up his briefcase and hands Roxy a bunch of lilies of the valley from the
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table, and she adjusts her expression to wistful innocence as she goes slowly to
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the door. Flynn in admiration and solemn tribute a brave little woman. He
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follows immediately after her, then the Bailiff, then Sunshine and Jake, making
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a regular procession as curtain falls and lights dim out to denote the passage of
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an hour or so. Scene two afternoon, same day, Judge Canton's Court,
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Criminal Court Building, Chicago. The bench with its high pulpit stand is
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at the center rear the witness box and jury seats at the left. The
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clerk's desk with phone and records in the enclosure at the right. There is
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a long table left of center with chairs for the accused and bailiff, counsel
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for the defense, attorney and runner for the state. A high rail with
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center passageway shuts off the common herd of listeners and furnishes a comfortable back for
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the pews of the privileged few. The semicircle at the right for relatives of
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the exhibiting attorneys, visiting lawyers, politicians, and oh yes, relatives of
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the deceased. That on the left with its narrow slanting table for the representatives
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of the press. Windows on the right look out toward Clark Street. Adore
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at the left extreme front leads to the jury room and bullpen for the accused.
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Another rear extreme right to the judge's chamber. Court is in session.
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His honor, a closely shaven gentleman in the interesting forties, is on the
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bench, and his bailiff, a grizzled old chap stands gavel in hand,
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just inside the rail of the inner sanctum, where the clerk hugs the Bible
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well worn on the outside at least the jury A dozen of assorted sizes,
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with a preponderance of the middle aged fatherly type, are in the box.
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The court reporter, a near sighted dormouse, scribbles on and on. Mister
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Harrison, resplendent in a new suit, mister Flynn comfortable in an old one,
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the accused and a sleepy bailiff all around the table, a half dozen
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reporters in pres seats, cameraman in the sanctum at his honor's right so they
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can have full shot at the jury witness and accused. Cameraman just back of
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his honor for a full shot at the auditor's council and accused cameraman just inside
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the outer rail for a close up of witness and questioning a turney, and
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then just beyond the rail in the wide passageway between general auditors and court proper
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moviemen from a newsweekly, real movie cameras that grind and grind and cleague lights
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with their eerie glare. At present, however, they are not in action,
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and the court is slightly relaxed. Amos is on the stand and the
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assistant State's Attorney is reading to him from a long typewritten paper. There's a
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fatuous smile on his face, his eyes wander over the audience, and he
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speaks slowly, eager to prolong the occasion. Mister Flynn, whose chair faces
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jury and press, but is carefully out of the judge's vision, is working
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hard. He listens with care to each word of his worthy opponent, ready
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to register broadly the proper emotion Amazement at his audacity, anger, anger barely
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restived, drained from physical violence, at the knavery of the fellow, disgusted
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his chicanery, amusement at his stupidity, And through them all a jolly camaraderie
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with the jury, a knowing look, a shake of the head, a
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smile. They are not to be taken in. He knows that, ready
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also to spring up in objection. The judge and jury may be listening to
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mister Harrison. They certainly hear his thundering tones. But they rest their eyes,
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maybe feast their eyes on a fairer object, than a dapper States attorney
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or the gangling young man in green. You have guessed it, gentle reader,
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roxy, And who can blame them for? The courtroom is hot and
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crowded, and she wears that dress with meaning. Her hair, soft and
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shining, is an ariel in the sunlight. Her cheeks are a petal pink,
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her parted lips arose. He is working hard, too, tilted forward
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on the edge of her chair, white hands clasped to her breast, Harrison
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reads from typewritten paper. Question by Sergeant Murdoch, what happened next? Answer
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by Roxy Heart He casey started for his hat and coat but didn't get that
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far. Question by Sergent Murdoch, why not? Answer by roxy Heart rings
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out brutally because by God I shot him. There is a startled silence,
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and Harrison pauses. The jury sits up sharply and looks shocked. Roxy is
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astounded and turns to Flynn, who half rises in involuntary anger, then sits
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back and pats her arm comfortably. Perfect teamwork. Harrison reads, signed April
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the third. Roxy Heart hands paper to Amos. Do you recognize the signature?
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Amos studies it carefully. I guess so beams at crowd tell the jury.
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Amos leans back and tweaks suspenders. Lady, who used to be my
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wife? Exactly? And weren't you at the police station when your wife smiles
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pleasantly your ex wife made this confession? Amos drawls, well, now,
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I don't know as i'd want to go so far as to say. Harrison
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paces nervously, yes or no? Didn't you hear us say those very words?
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And answer to Sergeant Murdock's questions some of them. Yes, Harrison flings
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paper down in exasperation. What's your purpose in testifying? What are you springs
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up? Your honor? I object the States trying to discredit its own witness.
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Harrison hurls at Amos, why did you come to me? And Flynn
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excitedly, your honor. The sole purpose of this questioning is to cast reflection
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upon the witness. Judge in a bored tone, so stained Harrison stands a
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moment, nonplussed, then turns on his heel in disgust. Take the witness.
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Flynn nods pleasantly to Amos. You are at present divorced from the defendant?
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Yes, sir, who obtained this divorce? I did? When did
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you fall suit? Be the fourth? Was there any particular reason, mister
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Hart, for your filing suit on this exact day? Well, sir,
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the papers came out the day before with the story of flounders at the State.
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Meant that she was that there was gonna be a little stranger. Flynn
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smiles broadly. No, mister Hard, is that grounds for divorce? Amos
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wisely little too much of a stranger? Likewise gets a smile. You mean
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by that you doubted the paternity of your child. Smiles again, I mean
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the child, Yes, Sir, warms up and you can see how that
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made me look like I was easy, Flynn smiling. And they can't put
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anything over on you, can they? I'll say they can't. Had your
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wife apprised you of her condition prior to said announcement? Has that? Had
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your wife told you about this stranger? Amos promptly, no, sir,
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neither one of them. So is gonna pursue this line of inquiry further,
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Yourana. Don't you think it would be advisable to exclude women from the room.
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Reporters sit up animatedly and take down every word Judge with slow smile.
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If any lady wishes to leave, she may do so. Now, Roxy
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starts up with alacrity, and he adds with another smile, except the defendant.
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Flynn looks around at the crowd and calls out genially, that's right.
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Stick to me, girls to Amos, did you question her after you read
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it? Talk it over with her? No, Flynn suddenly flames. Josh
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took the word of a reporter, believed a vile story you read in some
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yellow paper, Urana, I object irrelevant and immaterial. Paternity and divorce have
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nothing to do with the murder of Fred Casey. Roxy hot Flynn wheels toward
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him. Paternity and divorce were introduced by you to besmirch the name of that
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defenseless girl. Roxy drops her head modestly, your honor, I'm merely cross
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examining on direct judge very bored. Proceed Flynn in lighter tone. And now,
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mister Hart, do you expect the jury to believe that? With all
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due respect to the press, wave and bow toward them. Jake gives a
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grin and salute in response, our courts would grant you a divorce merely on
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a newspaper story. No, Sarah, I had a statement that she'd made
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and signed herself, all about how she in this and where did you get
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this statement? Amos looks blandly toward Harrison, who frowns from the State Attorney's
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office. Flynn nods comprehended. Ah, so the state's attorney's office gave you
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a statement that enabled you to get a divorce. Did it that enabled you
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to cast aside the woman you had sworn to love and cherish for better or
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worse? Roxy wipes her eyes carefully, And what mister Hart, did you
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give the States Attorney? Harrison springs up hotly, Your honor, this is
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still much to Flynn. Withdraw that. Withdraw that you gentlemen, gentlemen with
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reproachful glance toward Flynn. Council should be more discreet. All right, your
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honor, I withdraw the question pause as unnecessary to Amos. You obtained your
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divorce then because you doubted the legitimacy of this offspring. Yes, sir,
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I'm nobody's fool. I'm not. And if you became convinced you were wrong,
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had been hasty, you'd be mad enough to admit it, wouldn't you,
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Yes, sir, you'd be willing, in fact, to take her
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back. Amos his eyes meet roxies Yes, I'd take her back, provided,
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of course, excused, halts Amos as he starts to leave, or
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one word more, I just answer where you are? Can you swear you
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are not the father of this child? Well, no, not exactly.
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Come here they go to Judge. Reporters spring up and cluster about bench hushed
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conference, while Amos shakes his head first yes, then no, then yes
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to Judge's questions. Amos swings off, I hate as dumb as I look
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Harrison curtly. The state rests. The clerk calls in loud voice. Roxy
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Heart, a movie man, converses with the judge hurriedly while cameras are adjusted.
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She takes the stand cleag lights flood the room with uncanny glares. The
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judge straitens and looks judicial. The lawyers turn careful profiles to the camera and
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the jury for this moment, look their sacred responsibility. Clerk holds up Bible,
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blah blah blah blah blah blah blah, truth, truth, truth,
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self, your God. Roxy so bravely for all her fright I do.
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She is excited, She is thrilled. The crowds, the lights, the
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noise all for her. She takes to it like a duck to water.
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Flynn takes his stand at her right. He doesn't want to cheat the camera.
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They must have at least a profile, preferably three quarters. What is
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your name? He is looking at the jury, but it is intent on
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the camera and does not answer. Roxy lifts eyes heavenward, Roxy Heart.
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Flynn flings his arm out with a magnificence that is alarming. The camera can't
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hear words. Where do you live? Missus hart Roxy closes her eyes with
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vampire passion and clasps one hand to her heart. Cook County Jail Flynn a
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terrific impact of fist in palm and the famous Billy Flynn's scowl. How old
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are you? Twenty three chokes the three so lip readers will not see,
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and wipes a tear from her eyes. The camera has all at once for
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a while, lights are gone, the grinding stops, and there's a general
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realize vexation from the terrific strain. Let's see where were we? Oh?
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Yes, were you acquainted with Fred M. Caseley the deceased? Yes,
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sir. Note from now on she's very much the plain, simple, honest
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and god fearing working girl. When did you first meet him? Ten minutes
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after five September the eighth. Like all good witnesses, she has mastered the
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mnemonic system recommended by mister A of Seattle. Where did this meeting transpire in
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the vestibule of the Waverley Company, eighteen sixty one South Michigan Boulevard, Chicago,
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Illinois. Relate to the jury, What conversation, if any, took
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place between you on this date? It was raining and I was standing there
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with my girlfriend looking out for we didn't have an umbrella, and mister Caseley
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came by and said it's a fine day for ducks and we both said yes,
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both of you, Roxy, after conscientious thought, yes, sir,
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both of us. And he said he had an umbrella and would we care
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to walk to the car car street car and we said yes, forestalling his
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question, she said yes and we started out, and before we got to
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the corner he said his auto was there and he'd take us home. Well,
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you know how crowded a cottage grove car is at five point thirty on
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a rainy day when it gets to eighteenth Street, And we said yes,
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and he did her first. Then me, how did mister Caseley conduct himself
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during this drive? Roxy looks puzzled, unusually friendly in any way, No,
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sir, when was the next time you saw him? The following Tuesday
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it rained again and he took us home, both of you, Yes,
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sir, both of us, And the next time Thursday, and then Friday.
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Apologetically we had a kind of wet spell along then, you remember,
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and was your friend with you each time? Oh? Yes, sir,
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did you ever see mister Caseley on any other occasions, Yes, sir,
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where Roxy innocently, Why at the office, Flynn, impatient at her dulness.
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Socially, I mean, did he ever take you places? Roxy falters
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slightly, Yes, sir. Do you recall the first place you went with
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him? Yes, sir, the Policeman's Benefit Ball. She looks reproachfully at
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officers Murdoch and Patterson, who are trying to hang her. They twist uncomfortable.
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Oh when was that Christmas Eve? Relate to the jury. What conversation,
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if any, you had in regard to this ball? Well, one
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evening, I'll jet your honor time and place. Can you fix the time
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and place? Roxy promptly five eighteen Tuesday, October the seventh, going south
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on Michigan Boulevard. And he said he had a couple of tickets to the
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ball, which was to be at the Colisseum and a very swell affair,
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and he had been aiming to take his sister and she couldn't go, And
33:30
would I care to? And if I did and had nobody to go with,
33:35
why he'd take me? Flynn leans forward. Did you know at this
33:39
time, missus Hart, that he was married? Roxy shocked. Oh no,
33:46
sir, Oh, no, mister Flynn. Flynn with sad reproach,
33:52
But you were married, Roxy, Roxy drops her head. Yes, sir,
33:59
you believe in the sacredness of the marriage tie, don't you, your
34:02
honor I object what the witness believes is immaterial. You know the marriage tie
34:09
is sacred, don't you, Roxy reverently, Yes, sir, That's what
34:15
I told him all along. Flynn in feigned surprise. Oh so he had
34:22
asked you before? Oh, yes, sir, from the very start.
34:25
Will you tell us then, just why you made an exception for the policeman's
34:30
ball, Roxy in low tone. I don't know. So many things happen,
34:37
and you don't know why, looks far away and gives a long sigh.
34:43
But I wouldn't have. I'm sure I wouldn't have if my if Amos's
34:49
lips tremble and delicate pause. Mister Hart hadn't quarreled that morning, Flynn,
34:57
again surprised. Oh did you and your mister Hart quarrel? Roxy drops her
35:06
head, life crushed within her, hope beaten out, Yes, sir,
35:12
and who was to blame? Roxy flat, weary tone. I was,
35:19
I guess. Seems like I couldn't stop pestering him, pestering him, or
35:24
what about? Roxy flings her head back and a rich tone breaks through.
35:31
Because I wanted a home. I didn't want to work. He was makin
35:36
his forty a week, and I wanted a real home with children. Her
35:42
head droops again. The jury wipes its eyes. Flynn decides to forgive her,
35:47
and his tone is gentle. I see so conditions in your home caused
35:54
you to yarana. I object to counsel's drawing conclusion, says Flynn, blandly
36:01
strike it out, And so you drifted on and on in this relation.
36:07
Unhappy? Oh, most unhappy? Why were you unhappy? Because I was
36:14
deceiving my husband and because I Fainter was doing wrong. Why didn't you stop?
36:22
I did want to. I tried to, but he'd plead mister Casey
36:28
and say he couldn't live without me. Flynn to court reporter states Exhibit D,
36:36
hands paper to Roxy and pauses a moment. Then his tone is cold.
36:40
The subject is distasteful to him, and he has discussed for a man
36:45
who would drag such matters into a courtroom. In this you admit illicit relations
36:51
with the deceased. She is in an agony of shame. Is this statement
36:57
true or false? Roxy, in a low tone. It's true. She
37:04
will not lie. You can feel that she will not lie. You have
37:09
heard other statements read to the jury alleged to be made by you. To
37:15
Officer Murdoch, I hand you states Exhibits E and F. Are these true
37:22
or false? Roxy, energetically false? Do you accuse the state of changing
37:30
now your ah rephrase your question? Uh, describe your state of mind at
37:37
the time of the confession. Oh, I was all upset, frightened,
37:42
worried, cry and laughing. Do you think it might be called hysterical?
37:47
Yes, sir, that's it hysterical. Flynn pauses a moment, then speaks
37:52
in deep, solemn tone. Roxy, heart, The state charges you with
37:58
the murder of Fred Casey. Guilty or not guilty? Roxy speaks first to
38:04
judge, then to jury. Not guilty, Oh, not guilty. I
38:10
I killed him, yes, but not not the other Flynn quietly. Do
38:17
you remember Friday, April the third, Roxy, low, steady tone.
38:23
I do tell the jury now, in your own way, the happenings of
38:29
that day from five o'clock on. Take your time and speak clearly. Roxy
38:35
turns to face the jury, directly. They perk up with interest. I
38:39
left work as usual at five, took the cottage grove car, stopped at
38:45
the A and p for some baking powder for biscuits for breakfast the next morning.
38:49
He was always so fond of my biscuits. Yes, yes, sympathetically.
38:55
And what time was this? About? Twenty yeah six? And I
39:01
was just getting into a house dress when the doorbell rang. I thought it
39:06
was Irma, my girlfriend, and so I slipped into a sorta kimona and
39:10
went to the door. Yes, and who was there? It was mister
39:15
Casey who spoke first he did. Do you remember what he said? Yes,
39:22
sir, hello, Roxy, I had to see you just once more.
39:27
What did he mean by that? I had written him a note telling
39:30
him it was all over and that we must quit, for it could never
39:35
end in happiness. What brought you to this decision? I had learned he
39:39
was married, and I realized I loved to my husband and perhaps we could
39:45
be happy. And did he go away? As you asked him? To
39:49
Harrison shouting object to counsels feeding the witness, I beg your pardon, and
39:57
what did you say? I begged him to go away and tried to close
40:00
the door, but he forced his way in. I told him to wait
40:05
in the living room while I dressed. It's hard for her to go on,
40:09
but he followed me into the bedroom. Yes, and then asks each
40:15
question with an air of triumph. I begged him to go, told him
40:21
the neighbors would see him, that my husband would soon be home. And
40:24
what did he say? He'd been drinking and wouldn't listen. Finally, he
40:30
said, if I'd just take one drink with him, he'd go. And
40:34
I did. What was the liquor? What kind was it? Roxy ingenuously,
40:39
I don't know. It was in a bottle and tasted very bad.
40:45
Flynn smiles. Bad liquor or just tasted bad to you? Roxy? Seriously?
40:52
Yes, sir, Flynn nods triumphantly. Why didn't you scream? I
40:58
was ashamed for the neighbors to know. Oh you know how you'd feel her
41:02
eyes meet the butcher's and he nods. And I'd kept telling him what I'd
41:07
said in the letter, that no good would come of it, that I
41:12
loved my husband. Oh, you told him that you loved your husband.
41:16
And what did he say to that? It made him mad? And he
41:21
said it didn't matter. I was his, and he kept trying to take
41:25
me in his arms. Looks appealingly at Flynn and hesitates, Yes, Roxy,
41:31
you must tell the jury everything. The reporters sit up alert. They
41:37
have a right to know. The jury looks as if it's not only a
41:42
duty but a pleasure. Roxy faint and finally I told him my delicate condition,
41:52
the moment for which they have waited. And what did he say to
41:55
that? He swore, looks shocked and said that he'd kill me before he'd
42:01
see another man's child. The reporters lick it up. Where were you at
42:07
this time? By the victrola show the jury. She scrambles to the diagram
42:13
hanging on the wall and casey here indicates bed Flynn impressively as he hands her
42:21
back to the witness chair with all the tenderness jew a mother to be.
42:25
Now, Roxy, tell the jury just what happened next. The pillows were
42:30
thrown back and mister Hart's revolver was laying there. He grabbed I knocked it
42:37
from his hand. It fell to the floor and he whirled me aside back
42:42
by the dresser. Now and we both grabbed for the gun. I reached
42:46
it first, and he started toward me. I can see him now with
42:51
that awful look in his eyes. What kind of look? Describe it to
42:55
the jury. I can't describe it, but look angry wild, Flynn purs
43:05
Were you afraid? Did you think he meant to kill you? Roxy shudders,
43:10
Oh, yes, sir, I knew if he once reached the gun.
43:15
Flynn purs more deeply. It was his life then or yours? Yes,
43:21
sir, faintly as she lifts her eyes and not just mine, pause,
43:28
then continues dramatic narrative, coming right toward me with that awful look,
43:34
that wild look. I closed my eyes and barely whispers shot in defense of
43:43
your life. Roxy lifts her head nobly to save my husband's innocent, unborn
43:51
child. Flynn, with a wave of hand to Harrison, take the witness
43:57
black for an instant to denote the past of several hours. It is late
44:01
that afternoon and Flynn is making his closing plea. He stands before the jury.
44:08
This is the hour he earns the five thousand and Billy Sunday himself never
44:14
worked harder with muscle as well as brain, minus coat and collar. With
44:19
perspiration standing in great beads on his forehead. He's fighting gentlemen, fighting with
44:25
every drop of his blood for the life of that brave little woman. The
44:31
jury, hypnotized, enthralled, hangs on each word and follows every gesture.
44:38
The press watch benignly. They know his whole bag of tricks, but Billy's
44:44
always worth watching. Even the judge listens and Roxy. This scene is really
44:52
the close of an hour's duel between Roxy and Flynn. When the curtain goes
44:57
up, honors are even, and she is faithfully registering the emotions outlined for
45:02
her in rehearsal. Gradually, however, she extends her field deeper emotion,
45:09
gesture, writhing. She works for her audience, The jury and they fascinated,
45:17
are torn between her contortions and the fervid orator Flynn, who feels them
45:23
slipping, turns when his speech permits and tries to stop her with furtive gesture.
45:30
Of course, she is oblivious, and he is forced to redouble his
45:34
own efforts louder tone, wilder manner to drown her out, until toward the
45:40
end you have them both playing in grand crescendo, Flynn in low dramatic tone.
45:49
Can't you see her that night, alone, alone with only God and
45:54
that body. Pause. You and I have never killed. Gentlemen. We
46:01
do not know the agony of that hour. We can only guess the mad
46:06
regret, the bitter reproach, the torture, the hell. He grinds it
46:12
out like a minister. She lived through. Then the soul's catessamine alone.
46:20
Roxy droops in the approved manner. The jury gives her a glance of sympathy.
46:25
Then is back with Flynn and into this sacred room rush the police.
46:30
He snarls an imitation of Murdoch and grasps an imaginary arm. Roxy studies her
46:38
wrist. Why did you kill him? Come on now, you'd better tell
46:43
threats physical violence and the worthy State's attorney sarcasm with his kindness, his promises,
46:52
imitates Harrison with a husky whisper. Come clean and I'll help you.
46:58
Come clean and I'll get you off. Roxy follows, nodding eagerly with a
47:04
look of reproach at Harrison. Frightened, hysterical, the girl breaks down.
47:09
She does confess. Dazed and bewildered, she says yes to whatever they ask
47:15
her. Take statement from court stenographer. Do you believe, gentlemen, that's
47:22
a word for word confession he read you. Of course, not no human
47:29
being could have made such a deliberate, coherent statement, certainly not this delicate,
47:34
frightened girl. No, there was a careful selection. A bit here
47:40
lifts out morsels from the air. Ah bit there an addition, deletion,
47:47
anything to build up his case. He's hoarsely confidential. He's got to bring
47:53
home a conviction or lose his job. All eyes are turned in scorn toward
48:00
Harrison, who SLINKs down with eyes downcast. And then he read it to
48:06
you. Malicious twist of meaning reads as Harrison read in former scene. But
48:13
he didn't get that far. Questioned why not answer? Because by god,
48:20
I shot him. That's the way he read it to you, ain't it?
48:23
Jury looks grieved. It's true. He flings the paper on table.
48:29
He would have you believe, gentlemen, that child sitting there. Roxy lifts
48:36
her head the picture of girlish innocence swore. He is shocked, as the
48:43
jury was that morning. Those were her words. Yes, but ah,
48:47
what a different meaning. This beast, this drunken brute who had forced his
48:53
way into her home. And remember, gentlemen, if she had shot him
48:58
down, then the law would have upheld her, was coming toward her,
49:02
threatening her life. Breaks off and resumes in melancholy tone. What was the
49:08
future to her? Crushed, betrayed, broken hearted, nothing less than nothing
49:17
but the little life that fluttered beneath her heart. Taps his fountain pen pocket
49:23
Ah. Mother, love stirred within her, and those words were a tribute
49:29
to her omnipotent maker, who stood by her in her hour of need.
49:34
He brings it out with ministerial reverence. Roxy's gaze is directed heavenward, and
49:40
her hands clasped to her heart in prayer. By God, I shot him.
49:46
Jerry looks relieved, effective pause while little Eva does her stuff. He
49:52
goes on quietly. I'm sorry she loved as she did. I'm sorry this
49:58
monster preyed on her innocence. I wish he had never entered that happy little
50:02
home. If sorrow could avail, he warms up. Fred Casey would be
50:08
here now, for she'd give her life and gladly to bring the dead man
50:13
back. Roxy nods in ecstatic confirmation and begins enthusiastic pantomime. But we can't
50:20
do that, gentleman, melancholy. You may take her life as a state,
50:24
asks but it won't bring Caseley back, gives Roxy a fixed look.
50:30
She recalls her cue and starts moaning and sobbing. And for what purpose?
50:36
To protect society? His voice rings out, Do you fear that weeping girl?
50:44
Finger darts to the tailor, Do you to the hard boiled egg in
50:47
the corner? Do you? They don't? He continues, for her reformation.
50:55
She learned her lesson gentlemen in that dark hour alone. For punishment,
51:01
My god, she's punished enough. No, none of these, but to
51:07
satisfy the greedy ambition of the prosecution. Prosecution, no, persecution. You
51:14
are asked for a life, gentlemen. He turns in exasperation at the loudness
51:20
of Roxy's wails and gives her a signal for quiet, which she sublimely ignores.
51:25
He raises his voice to a shriek in the effort to drown her.
51:30
My one who would climb to fame on dead bodies? Pause, filled with
51:35
her sobs, almost howls. We can't give her happiness. The jury is
51:40
with her. No, it is too late for that betrayed, crushed.
51:47
We can only let her pick up the broken fragments of life, the tangled
51:52
threads she is supposed to quiver her lip, but instead she rises staggers toward
51:59
the jury with outstretched hands. We can give her another chance. She tatters,
52:05
gives a wild shriek, and falls in a dead faint by his side.
52:10
Grand confusion, and she's carried out. He turns to judge, will
52:16
rest your honor. You may give the case to the jury. Black for
52:22
an instant to denote the passage of three or four hours. Courtroom ten o'clock
52:28
that night, gloomy and dull, with doors closed and the press awaiting verdict.
52:35
Amos strides in passageway. Jake stands at vestibule door half ajar disclosing bailiff
52:42
with ear to keyhole of jury room. Men and women reporters lounge in press
52:47
seats. A poker game has just finished among cameramen at clerk's desk, and
52:52
Babe is giving imitation of Flynn for photographers and the lawyer himself, who watches
52:59
from Jeff doorway. Babe stretches forth hands and exaggerates Flynn's manner, and then
53:07
kerflop the prettiest faint I ever saw, and my camera not even set.
53:13
And they carried her out just like a stiff or hypnotized. You could have
53:17
stuck pins in her. God what a picture that would have made. And
53:22
this dirty bomb gives Flynn a shove. That was a real fate, boys,
53:28
un honest to God, tell it's a Sweeney rathe under your speech.
53:32
It ended my speech, all right. And her in there dancing the Charleston
53:37
with sudden inspiration. Make her do it again. Now we could get her
53:43
picture now. All they want now is the verdict. Good lord, I
53:46
wish suddenly I've got it. They fall to discussion. Flynn joins the reporters.
53:54
Jake returns from vestibule. Well, that threw the clan prohibitions, so
54:00
there ought to be one before long. What is it now? Ten to
54:04
two? The drummer says he knew a Jane like her once, and the
54:07
third guy from the end just pure cussinness. Flash bang, flash bang,
54:14
flash bang. Everyone stares in amazement. There's nothing to take pictures of.
54:17
The cameras are not set, just the flashlight rods. Hey there, what's
54:22
the big idea smoking them out? If that don't bring them As Gabriel's cue,
54:29
the judge appears at the door from his chambers and from the prisoner's room
54:32
left Roxy minus her dress peeps out. Listen, judge, can't we get
54:38
a few pictures now? It's getting late and if you want this with your
54:43
oatmeal, Babe yells to Roxy, come on, red, we're shooting them
54:49
now to judge, you and her and counsel and me here with the ring
54:54
and license. Now, if we just had the jury, couldn't you call
55:00
them out for a minute? Sure, then we be through. Judge in
55:04
alarm. No, that would be grounds for reversal. I'm sorry, but
55:10
all right. One of her in her lawyer's arms. Bailiff rushes in loud
55:15
whisper, they're coming, They're coming. Flynn hurries to prisoner's room to get
55:22
his fair charge. Babe grins Ha knew that'd bring him all scramble to appointed
55:29
places. The jury files in Roxy in exquisite orchid evening gown, enters on
55:36
Flynn's arm. Foreman gives judge envelope. There is an expectant hush after all,
55:43
you never know, you know, Judge reads, we the jury find
55:49
the defendant not guilty. Flash bang, flash bang. A shriek from Roxy,
55:54
cheers, confusion and general bedlam all around. She kisses the judge.
56:00
The stenographer and anybody else within reach. The jury climbs over the rail.
56:06
Pressed by her public, she mounts the council table, flings her arms out
56:10
in a carefully set speech delivered in her best artificial manner, while the cameramen
56:17
go on with their pictures and the cleague lights take up their glare. Dear
56:22
friends, kind friends who have stood by me in the dark hours of the
56:28
past, His honor, mister Flynn, mister Callahan. Jake by the outer
56:35
door gives a look of disgust. Mary Sunshine and all you guys on the
56:39
jury. You've been so kind to me, so so encouraging, that I'm
56:45
gonna do something for you. Bang bang bang. Three pistol shots from the
56:52
corridor outside, then a woman's shriek. All stand poised a moment intense silence.
57:00
Hell Sunshine avidly another murder. A police swhistle outside as one man the
57:07
crowd flings around from Roxy and breaks for the door. Hey you come back
57:14
here, they go steadily on. Wait a minute, I want to tell
57:17
you something. No one even gives her a look. She bursts into old
57:23
time rage. You goddamn bums walking out on me when I want to make
57:28
a speech. Climbs down angrily and starts after them. It's important, it's
57:35
news, Flynn. Only he and Amos are left. Now forget it.
57:40
You're all washed up, Roxy hopping around like a hornet. I am not
57:45
washed up. I'm gonna be in vaudeville. I'm famous. What sure booked
57:52
solid for ten weeks. But the wedding, No wedding. It would ruin
57:58
my career. Put the takes from pocket and shows her platinum and diamonds.
58:05
This time, Roxy grabs it. I'll keep it to remember you by.
58:09
But the baby, Roxy, the baby, baby, My god, do
58:15
I look like an amateur? Babe dashes into his camera, all set for
58:21
action. Another case for you, Billy over his shoulder. It won't take
58:27
a minute, now, Captain. Just a little picture of the two slayers,
58:30
with you here between them. They enter, a police sergeant and a
58:35
weeping defiant girl, followed by cameramen and reporters who cluster about like flies,
58:42
mosquitoes buzzards. Jake to Billy, another Jane out for trigger practice, bumped
58:47
off the boyfriend, also his wife. Gee, hain't god good to the
58:52
papers. Roxy, in spasm of jealousy and envy, two of them oh
58:59
my god, come on here, it's a picture of you with machine Gunrosie
59:02
Roxy slides into position as she sees the cameras are set. The Chaslayer meets
59:08
the Cicero kid, shake hands, poses them, No, jerks her hand
59:15
away and flings arm up to cover her face. I don't want in the
59:19
papers. Jake jerks it down again. Come on, sister, you gotta
59:23
play ball. This is Chicago. The lights go on, the cameras grind,
59:30
flash bang curtain. End of Act three and of Chicago by Maureen Watkins