Latest / Chicago / Chicago

Transcript

Chicago · Chicago

0:00
Prolog six fifty eight pm April. The third scene, bedroom of amos Hart
0:08
and others, a corner room, first floor in one of those cheap modern
0:13
flats on Chicago's South Side. There's an entrance with fountain and flowers, but
0:20
pine and beaver board within mission finish to the heavily pretentious woodwork, solid doors,
0:27
beams and molding, furniture red and glistening like a courtesan's polished nails,
0:35
flowered paper, gaudy rugs on the wide board floor, everything new and tawdry,
0:43
everything cheap and shiny. Two windows center rear look out on the court.
0:49
A door left opens into an adjoining room, and another right into a
0:55
narrow hall with a living room straight ahead and outside door unseen. Another door
1:02
left opens into a small closet filled ninety eight percent with feminine garments. Two
1:08
pairs of trousers and a coat are accorded one hook. In the corner between
1:15
the two windows with footboard. To the front is a large brass bed with
1:21
covers thrown back in confusion and pillows tossed together. At its head is a
1:27
night table with telephone, a stoutish bottle, and a couple of glasses.
1:33
Empty but not unsoiled, an ash tray and a box of cigarettes. At
1:38
the right is a large vanity dresser equipped with all the known weapons of a
1:45
fence and instruments of preservation, bottles and atomizers, jars of cream, powder,
1:52
rouge, perfumes, especially perfumes that fill the air with their heavy,
1:57
cloying odors. Silver embossed brushes and comb filled with hair, manicure, set
2:04
of imitation ivory eyebrow pencils and lipstick, and over it all a heavy film
2:12
of pinkish powder. Half closed drawers reveal shoes, intimate garments, peach and
2:19
pink crape, dishine with deep val lace, soiled hose, hats, and
2:23
gloves in endless confusion. To the left of the center window, between it
2:30
and the door to the hall is a victrola. There are records on the
2:35
floor, sorted to the player's choice. It is playing now heavy rhythmic jazz,
2:42
with the sinful insistence of the tom tom and the saxophone's wailing plea.
2:47
The man, a man perhaps of thirty, stands in the doorway, pulling
2:53
on his coat and turned to go. The woman, a girl of twenty
2:59
three three or so, stands by the foot of the bed, watching him,
3:04
and she steadies herself with one hand on the rail, steadies herself from
3:09
emotion, perhaps perhaps from the drink that left the empty bottle. She is
3:15
slender, beautifully slender, as you can see through the diaphanous, flashy neglige
3:21
of blue georgette, with its flounce of imitation lace and accordion plated ruffles.
3:28
And the face is beautiful too, with short upper lip, pouting mouth,
3:32
tip, tilted nose, wide dark eyes, skin of the finest texture,
3:38
and hair the color of flame. Turned now in profile, there's a hint
3:44
of a Raphael angel with a touch of Medusa roxy, a shrill, hysterical
3:52
voice that is vile in anger. You damned tight wad. Her voice is
3:59
lowered with hatred, like hell. You're through. One white arm flings around
4:04
to the dresser. One white hand searches the drawer and brings forth the latest
4:11
necessity of Milady's boudoir, a pearl handled thirty two revolver. Her voice stabs
4:17
with virulent rage, you goddamned blouse. She pulls the trigger, then stands
4:25
fixed. He sways, crumples, falls a soft thuddy fall outside the window.
4:31
Children are singing and playing under the swaying arc light, but within there
4:38
is a silence except for the tom tom's sensuous beat and the saxophone's last sad
4:45
wail. From the next room comes the cheerful, idiotic call of the cuckoo,
4:50
cuckoo, cuckoo, cuckoo. It is seven o'clock. The curtain falls
4:58
for an instant to denote the pass of three and one half hours, and
5:01
it rises again on the same room, with the dead man removed. The
5:06
table has been drawn out, and behind it sits Please, Sergeant Murdoch,
5:13
a heavy bluff fellow of fifty or so with ruddy face and heavy jowls.
5:18
In the middle of the floor sits Amos, an awkward creature of thirty five
5:24
or six with a low forehead, snub nose, and weak chin. He
5:30
wears a noble, melancholy air and enjoys the procedure thoroughly. His clothes bear
5:36
the odor of the shop, and his hands are marked with grease and grime.
5:43
A newspaper man, a rough and ready chap in the middle twenties,
5:46
with keen eyes and cynical smile, leans over the foot of the bed,
5:53
listening as the Sergeant dictates to Amos, who writes laboriously. Sergeant dictating voluntarily
6:01
and of my own free will, freely and gladly. Ain't he the cheerful
6:06
murderer? Though Amos quickly, I ain't murder shooting up burglar. Only last
6:14
week the jury thanked a man. Jake scoffing burglar. Huh, Amos excitedly,
6:23
Well, he was climbing right in that dear window. Sergeant impatiently,
6:29
Come on, sign, I ain't signing nothing, as he says, it's
6:33
a burglar. Say he ain't trying the case. Sign, Amos signs.
6:39
Officer takes and reads with satisfaction, and mind you don't say we beat you
6:45
up or showed you the goldfish or nothing. When you get on the witness
6:48
stand, Amos, with injured dignity. I'll not I keep myself up,
6:56
you know, dramatically crender dude myself to the law. Sergeant turns to reporter,
7:04
who has taken the telephone. That wipes that off the books. God,
7:09
how I hate having him hanging over unsolved. How's that for quick work,
7:14
gazette? He looks at his watch. The call came at nine point
7:17
thirty and in less than an hour. We've made the arrest and got a
7:21
signed confession. Jake at phone, debon, oh five hundred, right to
7:29
the sergeant, slick enough, all right at the phone City desk. Put
7:34
that in your story, and don't forget who'd done it, Sergeant Charles E.
7:39
Murdoch, And don't forget the e you know me, sergeant with a
7:45
grunt, I know your whole damn tribe. Jake at phone, Hello,
7:51
Tommy is the boss there? Well, give me a rewrite. Man Callahan
7:56
talking in an easy, drawling monotor still on the heart. Case, Yeah,
8:03
corner's just gone with the body. Sure he's dead, all right?
8:07
Casey's the name. C Ascly found a card in his pocket. Auto salesman
8:15
for Waverley eighteen sixty one, South, Michigan. Amos starts up, what's
8:20
that? Didn't show me no card? Shut up? Jake in the phone,
8:28
My check on that. Maybe there's a story there, pretty tame here
8:33
if he's telling the truth. But it sounds kind of fish to me how
8:37
it works at night? You see mechanic at Philip's Garage sixty seven oh one
8:41
Cottage Grove, Oh, A queer cuss with an andy gumpet on Abe,
8:46
Lincoln chases well. He gets home on the Laughter nine, finds his wife
8:52
asleep, gets a snack to eat, comes back to the bedroom and finds
8:56
this guy climbing in the window, grabs his gun and lets him have it.
9:01
Yeap, and they got a confessional right, came right across with it.
9:07
Yoah, either crazy or knows his Chicago amos complacently. I ain't as
9:15
dumb as I look. Hey, who got a confession? Oh yeah,
9:20
Dickie, get this right now. The call was enserd by Sardant Charles E.
9:24
Murdoch, doc K and policeman what's his name? Sargeant the gig outside
9:31
Patterson Michael Patterson Patterson of the Hyde Park station who made the rest and obtained
9:37
a sign confession in less than an hour. And Martinez Harrison is here from
9:41
the State's Attorney's office. He's talking to the wife and oh baby, she's
9:46
a red hot mama with an angel face. Were a runner in the picture
9:50
picture You've got the idea that you had better run into a stray news.
9:54
I am more dope, tame, true and cheap. Anyway you take it.
10:00
Sure, I'll ring him back when they gets here. Right song hangs
10:05
up receiver and turns to Murdoch. Say, think, boy, the photographer's
10:11
on his way here any minute now for a couple of flashes. We can
10:15
stick around until he gets here. You newspaper fellas think the whole police department
10:20
is a show run for your benefit, Jake grinning, Well, ain't it,
10:24
No, it ain't. I'm clearing up this here case because it's my
10:28
line of duty. Sure it means you're bredan butter slaps officer's knee, But
10:37
don't forget where the jam comes from A long time yell one of our men.
10:41
Ain't you Well, you've got to play ball. I am, ain't
10:45
I What do you want? See anyone here from the other papers? Chuckling,
10:50
they're holding the bag at the station. Assistant States Attorney Harrison comes in
10:56
from the next room. He is a tall young man of the student type,
11:01
with eager, nervous manner, now almost bursting with suppressed excitement, a
11:07
little near sighted, with tortoise shell glasses, aquiline nose, thin lips.
11:13
Well, well I've got him for you, mister Assistant State's Attorney, and
11:18
here's your confession, all sewed up, good, sergeant cheerfully not that it
11:24
amounts to a damn for he'll deny every word of it when he comes to
11:28
trial. Amos, with dignity, I won't. I shot him, and
11:35
I'm prepared to to wear a hero's medal. Harrison takes a seat facing Amos
11:41
and nods encouragingly. That's the way to talk now, and if you stick
11:46
to it, I'll help you try. Did you make a clean breast of
11:50
it? What's the matter trying to shoot holes in that confession? It's all
11:54
there, ain't it? In black and white? And he tells just how
11:58
he done it clears your books. But I want to know the motive.
12:03
Smiles pleasantly at Amos. If you don't look like a man, mister Hart,
12:09
who showed a fellow being done in cult blood, I didn't. I
12:13
was defending my home, just like I told you, found him clembing in
12:16
the window. A total stranger. Amos emphatically never saw him before in my
12:24
life. My god, Harrison, I covered all that, Harrison, ignoring
12:31
sergeant and your wife. Are you willing to swear that he was a total
12:35
stranger to her too? Yes, sir, all right? Suppose you add
12:41
that, dictates and Amos scrawls in the stenographer's notebook. To the best of
12:48
my knowledge, the deceased was also totally unknown to my wife, Roxy Heart.
13:00
Amos signs statement, Say what's the big idea? I trust you,
13:05
mister Hart, but not the attorney you'll see tomorrow. He turns to others
13:11
with satisfaction. They cannot spring the unridden lawn. Now say there's no one
13:18
written law in this. I'll say there isn't. You've sworn it away right
13:22
here. He opens the door and shoves Amos into the charge of the policeman
13:28
in the next room. Patterson to the sergeant stranger, Hell, why she's
13:37
been carried on with that guy for months? And admits it. Here he
13:43
taps paper in his pocket and the nastiest little statements any jury ever read.
13:50
He calls at door at left, missus Hart to the sergeant, she's talking
13:56
now, all right? Goes to the room at right with Amos, and
14:01
Roxy enters, disheveled, excited, with a look of furtive cunning in her
14:07
eyes, red from weeping, where's my husband? Sergeant with a glance at
14:13
her filmy costume, say you better get into some clothes, sister. What
14:18
for? He promised i'd go free. I ain't done nothing. Sergeant shakes
14:24
his head, shake a leg, kid clothes. She goes to the closet
14:30
and begins dressing. No one minds, especially Roxy. Well, well,
14:35
so you been cheating, ain't you ashamed? Now you're sweetie dead and your
14:39
husband held for murder. So you was right here all the time? And
14:43
what did you do while he filled him full of lead? Huh? Roxy,
14:48
with a little gasp of fear, begged him to stop. Fightin' they
14:54
was threw myself between them. The story picks up fightin' Roxy gaining confidence.
15:03
Sure jealous. You should have seen him mad about me, both of them,
15:09
perfectly mad. Where'd you meet him at the office where I work?
15:15
Sergeant to Jake, See that's what happens when a woman leaves the home.
15:20
To Roxy, what do you do? I'm a secretary, so you're a
15:24
stenographer? Humph, looking at statement. How long has this been going on?
15:31
Pause? All right? Speak up? The first time really was Christmas.
15:39
That's a nice way for a married woman to be carrying on, now,
15:43
ain't it? Plan? And to run off and marry him, Roxy
15:48
genuinely surprised. Marry him? Hell no, just a good time on the
15:54
side with goofy in there for a meal ticket? Meal ticket? Say he
16:00
couldn't buy my liquor? Did this guy know you was married? Or was
16:04
you fooling him too? Roxy comes out of closet in a poppy colored dress
16:10
and goes to dresser for makeup. So was he a wife and a kid?
16:15
Door at right opens. Amos flings in, wild eyed, with Harrison
16:22
following him. Harrison exultant, All right, here we are. We've got
16:27
it at last, missus hatt. Roxy flings herself about what amos in a
16:34
thick voice. So you've been stringing me? Harrison grabs Roxy's arm. Why
16:45
did you kill him? Roxy gives a frightened glance around, considers a dash.
16:51
It's a lie. I didn't damn you let go. She sinks her
16:56
teeth in his wrist. He flings her off with an oath, and she
17:02
sinks into a chair in hysterical rage. You said you'd stick, You said
17:07
you'd sure if he's a burglar? What you lie to me for? Roxy
17:15
grinds out through her teeth. God, damn you. So it was you,
17:22
Roxy rises hysterical, Yes it was me. I shot him, and
17:26
I'm damned glad I did. I'd do it again. Once is enough,
17:32
deary Roxy grinds her teeth in rage. Through done with me, I showed
17:40
him all right. If I don't have him, nobody does, crumples sobbing.
17:45
I'm sure glad I met you tonight, sweetheart, Tomorrow you'll sing another
17:49
tune. Here's my confession, the whole damn thing to do over again.
17:56
Shakes Roxy. Here, you get your rat together, to Harrison, We'll
18:03
get her at the station, but let's finish him, indicating amos now,
18:10
he takes Amos to adjoining room. Harrison starts to follow, but Roxy grasps
18:15
his arm as he passes her. Roxy chattering, oh God, God,
18:22
don't let him hang me. Don't why I'd die? You promised if I
18:30
signed that. Can't. Can't we fix this up? You and me fix
18:34
it up? You know, Harrison coldly, with virtuous glance toward Jake.
18:42
You don't frame anything with me. He shakes her off and goes into the
18:48
next room. Jake looks down for a moment at Roxy, who has burst
18:53
into hysterical sobs, then speaks in pretended surprise, crown out loud, Did
19:00
I ever and what's the matter with you? Matter half shrieking matter? Are
19:07
you crazy? Starts pacing up and down madly. Oh God, God,
19:15
can't you do something? Can't I get away? Can't I? Jake takes
19:21
her by shoulders and forces her back into chair. Keep your clothes on,
19:26
kid, Roxy weeping. They will hang me. I know they will.
19:33
I killed him? And what if you did? Ain't this Chicago and Gallon
19:37
Old Cook County never hang a woman yet. As a matter of fact,
19:41
gold A Statistics, it's forty seven to one. You'll go free, Roxy
19:48
eagerly as she starts packing her clothes in a suitcase. Free, How sure?
19:55
Why you're not even booked yet? But suppose they do? In the
19:59
corner's Jerry holds, and you'll send to jail. Roxy shrieking jail. Jail,
20:06
Oh God, say them, but dos and tears for the jury's sister.
20:11
For jail's the best beauty treatment in town. You take the rescue for
20:15
a couple of months at the county's expense, You lay off men and booze
20:18
till when you come to trial you look like Miss America. And that's when
20:22
the big show starts with you. For leading lady, it's one hundred to
20:26
one. They clear you. That's straight goods. But suppose, on our
20:30
chance does happen your loyal will appeal in Springfield, gnashing his teeth. Dear
20:38
old Springfield will reverse decision like that, snaps his fingers. And if they
20:45
don't, there's always a pardon. And you know our governor, God blessing.
20:51
He tilts his chair back and smiles at her. There you are one
20:56
thousand and one. Want to bet roxy fearfully and you'll help me? Sure,
21:04
I'll phone Billy Flynn in the morning. He's his best criminal lawyer in
21:07
town, next to Holliday, specializes in women freed. Mini Calstattz the Hammer
21:14
mutters Marcel Wayne, who fed her children are snick? Oh, yes,
21:18
I read all about them. Oh he's a wonder. I will make it
21:22
a real fight. Harrison is a NAIs on the prosecutor's staff. And believe
21:26
me, that boy won't need a stolen tent to put you back of the
21:29
bars. He smiles in satisfaction. Well you needn't be so pleased if you
21:34
really want me to go free. Jake stares at her. Want you to
21:40
gophe? How'd you get that way? Say? I give my last dollar
21:45
all three of them, And ever night, when I kneel down by my
21:48
little bed, I'll ask God to put a hamp rope around your nice wide
21:52
neck. She shrinks back, and he goes on in rapture. Oh baby,
21:57
that will mean headlines six just hi, the story of the year.
22:03
But don't let my prayers worth your kid, for God's not on the jury
22:06
and other things like yours. They're just the saints so blind in Chicago,
22:11
Roxy pleased. Oh do you really think I'm well hesitates with coy modesty.
22:21
Sure, I'm calling you the most beautiful murderers murderous of course, what do
22:27
you think I'd say, Prima Donna? But you needn't say it? Well,
22:33
what the hell puts you on? From page impressively? Here? You're
22:37
getting something money camp buy from page advertising. Why a three line montad would
22:42
cost you to eighty five and you'll get line after line, calling them after
22:47
call them for nothing. Who knows you now? Nobody? This time tomorrow
22:51
your face will be known from coast to coast. Who cares today whether you
22:55
live or die? But tomorrow they'll be crazy to know your breakfast food and
23:00
how did you rest last night? They'll fight to see you come by the
23:03
hundred just for a glimpse of your house. But remember Wanda Stupa, Well,
23:08
we had twenty thousand out of funeral I'm not interested in funerals, Jake
23:14
grinning. Why you may even end in waxworks. Lord girl, you're getting
23:19
free publicity, a movie queen would die for. He'll be famous. The
23:26
sergeant and Harrison come to the door. The former motions to Roxy and she
23:30
goes with him to the adjoining room. Harrison enters, Oh daby we in
23:37
luck though a sweet story, a sweet story. Harrison takes a flask from
23:45
his pocket and pours two drinks. Solemnly. They lift their glasses, the
23:49
glasses of Roxy and the dead man in toast. Well he is to Roxy,
23:56
Jake grinning, hang her. They drink, and he gives Harrison an
24:03
ecstatic shake. Here, I've just been praying for a nice, juicy murder
24:07
for two weeks now. We haven't had nothing but machine guns and hijackers.
24:11
They dump out dresser drawers, searching rapidly for letters, pictures, et cetera.
24:18
And this one's got the Makin's wine woman jazz lover. Harrison tosses over
24:25
diary and plenty of di raedom and blush. Jake flicks through it. Oh,
24:33
Roxy, Roxy, no mud on her shoes. He must have been
24:38
number four sixty eight. And I can't bring it out in the trial.
24:42
Ain't at home and me on a decent paper. God, what a waste.
24:48
But gee, what a chance for you. Just what I need,
24:52
something big, sensational to make me know you've got it here. Scott will
25:00
promote you on this. Promote me. Hell, It'll mean I can get
25:04
out. For five years, I've slaved like a dog for justice and society
25:10
at three thousand a year. But now I've got my experience, and this
25:14
time next year I'll be raking in the shekels for humanity and mercy. That's
25:21
where the money is. Defense Jake admiringly taking notebook, Why you old son
25:29
of a gun? All right, let's have a quotes from the rising young
25:33
Attorney Harrison oratorically kneeling before the debris from Dresser. You may say it's a
25:42
cold blooded, dastardly crime, for which Assistant States Attorney Martinis Harrison will ask
25:48
the death penalty a hanging case. And I'm ready to go to the jury
25:55
tomorrow. That had a boy, But Scott, lets you not with the
26:00
election this fall April. Hm, he'll hold it till September. Say if
26:07
he could get a conviction, an honest to God conviction, not a woman.
26:12
Why he's sweetness, city clean. There's a ring at the door,
26:18
Jake answers while Harrison replaces dresser drawers. It's the photographer with his flashlight outfit.
26:26
Another rough and ready young man with ingratiating smile and a steady flow of
26:32
words. Hello, Jake, what's it all about? Jake opens door for
26:37
sergeant and Roxy hot stuff. She kills him rather than lose him. Babe
26:44
backs off and blinks his eyes in exaggerated appreciation of Roxy. Oh my ma
26:52
oi ooy. Ain't she the prize winner? Though in pretended severity? Keep
26:59
them all SVP eyes off me, sister, I'm a married man. To
27:04
Jake, where's the stiff outside? You don't want him? Hurry up,
27:10
boys, we've got to get along right. Oh, this will make the
27:15
home if we hurry sets up, his camera, takes flashlight, powder,
27:19
et cetera. Any of the other boys been here? Let's see what'll we
27:25
have? One of you? To Harrison and the girl, say she's my
27:33
prisoner. Babe fixes chairs, both of you and her in the center.
27:40
Harrison and the sergeant both try for the chair closest to the camera. What
27:45
about the husband? Is there a husband? Sure, let's have the husband.
27:49
Harrison steps to the door to call Amos, and the sergeant slips into
27:53
the preferred chair. Better give me the names, Jake, He jots them
27:59
in a notebook. Harrison returns with Amos. Oh we don't. I'll bust
28:04
this camera for him. Oh you will, will you? This don't go
28:10
in no papers? Oh it don't, don't it? No, you don't.
28:15
I won't let you use my name. This is to be kept quiet.
28:18
Say shut up to the others. Step into it now. I gotta
28:25
make a deadline. I won't have my wife dragged into here. You get
28:29
this. We're not dragging your wife. She dragged herself. See you don't
28:33
want publicity, but you're gonna get it anyway. The question is what kind
28:38
do you want? The papers? For you or against you? Well you
28:41
gotta play ball, Babe to roxy You're willing, ain't you? She hesitates,
28:48
and he looks astounded. Got Mary Pickford skinned the mile and don't want
28:55
her picture in the paper. My God, can you beat it? You'll
28:59
be right along with President Coolidge and Harold McCormick. There ain't a society dame
29:04
in town. But what would jump at the chance. He briskly guides her
29:08
to the center chair right here. Now, don't you do it? Roxy?
29:15
Oh? Shut up? I guess I will if I want to babe
29:19
at camera. That's the time. Never let them boss you and brush your
29:26
hair back. It hides your eyes. And believe me, you don't want
29:30
to hide them eyes, does she? Jake? I really need a marcel.
29:34
They're wearing them straight. And now, Harrison, you and the lieutenant
29:38
look at her. That's right, and you to Roxy. What's her name?
29:45
Roxy? Look at the camera. He holds the powder high. The
29:49
sergeant sprawls his hands, and Harrison frowns judiciously. A little smile, now,
29:56
Roxy, just a little more, My my, Ain't that perfect?
30:02
Jake? I'll bet she's the girl on the toothpaste ad. Flash bang.
30:07
Roxy gives a little scream. Jake opens the window to let out the smoke,
30:12
and the men reluctantly give up their chairs. All right, let's have
30:17
another her and the husband, not me. I ain't gonna have folks saying
30:22
wanted to think you're a yellow dog and run out on her. Come on
30:26
here now and show the world you're gonna stand by her. It'll help her
30:30
own a babe, sure when they see a man like him. Amos yielding,
30:37
well up, of course, anything I can do, Babe arranges them
30:42
holding hands stiffly. That's right, you're asking his forgiveness, and you to
30:52
Amos smile down at her back at the camera. All right, let's go.
30:59
Flash bang. Roxy goes to the mirror and adds a bit more color
31:03
all around. Now i'd like one with the stiff sey gazette. You've got
31:08
enough o on more captain, and I'm through. You're here making the arrest.
31:15
She's kneeling by the body with a punch at Jake down Fido play dead.
31:22
Jake flops on floor as suggested at a boy, I'll use that for
31:27
my lead. Roxy takes position as indicated. What do I do? Cry?
31:36
No, it's a shame to hide that face. What about a profile?
31:41
Great, but only half as good as a front. So you'd better
31:45
look at the camera. That's right, and smile just a little more big
31:53
flash bang Done, tosses things together and hurls goodbye, see you later,
32:00
Jake. Sergeant takes Roxy by the arm and turns to Jake, coming with
32:07
us. I'll drive over with Matt. Got to phone the office. The
32:12
sergeant and Roxy, followed by Amos, go on out. Harrison stares after
32:19
them, yead, if only I can hang that woman. Well, you
32:23
ain't got the chance of a snowball, and now dumb but beautiful. He
32:30
takes up phone. Dearbono five hundred curtain and of Prologue, Act one,
32:40
Sunday afternoon, two days later, Woman's Ward of the Cook County Jail,
32:45
Chicago. While the curtain is still down, there is heard, in heavily
32:52
accented tones, the salvation Army, be not dismayed, what air betide,
32:58
God will take care of you. Beneath his wondrous love. Abide, God
33:02
will take care of you. The curtain rises slowly on a large room flanked
33:08
on each side left and right with tiny white bunk rooms equipped with cot,
33:15
washstand and chair. The rear wall is a huge double iron screen at which
33:22
the prisoners receive their friends and relatives on visiting days in it. At the
33:29
extreme left is a double locked door that opens into the hall around the elevator
33:35
shaft. There's a small stand table and a few straight chairs at the right
33:40
of this door, a long white enameled table with chairs on either side.
33:45
Down the center of the room, a stairway invisible at the right rear leads
33:52
up to the women's recreation and lounging room. Roxy sits at the center table.
34:00
She wears a jade green satin dress, sleeveless nude hose decorated with turquoise
34:06
ribbon garters, and black velvet pumps. She is pale, minus rouge powder
34:13
and lipstick. There is a box of cigarettes by her side, and she
34:16
smokes like mad, straightforward, honest, smoking with appreciative inhalation now and then.
34:24
The table is stacked with newspapers and the floor strewn with discarded sheets.
34:30
Missus Morton, the matron, in dark dress with large white apron, sits
34:37
across from her with scissors ready to clip any bit. Roxy designates she's a
34:43
stalwart woman of fifty or so with iron gray hair, dark eyes with flabby
34:49
lids, ruddy complexion, and weak mouth. Another woman lounges in a low
34:55
rocker, a dark, quiet woman in the late thirties with smooth sallowed features
35:01
large, dreamy eyes and full lips that have a dipsomaniacal droop. She moves
35:08
with studied languor, and her voice is soft and low. She wears a
35:15
heavy, dull crape dress and topaz earrings that match a certain tawny gleam in
35:21
her smoldering eyes. She is engrossed in the society sheet while Roxy pours over
35:28
the news sections. The voices of the singers several rooms away ring out,
35:34
fresh and clear with a syncopation. Jazz can't touch. God will take care
35:39
of you through all the day or all the way. He will take care
35:45
of you. God will take care of you. Roxy casually as she hands
35:52
missus Morton another paper to clip. Then yesterday must have been his day off.
35:58
Matron puzzled what I just said. God wasn't on the job at the
36:02
inquest or I wouldn't have landed here. The music starts up again. Say
36:08
does that keep up all day? Just an hour or so? It's the
36:13
Salvation Army. The men likes to hear them. I'll have him close the
36:16
doors, gets up and goes to the door with them squawking' and the radio
36:22
upstairs tuning in to why I'm Meetin's health talks and sermons. As Matron is
36:27
out of earshot. This is a hell of a joint Sunday here, and
36:31
not a drop a licker in the house. Velma looks up in ready sympathy.
36:37
That's the hardest thing to get used to. Gives a little shiver and
36:42
takes another cigarette. Smoking helps some Roxy. As Matron returns, look Look,
36:50
gives a squeal of delight and points to page a whole page of pictures.
36:55
Odd, Why it's just like I was president or something beautiful, Roxy
37:01
Heart the jazz slayer Roxy in her attorney Roxy and her husband gives a gasp
37:09
of surprise. For the lover my diary, the little book to which she
37:16
told her secrets. Can you beat it? Only you and I diary know
37:22
how much we love him? Say, who do you suppose wrote that stuff?
37:27
You ought to see the real one, Velma darkly, they've got it
37:31
all right, no sense of honor. Reporters broke into my apartment the night
37:37
I left and stole a whole suitcase of letters, valuable letters, letters for
37:43
men who loved me. She is overcome with emotion and a diagram of the
37:49
apartment. My God see the spot marked X points with satisfaction. That's where
37:58
he fell, the dirty piker matron reprovingly, sh deary mustn't talk like that
38:06
to Velma. She ain't seen her lawyer yet. Well, he was scornfully
38:12
one of these wise guys that wants to be a daddy on sixty a week
38:15
can keep a family on the side. But I called him, all right,
38:20
I know virtuously, I never hear a man's being killed, but I
38:24
know he got just what was coming to him. But you mustn't say it.
38:29
What's your defense? Roxy, shrilly defense? Do you think I'd let
38:34
a guy hold out on me like that? But you can't tell the jury
38:37
that, Oh can't. I it's just like divorce. The reason don't count.
38:45
It's the ground. Well if that ain't grounds, but it's got to
38:47
be according to law, dearie, like he threatened or attacked you or something.
38:52
Roxy to Velma, what's yours mine? Why I didn't do it?
39:00
Then? Who did? There was just you and him in the room.
39:02
I'm sure I don't know. I was drunk, my dear dead drunk,
39:07
passed out completely and remembered nothing from the time we left the cafe till the
39:12
officers found me washing the blood from my hands. But I'm sure I didn't
39:15
do it. Why I've the tenderest heart in the world, haven't I,
39:21
Missus Morton, Oh, she has indeed, and wouldn't hurt a worm.
39:25
Tremolo, not even a worm is being drunk grounds now, don't you worry,
39:34
dearie. Billy Flynn will take care of all that. He's coming this
39:37
afternoon, matron wisely. He'll fix you up, all right. They don't
39:43
make him any smarter than Billy. What he don't know about juries and women?
39:47
A roll of her eyes intimates that the Britannica is a tyro. He's
39:52
the best in the city except mister Hessler Matron hastily criminal lawyers, I mean
40:00
Roxy quickly to Velma. Ain't yours criminal? Oh, dear no, he's
40:06
doing this just for me. Divorce is his line. He's handled all of
40:13
my cases my family attorney lips brows languidly, very exclusive. Roxy to Matron
40:22
is mine exclusive, Velma laughs scornfully. Billy Matron hastily, Yes, in
40:32
his way, Yes, and he'll give you a pretty trial. Well,
40:37
he ought to for five thousand dollars. My that's a lot of money,
40:42
but it's worth it. A cheap one could do it all right. Why
40:45
with your looks, you don't need a lawyer at all. But it's a
40:49
satisfaction to know it'll be done right. That's what I said when I buried
40:52
my husband, Roxy expectantly, did you kill your suicide? It was in
41:00
debt, but I had all the trimmings. Never skimp on a funeral or
41:04
trial, especially a murder trial. Do it right. Finishes clipping and counts
41:08
the columns. There five, eight, twelve, seventeen columns and twenty three
41:15
pictures. Besides all them they got this morning. Roxy takes one and reads
41:21
with pleasure. Roxy Heart, the prettiest woman ever charged with murder in Cook
41:27
County, was held to the grand jury. Runs on down column, smiled
41:35
and cast coquettish glances from pansy eyes, half hid by her purple turban,
41:40
breaks off in anger. Can you beat it? I never wore a turban
41:45
in my life. To Velma, why I'd look as old as you?
41:51
Velma affably, yes, you gotta have chick for a turban. Roxy glares,
41:58
but has no answer. They're awful, dumb reporters, never get anything
42:01
right. Roxy, continues reading beije hos topped with turquoise garters say they don't
42:09
miss a trick. Garters, what next? And rouged knees that warned Dan
42:15
Pennington to look to her laurels. Well, it's the last rouge they'll see
42:20
for some time. Thank Heaven's eye can stand it. But it must be
42:24
hard on people who are old or sallow. What's the big idea anyway?
42:30
Shutting down on makeup, Matron apologetically, it's the rules, dearie. I
42:36
don't know why, but you'll get it for the trial, all right,
42:38
Oh my, it's going to be a real pleasure to do you. Roxy
42:43
takes up another clipping. The wife of the dead man sat with bowed head
42:47
during the inquest. Say you ought to see her and the clothes she wore.
42:54
They ought to run our pictures together and call it why men leave home.
43:00
She must be all a forty hen fat men like em round but not
43:05
fat, no pep, no life, While I'm always rarin to go,
43:10
continues reading, But the Jazz Slayer showed neither grief nor remorse, powdered her
43:16
nose and registered calm amusement. Velma bitterly, you oughta cried and took on
43:23
a lot. They rased me the same way. Well, it's only the
43:28
papers and the juries all you care about, and thank god they're men.
43:32
Roxy flings down the clippings and springs up in rage. The nasty little cat
43:38
on the ledger calls me knock Kneed. I'll scratch her eyes out, matron
43:45
in alarm. Oh, dearie, you mustn't get em down on you.
43:49
Treat them nice and well. They can't print lies about me, Oh can't
43:52
they? If you think you've had a raw deal, tell her, missus
43:57
Morton. It's terrible. The things they wrote. Made fun of my jewels,
44:00
yes they did, said my diamond sparkled like reel, like reel and
44:07
honest to god. Three caret from my second husband, mister Fayley, you
44:13
know him, the clothes manufacturer, And my emerald and platinum bracelet, a
44:17
divorce present from my first and my pearls, my real Japanese pearls. And
44:24
your coat don't forget your coat, velma, a genuine Eastern mink, mind
44:29
you, And they called it weasel. It was his mister Clap's last gift
44:35
to me before he passed away. Roxy bewildered your husband, such a generous
44:44
man, wonderful to me, more like a friend than a husband. That
44:49
very night, just before he went to his reward, he offered me two
44:54
hundred a week alimony. I had just started my divorce, you know.
44:59
Oh didn't you see that? All the papers had it, with pictures of
45:02
me and everything. And I said to him, no, Clarence, you're
45:06
too generous. I won't take it. Quite firmly, I said it a
45:10
hundred yes, or maybe one hundred and fifty, and not over one seventy
45:15
five at the most triumphantly. Now in the face of that, is it
45:21
likely I do what they say I did? Would I trade an offer like
45:24
that for a measly ten thousand insurance cigarette? Roxy holds up an empty box
45:31
and Velma goes to the stairs Matron indignantly, which the company won't pay.
45:37
Think of them holding out on her like that? Oh what women suffers from
45:42
men. But she must have killed him for the papers, all, said
45:46
Matron severely. Now listen, dearie, if you're going to believe what the
45:52
papers say, you'll be suspicious of everybody here, including yourself. You'll get
45:55
along better if you just forget all that and take each one as they come.
45:59
That's my motto. And as for Velma, she's a pleasure to have
46:02
around. No fightin', no ugly language, refined and genteel, A real
46:07
lady if I ever saw one, and classy. All the papers say she's
46:10
the dressiest one we've ever had. She don't look like a sheba to me.
46:15
She must be forty and dark and skinny men like him. Slim but
46:20
not skinny, Matron with quick diplomacy. Well, of course she ain't got
46:25
your looks, Oh my no, but she is a lady, uses black
46:30
narcissus perfume and never makes her bed. Roxy with a regretful glance at her
46:36
bunk, I thought you had to. She hires Lucilla. Who's Lucia?
46:42
Velma returns with cigarettes, that Italian woman who chopped her husband's head off while
46:47
the starboarder held him down. And she wasn't even drunk, my dear,
46:52
not a drop, Matron. Reproachfully, now, dearie, you mustn't be
46:57
narrow minded. In explanation to Roxy, she's waiting a new trial. They
47:01
gave her fourteen years, but there's something wrong with the indictment or other anyhow,
47:07
Here she is, and she does Velma's laundry. I'll get her too,
47:09
and I won't make my bed either. I'm just as good as Matron
47:15
hastily. Sure you are, both of you, Thelma languidly. I've always
47:22
had everything done for me roxy recklessly. So have I everything made to bring
47:30
in my breakfast? Really? Oh yes, breakfast in bed every morning.
47:37
Well, you gotta get up for you breakfast, that's rules. But you
47:39
can have it brought in from woosters just around the corner. Anything you want.
47:44
Only twenty dollars a week, and we'll all three eat together. Song
47:47
is heard again as the army conducts its lively questionnaire. Are your garments spotless?
47:54
Are they white as snow? Are you washed in the blood of the
47:58
lamb? There appears at the end of the corridor with scrubbing brush and bucket,
48:04
a small, wiry woman of forty or so, with a straggly mop
48:08
of hair that is the weird color left by many peroxides. Her eyes are
48:15
washed out blue with now and then a wild fanatic gleam. Her mouth is
48:21
broad filled with a fascinating mixture of natural and artificial teeth. There are deep
48:28
wrinkles, almost cuts around her mouth and eyes. She puts down her bucket
48:34
and stands surveying the women. Suddenly she bursts into wild shrieks of mirthless,
48:40
uncontagious laughter. Shriek, she bends, double shriek. She advances toward them.
48:49
Liz gasp, Oh, it's so funny, so funny. She's off
48:55
again now, Liz. Liz gives Mape a reassuring little pat. Oh,
49:01
no, I'm not. Don't you worry now? To others, it's just
49:07
so funny. Starts again on a wild spasm of laughter. Hush or I'll
49:15
tell God on you. Liz subsides instantly. Oh, you wouldn't do that,
49:21
would you? Missus? Morton? Because it is funny. What's funny?
49:23
The three of us you her? She points a skinny ezamud hand toward
49:29
Velma and me, all here together. They call you the prettiest, her
49:34
the stylishest, and me the queer one. We've all got our tags so
49:37
folks will know us. We've come different roads. Mine's a long and hard
49:40
one. It might have been different once, just once, but I went
49:45
into a far country, goes on in the sing song call of the Revivalist,
49:51
Oh gott Oh, gott oh God, to Velma, yours might have
49:54
two several times you could have turned off, but dancing feet find sorrow to
50:00
Roxy, and you took a shortcut. That's all. What are you talking
50:05
about? She's off. Don't mind her. Go on away, Liz.
50:08
She thinks I'm crazy. I am sometimes, but when I ain't, her
50:14
eyes flashed triumphantly. I got more Cincinnati of you, and right now I
50:20
ain't. I'm God's messenger, That's what I am. Oh My, she's
50:23
awful when she starts on that, Liz gaily and here we are now,
50:30
the three of us. To Velma, you killed your husband for his insurance
50:34
to Roxy, and you put a bullet in your lever when he got tired
50:37
of you. That's a lie. He's dirty. Don't argue. It just
50:42
makes her worse. And I shot Jim because he her voice sinks to a
50:46
hoarse whisper, laughed because he wouldn't marry you. Liz decidedly alert again.
50:53
Nope, I'd asked him lots of times. We've been living in sin for
50:58
seven years, years of locust. But this time he laughed quietly, and
51:05
I shot him. There was a candle sit on the floor. You know
51:08
the Good Book says not to hide your light under a bushel, and he
51:12
fell right by it, and I knelt beside him and prayed look out for
51:17
them. That's all is reading the Bible and praying something's wrong someplace. Liz
51:22
back in the revivalist character again, And here we are, staying with the
51:28
blood that only the lamb of God can cleanse. Murderesses, murder esses.
51:32
Shut up, you fool. You're not that unless you're convicted. Oh yes
51:39
you are. It. Don't take no trial. I was a murderous the
51:43
minute Jim fell. God judged me then right then I can see him now.
51:49
Her eyes grow glassy and her voice is shrill in horror. Sit there
51:54
on his throne gives a wild shriek. Matron rises and takes her by the
52:00
arm. Come on, now, that's enough out of you upstairs, now
52:05
go along, takes her, shrieking to the stairs. Well, if that's
52:08
a cheerful, little playmate, what's her defense? Insanity is being crazy?
52:15
Grounds Velma nods. It may mean the asylum, and besides it's so embarrassing.
52:23
Matron returns with a pack of cards from table. Thank god, there
52:28
ain't many like her. Well, girls. What about a hand? To
52:31
Roxy? Are you good at bridge? Better at poker? Oh? No,
52:37
Dearie, Bridge is all we play Penny a point. The bell rings,
52:39
and she goes to answer. She always wins from you, maybe,
52:45
but watch little Roxy, the girl gambler. All right, but I warned
52:52
you warned me? Oh you mean I've got to let her win? Suit
52:58
yourself? Well, i'll damned. Matron calls from door. It's your husband,
53:04
missus Hart. Roxy springs up. Did he bring my clothes? Reaches
53:08
for the battered suitcase. The matron holds, I'll have to look at him
53:13
first to be sure there's nothing concealed, returns to table, followed by Roxy,
53:19
ain't you gonna talk to him? Roxy looks blank. They're at the
53:22
screen. Velma bitterly to Roxy, that's your reception room. You play peekaboo
53:30
through the bars. Roxy to matron, who's inspecting the clothes? Leave out
53:35
the purple bengaline. If goes to screen, Amoth, did you bring the
53:39
purple bengalen? Evidently he answers, but the words are undistinguishable. My god,
53:46
can't you do nothing right? Terrible locked up all night in one of
53:52
them startine boxes and I have to wash in cold water. What the hell
53:57
are you walking the floor about? You got it easy? Well, I'm
54:00
locked up here with God's messenger. There's a flash and explosion outside. The
54:07
cameramen have their picture of Amos at the screen. Matron hurries to the door.
54:13
It's them. Blame photographers. Roxy and Velma preen for pictures. Now,
54:19
boys, none of that. Babe outside, Hello, Missus Morton,
54:23
h I got my ticket, all right. Matron nods toward Amos, but
54:29
not him. It's against the rules. You know that, mister Maloney.
54:31
Relatives is never allowed inside, but just for a little picture. Have a
54:37
heart, Missus Morton. Justice once the first day, you know, with
54:42
you here beside him. Matron opens the door and Babe enters, followed by
54:47
Amos. Come on, Obadiah, what amos all right? Amos? Velma
54:53
goes upstairs. At a nod from Matron, Babe blows Roxy a kiss,
54:59
and Star arts to set up camera. Amos makes a dash for Roxy,
55:04
who starts to match his ardor but sees the camera is not quite ready.
55:08
Roxy, my wife, Wait a minute, Wait a minute, how did
55:13
they treat you? My God? Just remember this, strides up and down
55:17
glaring fiercely. I ain't gonna have my wife Matron dangles keys. Look here,
55:24
young man out you go. Don't mind him. They dropped him when
55:29
he's a baby to Amos, keep your clothes on, habakuk. She's sitting
55:34
pretty and having the time of her young life, all for nothing. For
55:37
nothing, say boy, you've been reading the wrong ticker. Now hold him
55:43
again, Hart as you were. Amos and Roxy resume stiff embrace. That's
55:49
right, face the camera and smile, just a little smile. Flash bang.
55:54
Now you here at the table, clears it of papers. Ain't you
55:59
the lucky girl though? With all these pictures? And you can thank your
56:01
stars. You're in Chicago, where the poor working girl's got a chance.
56:07
In New York, now you gotta be a millionaire to make front page.
56:10
You could shoot up the whole town and nobody gives a damn unless you're in
56:14
the social register. Roxy flounces down on top of the table, crossing her
56:19
feet. That's right, we want them million dollar knees more. She lifts
56:24
skirt just a little more. Flash bang done, gathers up equipment and I
56:31
won't see you no more, sister, till the judgment day. So long
56:36
matron lets him out. Roxy at table with Amos. All right, then
56:42
I'll eat with the wops and niggers, Amos thundering, Now you don't,
56:49
My wife will have the best there is twenty a week. Hell, what's
56:52
that? I got a raise fifty five? Now, my god? Sure
56:59
the boss has been sweby, offered me a week's vacation. And when I
57:02
got back from the inquest, the whole office crowded around and shook hands with
57:07
me and wished me luck. Well, it's just because you're my husband.
57:10
You'd be nobody if it wasn't for me, Amos indignantly, it's because I'm
57:17
sticking by you. I guess there's not many guys would do it. Well,
57:22
whatever it is, you got to raise out of it, didn't you.
57:24
And I've got to have money for laundry and making beds and cigarettes,
57:30
and you know how a penny a point counts up. Say, looky here,
57:35
Roxy, shrilly, do you want me to look like a cheapskate before
57:38
all these people? All right, all right, there's plenty of money in
57:44
the world, you know, and you ain't got no corner on it.
57:46
God, why did I ever marry you? Amos? Takes out wallet and
57:52
begins counting bills. We'll tan do yes twenty, gives a generous grab for
57:59
the money amos in alarm. Yeah, what about me? My god?
58:06
Can't you think of nothing but yourself? The bell rings and there is heard
58:09
outside a rich voice, hypnotic in its suggestive power, with a minor undertone
58:16
that's Gaelic. Well well, missus Morton. He enters our hero counsel for
58:23
the defense, Billy Flynn. He's a little man like Napoleon, and he
58:30
carries himself with the corporal's air, a magnificent iron gray mane with a forelock.
58:37
He tugs at to convey the impression of thought, or tosses back now
58:42
and then to reveal. The cesarean brow, the eyes are deep set and
58:46
keen. The nose starts out to be Semitic, but ends with an Irish
58:52
tilt. The mouth is broad without being generous, and the jaw is pugilistic.
59:00
He is dressed with careful carelessness, tweed top coat and Fedora pepper and
59:06
salt sack suit, blue shirt with soft collar and striped necktie with golden horseshoe.
59:13
He buys on Michigan Boulevard. But follows the style of West Chicago.
59:19
A millionaire would know his tailor, but a bricklayer would feel comfortably that his
59:23
Sunday clothes beat Billy's matron in a note of tragedy. Oh, mister Flynn,
59:30
the photographer's just gone, Oh, that's all right, he got me
59:35
downstairs. The husband's here too, good, just the man I want to
59:40
see. She goes down the corridor at the left and he stalks by Roxy
59:46
without a word or look straight to her husband. Well, hert amos turns
59:53
and what about me, amos grandly half a chair. Flynn ignores invitation and
1:00:00
repeats, and what about me? I I didn't do quite as well as
1:00:09
I hoped. No, but I will all right. I will take certificates,
1:00:15
books, etc. From pocket. Here's five hundred on my insurance,
1:00:21
Roxy, Shrilly cash in your insurance. Not much, you don't, that's
1:00:25
mine. Flynn's hand reaches it first. That makes a thousand, yes,
1:00:31
sir, and three hundred that I borrowed. Gives it to Flynn, and
1:00:37
seven hundred out of the building and loan two thousand, and that's all I
1:00:44
got so far, Flynn, watching him keenly. What about her father?
1:00:50
I phoned him yesterday long distance, and he'll probably raise some later. Flynn
1:00:58
bites his cigar and snap out his words with an ugly look. You damned
1:01:02
liar. I phoned him too last night, and he told me just what
1:01:07
he told you, that she went to hell six years ago and she could
1:01:13
stay there forever. Before he'd spend one cent to get her out. Roxy
1:01:17
to Amos, I told you not to try him. Now. I don't
1:01:22
give a damn where you get the money. That's your problem. Beg it,
1:01:27
borrow it anyway. I'll pay you twenty a week. And where do
1:01:30
I come in? Your big stiff? What about me? Shut up you
1:01:36
Roxy subsides. I give you notes with interest double to every cent. No,
1:01:42
you don't none of that installment stuff. I wouldn't be bothered with your
1:01:46
chicken feed. I play square hot dead square. When you come to me
1:01:52
yesterday. I didn't say is she innocent? Is she guilty? Will it
1:01:58
be an easy case or a nothing like that? Now? Did I?
1:02:02
No? I said have you got five thousand dollars? And you said yes,
1:02:09
eyes him in contempt, you dirty liar, And I took your case
1:02:15
and I'll keep it, but you'll rot in jail before I bring it to
1:02:20
trial. Roxy angrily to Amos, see what you've done, you big Amos,
1:02:27
trying to be nonchalant. You needn't worry about your money. You get
1:02:31
it all right, Flynn in well simulated rage. Get out, get out,
1:02:38
and don't come near me again till you got three thousand in your fist.
1:02:43
Well so long. Roxy starts to kiss her, but she pushes him
1:02:47
away. Can the soft stuff see you Thursday? And don't forget my dinner
1:02:53
now from Wooster's PDQ. Amos goes slowly, and she softens her as she
1:03:00
turns to the lawyer. Listen, you didn't mean what you said about delay
1:03:05
in my case, did you. Flynn takes a cigar and doesn't answer.
1:03:08
Couldn't I pay you? Flynn unconcerned that depends on your bank account, Roxy
1:03:17
softly laying her hand on his arm. I mean, couldn't we be friends?
1:03:24
Flynn vigorously. Good, you've got that out of your system. Now
1:03:30
listen, I'm not interested in your looks, your age, your sex,
1:03:37
nothing except as it affects the case. You mean, just one thing to
1:03:40
me, five thousand dollars. Get that. Roxy takes the slap philosophically,
1:03:47
lights a cigarette, re seats herself on the table, suit yourself, but
1:03:52
if you change your mind, forget it, draws up chair and goes on
1:03:58
in business like tone. Now that sob sister from the evening Star is coming
1:04:03
merry sunshine, and the woman from the Ledger, I won't see her.
1:04:08
You've talked so much you can't stop now. Grimly, if you tell enough
1:04:14
lies, they're bound to forget a few, but not her. I'll be
1:04:17
damned if I do, Flynn pleasantly. You'll be hanged if you don't.
1:04:23
And by the way, pipe down on that swearing. What we've got to
1:04:28
do now is go out for sympathy through the press. The story of your
1:04:31
life starts tomorrow in the Star. From convent to jail. What my secretary's
1:04:39
riding it this afternoon? Sign with your name, of course, Gee an
1:04:44
authoress, beautiful southern home, every luxury and refinement. She listens with interest.
1:04:51
Parents dead, educated at the sacred Heart, fortune swept away, runaway
1:04:59
marriage severely. You're a lovely, innocent child, bewildered by what has happened.
1:05:04
Young, full of life, lonely you were caught up by the mad
1:05:09
whirl of a great city. She gives a red hot picture of a cabaret
1:05:13
life. That jazz stuff is always good, and you were drawn inevitably like
1:05:16
a moth to the flame. Roxy drinks it in, open mouthed. And
1:05:21
now the mad whirl has ceased, a butterfly crushed on the wheel, and
1:05:27
you sob with remorse for the life you have taken. Oh God, cut
1:05:32
out. God, stay where you're better acquainted, and don't overdo it.
1:05:36
Go as far as you like with Merry Sunshine, she'll swallow, hook line
1:05:41
and sinker, for that's what she wants. But easy with the Ledger Woman,
1:05:45
the important thing is regret. You're sorry. Sorry, you'd give your
1:05:51
life gladly to bring him back. Roxy drops pose, say why did I
1:05:57
do it? What's my defense? Was I drunk or crazy? Flynn shakes
1:06:02
head. Nobody cares about a lunatic unless they've got money. Whenever they ask
1:06:09
why, all you remember is a fearful quarrel. He threatened to kill you.
1:06:14
You can see him coming toward you with an awful look in his eyes,
1:06:16
that wild look. And get this now you both grab for the gun.
1:06:23
See self defense. Whatever else we weave in afterwards, that's there from
1:06:28
the start. You've spent a sleepless night tossing about walking the floor. The
1:06:33
bell rings and Flynn looks down the corridor. Here's Sunshine now, with a
1:06:40
look of dismay at Roxy's brilliant garb. Oh my god, that dress,
1:06:45
Roxy resentfully, what's the matter with it? You ought to have something simple,
1:06:50
plain dark. Wait a minute, dashes to suit case and waves a
1:06:55
black dress at him. How's this? Flynn nods mm m and slick down
1:07:00
your hair as she starts off, and don't forget regret remorse, I got
1:07:08
you and we both grabbed for the gun. She runs lightly upstairs with the
1:07:13
dress clasped in her arms, as the matron admits Mary Sunshine, who is
1:07:18
really Pollyanna's older sister. She is a soulful, semi blonde with protruding front
1:07:25
teeth and adnoids, who talks with a slightly affected lisp and boundless enthusiasm.
1:07:31
Flynn holds out a hand but doesn't rise. Well, here she is Sunshine
1:07:39
herself. Nice little store you had last night. Isn't this wonderful? You're
1:07:45
just the person I want to see. How is she today? Flynn shakes
1:07:49
his head gravely. Oh, terrible strain, terrible strain. But she's a
1:07:57
brave little woman. Oh, I'm so sorry for her when I think of
1:08:01
all she must have gone through to be driven to a step like that.
1:08:06
Only a woman can understand. But she has everyone's sympathy that will help her
1:08:12
in this awful hour. Fumbles in bag and brings out a handful of telegrams
1:08:16
and letters. We're paying ten dollars a day for the best letter, you
1:08:20
know, and some of these are just too lovely. I cried and cried
1:08:26
over this one. Hands him letter on pink paper with purple ink. Glynn
1:08:30
reads gravely, quoting a line now and then the old heartbreaking story. There
1:08:38
but for the grace of God go I and and the woman always pays true
1:08:44
true. And here's one that's just darling from five college boys. And they
1:08:49
club together and send her a huge box of roses and lilies. Isn't that
1:08:54
sweet? It's too bad they will let her have flowers. There are eight
1:08:58
boxes downstairs. Now, Oh, Matron comes in from corridor, followed by
1:09:02
Jake. Just run on up miss Sunshine. Oh may I goes on upstairs.
1:09:10
Jake waves friendly salute to Flynn and smiles cynically after sunshine, little sunshine,
1:09:16
gathering tears. Nice little story this morning, Jake. Jake pulls up
1:09:21
chair, use your name six times. Flynn takes flask and poors drink.
1:09:30
Yeah, nice little story. Jake drinks anything new. Flynn shakes head.
1:09:36
Indictment tomorrow, of course, drinks bail, bail. Hell no, they
1:09:44
ain't even got money from me. Fine case you got me, Jake grins,
1:09:49
Well, charge it up to publicity. You'll get enough. Oh no,
1:09:54
Henry, I like to see my name in print, all right,
1:09:58
but it don't take the place of the little old dollar cash and advance.
1:10:01
And so far this guy hasn't scraped up at two thousand. Say why not
1:10:06
a sale? Sail? Sure an auction? They got four rooms of junk
1:10:14
secondhand furniture, don't bring enough to But look whose it is. You should
1:10:18
have seen her at muldoone's furniture books close everything at triple prices, and he
1:10:24
was nothing but a garage quick fake. Another PONSI while this girl in Chicago's
1:10:29
latest slayer. But was the last time I found the office? Flynn thoughtfully,
1:10:34
Hmmm, that's not a bad idea. Jake indignantly it's the best of
1:10:41
lade on the South Street. If her stuff's paid for, call her down,
1:10:45
Flynn bellows at foot of stair. Messrs Hart, Roxy, Why they'll
1:10:51
go wild out the chance they want to teake up drink out by a real
1:10:56
live murderiss And of course if she dies, by the law, the value
1:11:00
is enhanced. They could use a car load of underwear and patroller records.
1:11:05
I'll kill a chicken over them. Think of owning the record? She played
1:11:10
while the boyfriendly Die slaps Flynn on the back. Great stuff, Billy,
1:11:15
great stuff, Go do it, kid, if you can raise my three
1:11:19
thousand. Roxy enters. She wears a black dress, yes, but sleeveless,
1:11:26
with huge scarlet flower on one shoulder and hula hula skirt of red fringe.
1:11:31
Her hair, glistening from a wet brush, lies smooth like a medieval
1:11:36
saint's, and she turns sad eyes from Flynn to Jake. Jake excitedly,
1:11:44
see is it pay for your furniture? Roxy drops the sad pose and flops
1:11:49
into a chair. My god, are they coming here? Tell them they
1:11:54
got the wrong party, that I'm out, that that gives up? Can
1:12:00
you beat it? No respect for grief at all. Oh hell, I
1:12:04
used to hang creep on the door, but it never worked more than once.
1:12:10
Jake rallies to Flynn, Oh, well, what's a few hundred to
1:12:15
Roxy. Listen, kid, We're going to have an auction and sell off
1:12:18
your things. Roxy sits up like hell you are, Flynn coolly like hell
1:12:26
we are. Well, there's not enough to pay you, even if hastily.
1:12:30
My things are grand, perfectly grand. But you'd never get what I
1:12:34
paid for him, Jake solemnly five times as much. She stares. He
1:12:41
takes auctioneer stand and holds up imaginary articles, the mirror of Mary Antoinette,
1:12:47
Carrie Nation's hatchet, the bed of Roxy Heart. Why they're museum pieces,
1:12:53
my dear, Roxy squirms with delight. Museum pieces. Oh sure you're famous.
1:13:02
While the upperneck buses are already crying. Half a block to your left
1:13:05
is the home of Roxy Heart, the beautiful jazz slayer. Roxy genuinely impressed.
1:13:12
My God, tell my husband that, won't you. He thinks it's
1:13:15
him, and they're tearing up the shrubbery for souvenirs. Roxy with animation.
1:13:21
There's a lot of poker chips and cards that be cute for that, and
1:13:25
little ash trays that we used that night, Jake nodding, and his last
1:13:30
ashes. Roxy gives a little cry oh and all my dresser things. Oh
1:13:36
law, yes, there's a fortune there. The crystal bottles an adamizer.
1:13:42
Jake holds aloft. The mystic perfume that lured young Casey from his home.
1:13:47
What am I offered twenty eight thirty? The magic scent? I always use
1:13:51
black Narcissus and my jewels in honest to God, three carrot and a diamond
1:13:58
and platinum bracelet and pearls real Japanese pearls. Flynn alert to Jake, we'd
1:14:05
better keep them out. Jake nods and passing on to the wearing apparel,
1:14:12
Roxy firmly. Wait, if I sell my clothes and you're going to the
1:14:16
first five hundred dollars goes to buy more, after my fee, after the
1:14:23
furnish of people, after nothing, it's my clothes, and it's because I
1:14:28
wore them that they're museum pieces. The first five hundred, My god,
1:14:32
do you think I'm a cubie? You will need a different get up for
1:14:36
the trial. There's a winter coat with carricle fur. The hell with you
1:14:41
win a coat. How much underwear have you got? Roxy beams. Oh,
1:14:45
there's a closet full of them, Rose with fur all around it.
1:14:49
Hannah Green, Georg Jet and the Blue you know, the one I wore
1:14:55
the night with triumphant look at Flynn. We both for the gun, Jake
1:15:01
regretfully Unfortunately the Blue estates exhibit B and dozens and dozens of scurries to the
1:15:10
suitcase. Here, take these two, lays a few garments aside, then
1:15:15
tosses rest back in case. Take them all and bring me some new ones.
1:15:19
Quick pauses, gives herself a reflective wriggle, then stoops and swiftly removes
1:15:26
her garters. Jake waves them aloft, Bravo. You've read about him.
1:15:31
Boys, Here they are. When am I offered for the famous turquoise garters,
1:15:38
breaks off in alarm as she seems bent on further disapparelment. Stop,
1:15:44
this is not strip poker. Roxy straitens with dignity. I was only rolling
1:15:49
my stockings. They drop to her ankles and Jake retreats. Flynn with a
1:15:56
look towards stair. Sunshine's coming. Jake hastily grabs suitcase. Remember kit,
1:16:02
this is my story. Roxy nods the first five hundred. She sits at
1:16:10
table rolling hose as they leave, and Sunshine comes down the stairs. Sunshine
1:16:15
flutters in, pauses a moment at the sight of the curiously bent figure rolling
1:16:19
hose, then goes to her. My dear, oh, my dear,
1:16:25
what is it? Roxy lifts, sweet tragic face. I've given all all
1:16:31
that a woman can give. Sunshine grabs notebook. Yes, yes, you've
1:16:38
given your all. And now the mad whirl is over a butterfly crushed on
1:16:43
the wheel, you know, a butterfly moth and the flame with that lovely,
1:16:48
wistful smile. Sunshine scribbles and what caused you to roxy? Sadly?
1:16:57
With Lizz's mystic intonation? It might have been different once, but dancing feet
1:17:03
fine sorrow dancing, Uh jazz the Charleston, shall we say the Charleston,
1:17:10
missus Hart? And uh drink? You had been drinking Roxy with Velama's ease.
1:17:17
Oh yes, I was drunk, my dear, dead drunk. Oh
1:17:23
lovely, lovely, My paper's dry. You know, so you would advise
1:17:28
girls to avoid jazz and drink? What else, missus Hart? How did
1:17:31
you happen to but just why did you shoot Roxy grows dramatic. I was
1:17:39
mad, crazy, insane. Oh, dear Roxy hastily not enough for the
1:17:45
asylum you know over with right away. Sunshine nods temporary insanity, for I
1:17:54
really have the tenderest heart in the world. Wouldn't hurt a worm, not
1:18:00
even with Velma's tremolo a worm. Sunshine sympathetically and what brought it on?
1:18:09
Roxy? Her eyes grow dark and her emotion rises. He he threatened my
1:18:15
life. What a terrible man, Oh, he was very terrible. Matron
1:18:23
enters with two monstrous baskets, one tied with pink ribbon, which she places
1:18:28
on the table and examines. It's your supper two of em Roxy looks blank,
1:18:33
two one from woosters and a fancy chicken dinner from some place. With
1:18:38
a note, Roxy opens and reads, my heart and hand are at your
1:18:43
feet. With you, my life would be complete yours with pleasure. An
1:18:48
unknown admirer poetry hain't that romantic? Sunshine takes note. I'll thank him for
1:18:58
you through the paper. Roxy arranges food. You might tell him too that
1:19:03
I like Russian dressing. Shortcake say he's a regular guy. Matron disappears with
1:19:12
other basket. Roxy falls to eating heartily, and Sunshine watches fascinated. They'll
1:19:17
all be so glad to know you can eat. Roxy stops short and resumes
1:19:23
character. It's choking me every mouthful, but I feel it's my duty.
1:19:30
Oh it is you must keep your strength. Roxy forces herself to a more
1:19:34
languid pace. The first bite I've tasted since He wins to his reward,
1:19:41
presses handkerchief to her eyes. Sunshine pats her hand. Dear missus Hart,
1:19:47
Oh, if only I could bring him back, How gladly, how gladly
1:19:53
I'd give my own life. Chokes with emotion, takes a few healthy bites,
1:19:59
and I can't sleep either. All night I walked about tossing the floor.
1:20:05
Oh my dear Roxy in hollow tone, always his face coming toward me.
1:20:14
Her emotion rises as she lives through it all with that terrible look,
1:20:18
that wild look in his eyes. We both grabbed for the gun. She
1:20:25
reaches forth her hand and clasps a roll of bread, and I shot dramatic
1:20:30
pause to save my honor. The Salvation Army starts up again. In the
1:20:39
sweet bye and bye, we shall meet on that beautiful shore in the sweet
1:20:44
bye and bye. Hain it grand the Salvation Army. I love to hear
1:20:50
him. I'm awful refined. You see, I was born in a convent.
1:20:57
Continues talking and eating while Sunshine rights as the curtain falls and Act one,
1:21:06
Act two, same scene. One month later, early afternoon of May
1:21:12
the third, a stolid figure in blue calico sits sewing by the grate end
1:21:17
windows. Liz with bucket and brush, is busy scouring the floor. Through
1:21:23
the half opened bunk door can be seen a reclining figure that looks very much
1:21:28
like our friend Roxy. The center of the stage, however, both physically
1:21:32
and emotionally, is held by Velma, who stands on top of one of
1:21:36
the white tables and turns slowly while the matron turns up the hem of her
1:21:43
dress, making it now a good twenty inches instead of sixteen from the floor.
1:21:47
It is a new Velma, ten years at least have gone from her
1:21:51
age, smooth lithe, clear eyed, and well groomed. Her shingle bob
1:21:58
fairly glistens with something or other, and there is a touch of tangerine rouge
1:22:03
from the huge makeup box on the table. On each soft cheek, and
1:22:08
her lips are arched in a scarlet bow that matches her dress of lipstick red,
1:22:14
which certainly catches the eye. At present, she is in the agony
1:22:17
of suppressed hysterics. Tears would spoil her makeup and uncontrolled rage distort her face,
1:22:25
so she keeps a calm mask and rolls out a continuous flow of bitter
1:22:30
invective in a gentle monotone damn Marshall Field. Matron punches dress so Velma can
1:22:38
feel where it stops. Is that short enough? Liz pauses for a glance
1:22:43
and giggles, Oh my, that'll bring the jury to your feet. All
1:22:47
right. Roxy comes out from her bunk and leans against dorsill, eyeing Velma
1:22:54
with venom. My god, what house have they raided? Now? Velma
1:23:00
wheels and Liz giggles so loud it woke me up. Lord, how bet
1:23:05
every bull in the stockyard hears it and is the nesh in his teeth.
1:23:10
Velma tearfully to Matron, it's true, think of it their last picture of
1:23:16
me in this damn Marshall. Field points trembling to empty suit box on table
1:23:25
to send an empty box. Matron peers in box again while Roxy looks like
1:23:30
the kitty that's gulped a canary queerest thing I ever heard of, just a
1:23:34
bunch of tissue paper, not even the bill. But you can get your
1:23:39
money back money. What the hell do I care for money? It goes
1:23:44
to the jury this afternoon, and I can't stand it now, Dearie,
1:23:49
it's certainly got style. Roxy snorts. But what's that the other had?
1:23:57
Meaning? Mister Hessler picked it up himself, A beautiful soft green that would
1:24:02
stand out in the crowded courtroom. You never saw such a crowd. I
1:24:08
had a crowd too, but not like mine, Liz Shrilly, I did
1:24:14
too, didn't I missus Morton? Velma ignoring her every seat taken the hallway
1:24:20
jam A lot you know about crowds now at my auction, Liz screams,
1:24:28
shut up about your old auction. There were thousands and thousands. How do
1:24:33
you know the papers all said so, didn't they missus Morton? Yeah?
1:24:40
And there are a bunch of darned liars complacently to Velma. We see our
1:24:45
crowds, don't we a handful in a courtroom? There's hundreds of them,
1:24:49
thousands, millions. Roxy in impotent rage, You goddamn bunch of four flushers.
1:24:58
Matron banks her hand down on table. Now Roxy, Roxy goes in
1:25:02
sell tie it outside. If you've got a headache, sleep it off.
1:25:08
If you ain't, go on upstairs where you belong. I've had enough ragging
1:25:12
out of you today. Roxy turns for a last shot. Anyway, they
1:25:16
paid for my auction, and that's the rancid test, while you're just a
1:25:21
free show. That's all. Bangs the door, Liz chance and sing song.
1:25:30
Roxy's mad and I'm glad. Shut up. Liz returns to scrubbing.
1:25:34
Jealous, that's what she is. Jealous. Roxy reopens the door with dignity.
1:25:42
When my lawyer comes, Matron looks up from hemming process. Now get
1:25:47
that out of your head, mister Flynn, ain't got time to be running
1:25:49
over here. Whenever you take a notion, Roxy loftily, this ain't a
1:25:56
notion. Hits something very important once the papers, that's what it is.
1:26:00
And he is coming. I sent word by Mary Sunshine slams the door after
1:26:06
her the next time she bouts in on an interview the way she did this
1:26:12
morning. My god, can't you hurry, Maggie? And we never dulled
1:26:15
up this way, did we? Maggie, The figure in the rocking chair
1:26:19
doesn't answer, yeah, and look what you got to the rest of your
1:26:24
life? And Jo Lae Liz Shrilly, I don't care. I told him
1:26:29
what I thought, didn't I The judge and jury everybody flings her arms out
1:26:34
in dramatization. Hang me, I said, that's what I said. Build
1:26:39
a platform right down the state of Madison and invite the whole town. Reserve
1:26:44
seats for everybody so they can all come and have a good time. That's
1:26:47
what I said, right to the judge, to Velma. And that's more'n
1:26:51
you've done for all your clothes. You ain't said a word, now,
1:26:55
have you not a word? My lawyer won't let me. Yea, he
1:27:00
knows once you opened your mouth and hang you. That's a lie. They
1:27:04
can tell just by looking at me. I'm a lady. That's why it's
1:27:09
so important what I wear. Something quiet and refined. The green would have
1:27:15
been just right. Suddenly, this won't do it, simply won't do.
1:27:21
Ready to cry, She jumps down from the table. Oh I could kill
1:27:27
Marshall Field stalks upstairs in rage. The bell rings, Matron answers, and
1:27:33
Roxy peeps out from cell. Is that mister Flynn say, what are you
1:27:39
gonna do? Make a will? Roxy darkly it's all right, what I'm
1:27:44
gonna do? I want him Walksy's mad and I'm glad. Matron calls from
1:27:50
door, Maggie, you at the screen. Figure at windows starts up,
1:27:57
bewildered. She's a rough peasant type thirty five or so with straggly black hair
1:28:02
and large plain features. Liz nods towards screen, go on, it's your
1:28:09
husband and kid. Maggie gives a guttural cry, drops her sewing in the
1:28:13
chair and scurries heavily to the screen. Liz trails after her. The matron
1:28:19
is still at the door and no one is looking. Roxy comes out from
1:28:25
her cell with the green dress she has stolen, runs quickly and puts it
1:28:29
back in the marshall Field box. Then extracts lipstick from the makeup box and
1:28:34
hurls it through the bars as Jake and the matron enter. She then melts
1:28:41
away to her cell. Velma's dressing. Do you want to see her?
1:28:45
Jake throws admission card on table. No thanks, I'm waiting for this one.
1:28:50
Matron reads card, my land are they sending her? Jake grins do
1:28:58
this afternoon from the plane station. And she's a hell cat for sure.
1:29:02
That's so they call her, go to hell kitty Matron. Tragically, on
1:29:08
top of everything else, Jake toss his hat on table and takes chair.
1:29:14
What else two convictions this week? Ain't it terrible that Allays gives everybody the
1:29:18
blues? Well, Velma will cheer him up. She's getting away with the
1:29:23
murder all right by the judge himself says she's classiest one he's ever had.
1:29:27
Well, I hope, So another day of this dress and it I'll be
1:29:30
going crazy. Goes on down the corridor. What a life? What a
1:29:34
life? Liz unconsciously imitating the matron. And on top of all that,
1:29:41
walks his silking like the devil Roxy. Liz lowers her voice with warning,
1:29:46
look toward Roxy's bunk. Sh she'll hear you and pounce. Jake, amused,
1:29:54
what's the matter with her? Says she's got a headache. But it
1:29:57
ain't no Seren, I'm broken nose, that's what it is, out of
1:30:00
joint because of films. It now instead of her, no more presents or
1:30:04
letters except from that durned fool admirer, A slick guy for free advertising papers,
1:30:10
missus Morton. Everybody's making over Velma and she won't even help her dress
1:30:14
or wish her luck. Mean, that's what she is. Just like my
1:30:17
jury because I wanted him to hang me that they wouldn't spite work, That's
1:30:21
what it was. Never mind he couldn't appeel. Liz straightens up and go
1:30:27
through another trial. Not much, I don't. I didn't mind going over
1:30:30
once. The lawyers and judge has got to have something to do, and
1:30:33
I don't mind helping him once. But I ain't got time for such foolishness
1:30:36
again. The folks likes their fun and I done my part. Smiles in
1:30:42
pleased recollection, didn't I? Jake also smiles. You certainly did. My
1:30:49
lawyer had me talk to show him I was crazy. But I fooled him,
1:30:53
all right, didn't. I begins rocking and sobbing and wailing. Roxy
1:30:59
sharply door, Shut up, Liz, you're making my head worse. Lot
1:31:03
of it. Hope it busts a shoe sails by. Roxy limps out to
1:31:09
retrieve it and becomes angelic at the sight of Jake. Why mister Callahan,
1:31:15
Hello, Kertz, go away. He's mine. He's having an interview with
1:31:18
me. To Jake, ain't you tries to push Roxy back with her soapy
1:31:25
hands. Roxy administers a good sharp slap, and Liz cries, hush or
1:31:30
I'll tell God on you. Liz muttering, go on and tell you're such
1:31:36
an old liar. He won't believe you. Returns to scrubbing. Roxy sweetly
1:31:42
to Jake. Oh, mister Callahan, I'm so glad it's you. You've
1:31:46
been so kind to me, so so magnanimous, says that to all them.
1:31:54
Don't you believe her? Roxy soulfully to Jake, and now, Oh,
1:32:00
I'm going to do something for you. It's a story, all right,
1:32:03
Spill it. Roxy, wearily, I can't sleep. My head hurts.
1:32:11
I've had a terrible night, tossed and wept sobbed remorse. Jake gets
1:32:16
up in disgust. Oh my god, don't stop that again. No what
1:32:21
He gives a damn how you're sleeping? Roxy, shrilly? They do too,
1:32:28
don't you remember? Follows him? Sure once, and the story was
1:32:33
new, but he's dead now you'll have to pull a better line than that.
1:32:38
Roxy, with sudden inspiration, I've got it a scoop for you a
1:32:45
front page story, Jake skeptically. Yeah, it's a dress. You can
1:32:51
raffle it off, sell chances on it takes Velma's green dress from the box.
1:32:57
He shakes his head in rejection, and she goes on with inspiration.
1:33:01
The dress I wore the first time I ever went wrong. Oh my god,
1:33:08
backs away from her. It's a museum piece, follows him, then
1:33:14
put it back in the case. Roxy dangerously, I'll give it to another
1:33:18
paper. Just shry it, your little publicity hound. You've sure got it
1:33:24
bad. Now listen, you'll have another fling at from page when your trial
1:33:29
starts. But until then, there's not a chance in the world. But
1:33:32
they've caught Kitty Baxter. Oh my god, another one, and she's got
1:33:38
she faded. Roxy. She's a tagy cat and you're just a little white
1:33:43
kitten. But I will do this, use you in a picture with her.
1:33:47
The jis Slayer meets the banded Queen. Nothing doing hell cheese or none.
1:33:53
Huh. Well, sue it yourself. But if you can't play ball,
1:33:57
you'd better curl up towards cell and go to sleep for the next four
1:34:02
months. Roxy genuinely startled. Four months. It ain't gonna take that long.
1:34:11
Sure, the September calendar, maybe October. Billy goes abroad for July
1:34:15
and August. What hoof sit to Europe on my money? The clothes I
1:34:19
sold off my back to pay him? Can I stay cooped up here?
1:34:25
Her eyes flash? Do you think I'm going to stand for that? Jake
1:34:30
calmly, sure? What can you do about it? Roxy determinedly. I
1:34:36
don't know, but TAP's foot thinking, God, damn it. And I
1:34:42
got my clothes all planned for a summer trial. The bell rings, moans
1:34:47
and whales are heard from Maggie at the end of the screen, and out
1:34:51
of sympathy, Liz starts up. Also, Sunshine comes in and stops in
1:34:58
chagrin at the sight of Jake. Oh dear, Jake grins, I beat
1:35:03
you, but we're both early. Roxy goes to her confidentially, Oh,
1:35:10
miss Sunshine, I've got something very important to tell you something. Sunshine slips
1:35:16
out of her grasp with a sweet smile. Later, my dear, I've
1:35:20
got a message for Wilma. First goes on upstairs. In the meantime,
1:35:27
Matron has heard it. Maggie and her visitors, dimly seen through the screen
1:35:31
down toward the elevator. Maggie weeping great sobs and wails, mine, baby,
1:35:40
mine baby, Give her to me. Matron grasps her arm and tries
1:35:46
to draw her away. Shut up, you, Maggie clings to screen with
1:35:53
both hands. Let me see her, just let me see her, Vaughn,
1:36:00
Shut up. You can't see her, do you hear? To man
1:36:02
outside? Go on away. Your Tom's up to elevator. Man, take
1:36:09
him down. Tom funds let me hold her, runs along the screen like
1:36:15
an animal, and gives a final piercing wail as the elevator clicks. That's
1:36:20
enough out of you. Now your baby's gone. Do you understand gone?
1:36:25
What's Sarah? Who's she? Moonshine Maggie. Oh the honyak they nod for
1:36:30
sewn booze. Get her to tell you about it. She's a scream,
1:36:34
Maggie. Come here, woman comes slowly. What's the matter, Maggie?
1:36:41
Why don't you go with your baby? Maggie simply looking up through her tears.
1:36:46
He won't let me? Who won't let you? Uncle Sam crying again,
1:36:54
Oh missus, please missus here, Wait a minute. Why won't he
1:36:59
let you? You killed a man, that's why you're a bad girl to
1:37:03
Jake in enjoyment. She always cries at that, to Maggie encouragingly, come
1:37:11
on, tell us about it, pointing to Jake with a burst of inspiration.
1:37:16
Here's your uncle Sam. Now. Maggie peers through fingers at Jake.
1:37:21
You my uncle Sam, Matron pleased with her genius. Sure, and he
1:37:28
can help you if you just. Maggie flings herself on knees before Jake in
1:37:32
wild earnestness. Oh mister, mister uncle Sam, let me go. My
1:37:40
baby need me, Maggie, not bad? Wait a minute, why did
1:37:45
you kill him? Maggie, Roxy, perched on the table smoking, watches
1:37:49
thoughtfully the scene that follows. Maggie clasps her hands on Jake's knees and her
1:37:56
eyes search his may not kill him, pulls the words out one by one
1:38:02
and gestures he come to our house, Mine husband, me, mine baby.
1:38:12
Two months old. She was a little baby, sobs forget the kid,
1:38:17
Go on, Jake gently, who came Maggie? Johan him Christmas Eve?
1:38:27
Jake to Matron this Christmas a year ago, been waiting trial. Jake
1:38:32
to Roxy, see and you a grown over four months? She tosses her
1:38:39
head, and he say, give me drink, Maggie, and I give
1:38:44
him and he drink. I drink mine husband all grows distressed. And next
1:38:53
day men come, men come for me and say I kill him. Me
1:39:00
beats her breast and sobs again. Found him dead in a ditch. Too
1:39:05
much moonshine. Jake soberly, mm got to know your bootleg of these days
1:39:13
and they took me away, and I not see mine baby just there,
1:39:17
points to screen. Oh, uncle, Sam, mine baby need me?
1:39:24
Funny? Ain't it the way she takes on over that kid? Did they
1:39:27
use it at the trial? Matron shakes her head. Lord, what rotten
1:39:31
management? Oh mister, please give me mine baby. Start sobbing and wailing.
1:39:40
Matron takes her arm. That's enough, now you can't have your baby.
1:39:44
You're a bad girl, starts her to the stairs. Maggie shrieks,
1:39:48
but mine baby, shut up. Nobody cares about you or your baby.
1:39:55
Follows her up the stairs. Jake soberly, Yep, nobody cares. Liz
1:40:01
bursts into shrill laughter. It's because we ain't got Bob's hair and were cotton
1:40:08
stockings, Maggie, that's what it is. Bell rings and Matron answers,
1:40:13
what do you reckon? A jury thinks about jury's don't think they acts.
1:40:18
But what counts most just being a woman. Yeah, look at Maggie.
1:40:25
That wasn't the jury's fault. She had a bum lawyer. Do you remember
1:40:29
the Holland case She fed lie, sold her two stepchildren, and the baby
1:40:33
died the last day of the trial, and they had the other one running
1:40:36
down the out crying Mama. Mama, and the jury send her home to
1:40:40
her husband and the dear little one who needed her. And now this sonyac
1:40:45
a decent lawyer with a sobleg that would have the jury wiping its eyes and
1:40:49
giving her a medal. Gee, it gets me wasting a kid that way,
1:40:56
shakes his head regretfully as he saunters down the corridor, voices upstairs,
1:41:02
good luck, Velma, Happy days, Bye bye old timer. Velma enters,
1:41:08
followed by Sunshine in beige coat dress with slip on gloves, Scarlet Guardina
1:41:14
carrying a blue dress, and will sail the sixteenth if everything comes out all
1:41:19
right to Matron holding up blue dress. I'm taking the blue so if you
1:41:26
don't like this, I can change. Goes to makeup box, just a
1:41:30
little more color. Beige is so trying, carefully, adds Rouge. You
1:41:35
better hurry. The bailiff's waiting, Velma with genuine tragedy. My god,
1:41:41
the lipstick's gone. The matron dashes to her. They search frantically. Yes,
1:41:46
it is gone. Here take mine. Velma reaches for it eagerly,
1:41:53
then sinks in despair. But it's rose, and I need tangerine. Velma
1:42:00
clasps her hand to her head in frenzy. God, I can never face
1:42:04
the jury now, staggers to the door. Well you gotta go anyway.
1:42:11
Roxy grabs Sunshine as she tries to follow Velma. Oh, miss Sunshine,
1:42:15
I've got a scoop for you. It's a letter from the guy who bought
1:42:19
my garters, and he's going on a hunger strike until I'm freed. Sunshine
1:42:24
tries to pull away. Roxy lowers her tone mysteriously. And I've got a
1:42:30
package, a dress, and I want you to send it back and tell
1:42:33
him it ain't refined to take clothes from men. There's a noise in the
1:42:38
hall, the sound of scuffling, muffled oaths, and a husky voice snarls,
1:42:44
you goddamn bums, Sunshine rushes away, leaving Roxy alone in the middle
1:42:49
of the floor. She stamps her foot and once more retires to her cell
1:42:55
in rage. Matron at door, No, you needn't, and if she
1:43:00
tries any bitin here, I'll have them pull airtooth in her head. Enter
1:43:04
the Baxter Girl, a wiry, young tuf with insolent eyes set deep in
1:43:10
a thin white face, square hard jaw, and straight scarlet mouth now drawn
1:43:15
tight. She wears a rough top coat over sweater and skirt, and a
1:43:20
velvet tam over a matted, curly bob. There's a moment's silence as she
1:43:27
saunters to the middle of the floor and takes in the room, the white
1:43:30
walls, the bunks, Liz kneeling like a statue, Sunshine quivering with excitement,
1:43:38
Jake slouched against the wall, the matron watchful and waiting. She swings
1:43:45
herself up on the table, takes off her hat and runs grimy hand through
1:43:49
grimier head. Sunshine tremulously, Oh, miss Baxter. Kitty turns, uh,
1:43:59
I'm from the Evening Star, Mary, Sunshine from the Evening Star,
1:44:02
and falters under Kitty's gaze. And we'd like for you. Everyone is so
1:44:09
interested. I wonder if you'd mind just saying a word or two. Kitty
1:44:15
agreeably, Sure, I'll say three. Go to hell. Oh dear,
1:44:21
oh dear matron severely. Now look here, Kitty, that's no way to
1:44:27
talk the young lady. Kitty impatiently to Jake get into this. I can't
1:44:33
fight with old women, and I eat children like half for breakfast. Nods
1:44:38
towards Sunshine. What's on you chest? Spit it out? Do you remember
1:44:43
me? Kitty shakes head flippantly. I've seen so many handsome faces in the
1:44:48
last two days, Jake quietly. I was at the show up when Mickey
1:44:54
pointed you out. Kitty eagerly, you wat what did he say? Tell
1:45:00
me? Goes into a rage. Damn him. If it wasn't for him,
1:45:04
but daddy squealer, I wouldn't be here, Sunshine tremulously, Oh miss
1:45:12
Baxter, are you? Are you sorry? You little fool of cass?
1:45:17
I'm sorry? Who wants to get caught? And I'd made my getaway pretty
1:45:23
sick, wasn't it though? Past three cops? And if I hadn't waited
1:45:27
for him turns her back, and when she faces them again, her face
1:45:31
is wet with tears of rage. Oh, women are fools, Matron sympathetically.
1:45:41
I never knew a killing yet that a man wasn't back of it.
1:45:44
Jake easily and this other guy kitty swiftly? What other guy? Jake,
1:45:50
with a knowing look say, don't you think we know? I know?
1:45:56
Damn? Will you don't? Don't you think Mickey told me? Mickey don't
1:46:00
know. Gad and me are the only ones, and we don't tell it
1:46:04
would help your case? Yes, indeed, miss Baxter, I've heard that
1:46:10
line for days now. And get this. I don't squeal. That's send
1:46:15
me up. I guess maybe I'll swing, but I'll die like a lady.
1:46:19
Jake heartily at a boy. Kitty Sunshine hurriedly, Oh you want to
1:46:28
swing? Women never swing? Say I wear skirts, but I got guts
1:46:34
and I don't yell King's X when I'm caught, and I'll get mine,
1:46:39
all right. You see, I didn't just kill a man. What's a
1:46:42
little murder? But this was a stick up? Would you believe it?
1:46:45
And then Gus, I'll watch in four dollars and a man accidental I gets
1:46:49
bumped off. Yes, they'll get me. You can poison your husband and
1:46:55
shoot your lover, but the pocket book hits them where they live. Even
1:46:59
a jarryman has four dollars in a ningasol, and that makes me a dangerous
1:47:04
woman. Think of it, me, Kitty slumps in dejection, got on
1:47:12
a job like that? How long have you been banditing? Say, for
1:47:18
the last ten years. I've carried a gun and most girls carry a powder
1:47:23
puff? Flippantly, a direct descendant of Captain Kidd, Roxy opens the door,
1:47:30
Kitty turns, and the two stare at each other in instant and thorough
1:47:35
hatred. What about your angel face? Don't you want to know this?
1:47:41
That's Roxy heart Kitty? And who the hell is she? Matron proudly prettiest
1:47:46
one we've ever had? My goad? What is this a beauty contest?
1:47:51
You've read about her? Kitty Coolly? I don't read news. I make
1:47:58
it Roxy, So do I a damn sight more than you ever will?
1:48:04
Ah? Is that so? Yes? That's so? Thirty five columns and
1:48:10
twenty two pictures? Hell, what's this? If I told you all I
1:48:15
know? It would make a dictionary? Two reporters, wouldn't it? Sunshine
1:48:21
afraid to breathe? Oh? Yes, miss Baxter, it's so so significant
1:48:28
of this age, youth and jazz and the quest for shup to Jake,
1:48:33
what her racket anyway? Roxy on verge of raging tears. You know what
1:48:41
I did? Sunshine trembling a man another man? Ah, yes, you're
1:48:47
sweetie, killed him rather than lose him, I remember, Say that's old
1:48:54
stuff to Roxy. Move on, sister, y'all dead and don't know it.
1:49:00
Roxy screaming, I am not dead. I'll show you. She grabs
1:49:05
Kitty's hair, all ready for a grand feminine fight, but the tiger girl
1:49:11
tosses her off. She starts back for more, but the matron interferes.
1:49:16
Now Roxy gives her a push that sends her spinning toward her cell. Roxy
1:49:21
spits like a kitten at her enemy, who triumphantly seats herself on the table.
1:49:28
What's up? Wreck it anyway? Watch me bust it? Jake to
1:49:31
Kitty, shoot the works kid. Roxy paces up and down in thought and
1:49:38
rage as Sunshine and Jake cluster around Kitty. Tell us just how you happen
1:49:44
to start? What were the factors in your life that caused you to a
1:49:47
take it up? Was it jazz? The thirst for excitement, the quest
1:49:51
for adventure? Are you a thrill slayer. Unable to endure it any longer,
1:49:57
Roxy gives a sudden shriek and crumples in a faint. The Matron,
1:50:01
Sunshine and Jake wheel from Kitty. Liz stops scrubbing and sits up like a
1:50:08
squirrel. Kitty from the table watches in disgust. Good lord, oh what
1:50:14
is it? She's fainted? My god, on top of everything else.
1:50:18
They all rush and kneel beside her water water water. She rushes over with
1:50:26
her bucket of SuDS, and is intensely disappointed when Jake prevents the administration of
1:50:31
her aid. Has she been sick? Jake to Matron, shall I get
1:50:36
the doctor? Kitty contemptuously from her perch, ain't ba just like a woman?
1:50:45
Roxy moans, with eyes still closed. Oh dear, oh dear,
1:50:50
oh. Matron bathes her head briskly. There there, Roxy opens her eyes
1:50:59
and smiles wanly, Roxy, weakly and sweetly, little Eva on route to
1:51:05
heaven. I'm all right, don't worry about me. She's coming around,
1:51:13
all right. To Roxy, who tries to sit up, aren't you ashamed?
1:51:17
To Roxy sinks back, gasping, I can't breathe here, help me
1:51:25
with her. Jake nods toward the cell, and there Matron shakes her head
1:51:30
no. On the table air Sunshine gets a pillow from the cell and brushes
1:51:36
Kitty aside to make room for the improvised cot look out. Jake lifts the
1:51:43
drooped body there to Kitty, impatiently clear on out upstairs show her Liz.
1:51:49
Kitty follows Liz in swaggering silence, and the Matron disappears for camphor and ammonia.
1:51:57
Sunshine and Jake stand looking down at Roxy. Roxy revives a little crying,
1:52:03
Oh, dear, dear, I can't bear it. Her slender frame
1:52:10
shakes with sobs. Bear what darling, tell me, go away, let
1:52:15
me alone, sobbing more heartily here in jail, Oh dear, my baby.
1:52:26
The matron returns on this word, and there's grand astonishment all around.
1:52:30
Baby Roxy faintly wanly when my child is born? Jake in genuine alarm,
1:52:42
Good God, say I must get the doctor. Matron applies, smelling salts
1:52:46
ammonia, et cetera. I knew she wasn't well, but I never dreamt
1:52:50
this. Sunshine in hushed ecstasy. Is it a too divine? Store covers
1:52:58
over County Jail to Jake, could you ask for anything better? Jake dubiously
1:53:05
no, just so it don't light right now, Sunshine superiorly, don't be
1:53:14
silly, it won't How do you know? No such luck? Matron with
1:53:18
sudden inspiration. That's why she wanted her lawyer. Jake revives, gosh,
1:53:27
it's a wail of a story. Think what it will do to her case.
1:53:31
Young mother waits trial. Sunshine corrects. Girl mother awaits trial. Isn't
1:53:40
it too wonderful to Matron? Was one ever born here before? Matron shakes
1:53:45
head, Not in my day? The bell rings, and she goes to
1:53:49
answer. Roxy tries to sit up. Sunshine tenderly. No, no,
1:53:56
darling, Life still adjusts her pillow. Roxy faintly and sweetly. I don't
1:54:04
want to bother you. Sunshine purrs, dear missus hard tell Sunshine, Tell
1:54:12
Sunshine all Jake awkwardly, feeling better, Roxy in hollow voice, Oh yes,
1:54:21
I'm all right, sinks back. Exhausted to disprove words, Matron admits
1:54:29
mister Flynn, who tries to conceal his perturbation over what the Matron has evidently
1:54:33
told him. Sunshine skips to meet him. Oh, mister Flynn isn't it
1:54:39
too marvelous? It's a knockout, isn't it. What's this, young lady?
1:54:45
Why didn't you let me know? Roxy looks up sweetly. I did
1:54:50
try to, but you wouldn't come. Hmm, yes, I was busy.
1:54:57
Well, well it's all right now, Roxy with sweet bitterness. All
1:55:03
right, Sunshine hops up and down. Isn't it gorgeous? Aren't you glad?
1:55:11
Glad? Oh? Gives a moan to have your baby born? Here?
1:55:17
They all look at each other, startled wonderful. I'll phone all the
1:55:23
women's clubs, the parent teachers, the civic league, will ask for letters.
1:55:28
Shall an innocent child bear the stigma of jail? They'll eat it alive?
1:55:33
Flynn to Sunshine good. And then a petition, Oh yes, miles
1:55:41
and miles of names, asking the bail be granted so that an innocent babe
1:55:45
can be born in God's great outdoors. His arm sweeps the western hemisphere.
1:55:51
But you won't wait for that, will you? When when is it to
1:55:56
be? Closes her eyes a moment. Oh, oh, not till fall
1:56:01
is September. Hmm, then I'd better crowded in before I sail. Yeah,
1:56:09
I'll rush it to the jury in June. A look of triumph flashes
1:56:14
over Roxy's face as she sinks back on the pillow. What jury would condemn
1:56:19
a mother to be? And Billy? Could a jury condemn her to death?
1:56:25
Or would it be passing judgment on two lives instead of one? And
1:56:28
if they did, could the sentence be executed? Or see the state's attorney
1:56:31
on that chuckles it's a solar plexus for him? All right? Roxy sits
1:56:39
up dramatically. My own life doesn't matter, but that of my child,
1:56:45
gives a little tremolo as she sinks back. My child, don't worry,
1:56:50
my dear. The American public will fight to the death for your innocent,
1:56:55
unborn babe and every true woman. Why motherhood itself is at stake, isn't
1:57:02
it, mister Flynn? Oh, wouldn't it be wonderful the trial could chim
1:57:06
just before Mother's Day? Roxy soulfully, you've been so kind to me,
1:57:14
Miss Sunshine. If it's a girl, I'm gonna name it after you.
1:57:18
Sunshine kisses her. Oh, you, darling, that's just too sweet.
1:57:26
Roxy takes Jake's hand and looks up fondly at him. And if it's a
1:57:30
boy, after you Jake beams fatuously holds her hand a moment, then drops
1:57:38
it like a hot cake. No, no, I'm married, happily married,
1:57:44
and Ai'm to stay that way. Thanks, thanks, but backs off.
1:57:48
Slip it to Billy here Flynn, also in alarm as she looks up
1:57:53
at him. Oh, no, no, I appreciate the honor, but
1:57:59
the first Sun should always be named for his father. Slowly, slowly,
1:58:03
his expression changes, say who is Papa, Flynn, simulating indignation. What
1:58:15
I'm ashamed of you? Jake? Ashamed? Jake slaps him on back.
1:58:20
Take h he sy, I mean casely or heart? Do think you'd insult
1:58:27
this brave little woman? Insult or not? It's what they're all going to
1:58:30
be asking. Flynn steps toward him in pretended rage. Callahan, get out,
1:58:38
I don't want to talk to you. Get out, Matron sings out
1:58:43
at door, your husband, missus Hart. Jake grins and goes, that's
1:58:49
the bird I want to see Mary Sunshine and Jake scurry to the door.
1:58:56
Flynn fiercely to Roxy, who half rises from her couch. You little fool,
1:59:01
who is the father anyway? Roxy shrugs her shoulders wisely, don't worry
1:59:09
he'll stick. I don't want him to bitterly, it'll make you look as
1:59:14
black as hell. All the sympathy for him, I can handle him,
1:59:18
all right. Shut up, you've done enough. I've got to make him
1:59:24
divorce you. Roxy sits up, alert, Alimony falls back as Amos enters
1:59:31
with hat on back of his head and fatuous grin. Jake saunters on one
1:59:36
side, Sunshine skips on the other, and the matron trails after them.
1:59:43
Amos genially to Flynn, who comes to meet him, Well, I guess
1:59:47
the cigars are on me. Flynn slaps him on the back. That's the
1:59:54
way to take it hard, be a sport. What do you care if
1:59:57
people laugh? Amos blankly, losing a little hilarity, laugh after all people's
2:00:04
jokes. Jake suddenly, by god, it is funny. They've reached the
2:00:13
couch. Amos tiptoes in awe and looks down at the heaving figure, face
2:00:18
hidden by her arm. Amos, in awed, whisper, will she know
2:00:25
me? Jake gives a howl of merriment. Oh my god, she ain't
2:00:31
out of it now, Oh, mister Hart, not till fall September.
2:00:36
There is a pause. Amos stands, eyes cast towards ceiling. Lost in
2:00:42
calculation, Jake lifts his hand with a knowing look toward Flynn. Sunshine gives
2:00:48
a gasp. Oh, mister Hart, you don't mean. Amos holds up
2:00:54
hand to stop her. Wait a minute finishes, calculate, Say you don't
2:01:02
put nothing over on me. Sunshine in ecstasy over possible new turn, lovely,
2:01:11
lovely. Flynn in melancholy tone. My client needs your support, mister
2:01:17
Hart. Amos bitterly, Yeah, meal ticket, That's all I've ever been.
2:01:26
Say you can't make a fool out of me? What are you gonna
2:01:29
do? Divorsa Amos loftily. I ain't saying what I'll do, starts off,
2:01:36
but stops as Babe is admitted with camera, Oh babe, A couple
2:01:42
of flashes here. Babe backs off from Roxy and makes for the stairs.
2:01:47
Not that lens louse, I'm after the tiger girl. It's a scoop kid.
2:01:53
Come on with a grand gesture toward Roxy, waiting the stalk a baby
2:02:00
Babe to Amos as he sets up camera, Well, court plaster you in
2:02:04
on this. Flynn doesn't give him a chance to answer. No, He's
2:02:11
cast her off forsaken her. We'll I see my lawyer. I ain't as
2:02:16
dumb as I look. September. Hell goes off grandly Amos my husband.
2:02:27
Through tears with outstretched arms to Amos when she's sure he's gone. Deserted in
2:02:32
my hour of need, look at the camera, sweetheart, Wait a minute
2:02:39
to Sunshine, my sewing. Sunshine hands her the baby dress left by Maggie
2:02:45
in the rocking chair. She bends over the dress in sewing posture, then
2:02:50
turns Madonna face to the camera. I'm making every stitch myself. Flynn takes
2:02:59
Poe's by her side. Deserted wife and mother. Hot stuff, hold it,
2:03:06
flash bang curtain. End of Act two, Act three, Scene one,
2:03:17
seven weeks later, a morning in June, the prisoner's room before court
2:03:21
opens a small room dingy and bare, with great high brown walls that are
2:03:28
beginning to scale off. A door at the right leads to the bridge of
2:03:32
size, A window at the left looks upon air shaft and gray brick wall,
2:03:39
and a center door opens into a small vestibule, through which may be
2:03:43
seen two other doors, one directly opposite leading to the jury room, and
2:03:47
one at the right to the courtroom. A long, bare table, half
2:03:53
a dozen straight chairs, and a bleary mirror constitute the furnishings. Flowers are
2:03:59
stacked on the tiber, Dresses thrown over a chair in the corner. The
2:04:02
make up boxes open. It looks like the dressing room of a star.
2:04:08
The prisoner's bailiff sits by the door, sleeping in tilted chair. Now and
2:04:13
then it drops to the floor with a thud, but he quickly writes it
2:04:16
and resumes his dream. Roxy sits in a chair at left of table,
2:04:23
turned relatively as it will be the witness stand in the following scene. She
2:04:28
wears a dress with meaning heavy white crape with surplus collar and bishop's sleeves.
2:04:33
A nun would envy its chastity, white shoes and hose of perplexing nudity.
2:04:41
Her feet are crossed carelessly, and one lily hand dangles a cigarette. Her
2:04:46
eyes wide and innocent stare soulfully at the blank wall that represents the jury.
2:04:55
Flynn paces up and down at the right, coaching from the sidelines. My
2:05:00
innocent, unborn babe, throw your head back nobly, she does. That's
2:05:06
right. Oh wait, don't look at the jury on that you forget them
2:05:12
seek the eyes of your husband. He'll be over here. He's divorced me,
2:05:17
cast me off. I've got that all right, But still the father
2:05:24
of my child. Flynn with deep emotion, and the man you really love.
2:05:30
Once the jury get that, and the fact he wants you back,
2:05:34
why they'll fall all over themselves to play cupid and restore you to his arms.
2:05:41
Roxy studies vanity case and adjusts make up. All right, where do
2:05:45
we go from here? My innocent, unborn babe. That's all. You've
2:05:51
finished your story, the plain, unvarnished statement of a simple, god fearing
2:05:57
working girl. Sure you've got it, got it, I could say it
2:06:00
in my sleep. Then the cross examination, he'd better watch his step,
2:06:05
that Harrison. If he calls me names like he did yesterday, you cry,
2:06:12
I'll crown him. No you won't. God, if that jury ever
2:06:15
saw you at action, remember, no matter what he says or how mad
2:06:20
he gets, you shrink and cower, illustrates, She imitates and cry till
2:06:30
the jury are ready to knock him down. Grins. They always lose when
2:06:34
they bulldoze a woman. And if he says they didn't use physical violence to
2:06:39
get those confessions, Roxy with alacrity, I'll hold my arm out for you
2:06:45
to see the marks. Does so right? And when you answer him,
2:06:50
I don't know, I don't remember. Axe part for her weak, faint,
2:06:59
frightened always to the jewelry with a little flutter, blinks his eyes appealingly.
2:07:05
She imitates, especially that twenty minute egg in the corner. Roxy rises
2:07:12
saunters to large mirror, say, you don't have to tell me how to
2:07:16
handle them babies. I ain't watched them three days for nothing. Darkly,
2:07:21
I've done everything but give them my phone number. Flynn laughs coarsely. That'll
2:07:29
come later. Beautiful work, Roxy, with languid complaisance technique. I've got
2:07:35
it. There's a quick knock at the door, Sunshine with an armful of
2:07:41
flowers. Jake lounges on the threshold. Through the open door, a glimpse
2:07:45
of the courtroom noise and confusion. Flynn joins Jake. Sunshine crosses to Roxy,
2:07:53
good morning and how is she today? Gives her the flowers. The
2:08:00
parent teachers Roxy tremulous voice, lovely, it's kind friends like these. Overcome
2:08:09
with emotion, Sunshine triumphantly and another baby carriage, dear, that's five.
2:08:16
Roxy involuntarily shutters places flowers with others. Jake in doorway to Flynn. Biggest
2:08:24
crowds in sloban Leopold get ready to shut your stuff, Billy, voice of
2:08:30
babe outside. Come on, Billy, if you want in on this picture.
2:08:35
Flynn goes. Roxy gives a slide across the room, but Jake bars
2:08:39
her. That ain't your cue. Man. Only this time, sweetheart,
2:08:43
I'll call you on the stage. Is set, closes door after him.
2:08:48
Sunshine, who's been fluttering over letters and wires on table, any more proposals?
2:08:54
Oh yes, a beautiful one from a New York millionaire who wants to
2:09:01
and one from a widower in Colorado, hands her the letter a chance to
2:09:05
forget and a name for your fatherless child. Do you think you could ever?
2:09:11
Roxy leans back, wan and pale. It's hard all alone, but
2:09:18
shakes her head sadly. I can only laugh Once her lip trembles on the
2:09:26
verge of tears. Sunshine pats her hand, dear missus hart to Flynn,
2:09:33
who returns. Isn't it wonderful the way she bears up? Flynn gravely.
2:09:39
We must have let her rest now a terrible strain, you understand, Sunshine
2:09:46
nods and goes. Roxy revives, and Flynn takes papers from briefcase and runs
2:09:52
through them. Better go on with my plea before the judge gets here.
2:09:58
Let's see where were we. Roxy resumes seat that represents the witness stand.
2:10:03
Flynn sits at the table across from her. You told how they rushed in
2:10:09
that night and found me in my Kimona. Hmmm, got to cut this
2:10:13
sum. If we finish today today to the jewelry by eight and a verdict
2:10:18
of by ten, that'll catch the home. But maybe Harrison. We've just
2:10:22
agreed three hours for him and three for me. But me, Oh,
2:10:28
it won't take long for you. Roxy softly, as her eyes narrow,
2:10:33
Flynn writing does not see I hope not sigh, pause, burst of confidence.
2:10:41
But I'm so worried. Nonsense when they hear my speech. But mister
2:10:48
Flynn, this dress, Flynn looks up, startled dress. If you finished
2:10:54
tonight, I can't walk out if you're all in white, nonsense. If
2:10:58
I only had a coat, You've been so particular about my clothes. I
2:11:03
don't give a damn if you wear gunnysack. After the verdict. I wish
2:11:07
I could feel that way. Oh, dear, I hope I can keep
2:11:11
my mind on his questions. You will, all right, now snap into
2:11:16
this, he will ask, And I do. Hope I don't get tangled
2:11:20
up and forget. There's so much to remember. That would be awful.
2:11:24
Wouldn't it all on account of a silly old coat or a cape? Maybe
2:11:31
that wouldn't cost over one hundred dollars? Flynn stares in exasperation, van dawning
2:11:37
comprehension, reaches for his purse and counts out the money. You've learned a
2:11:43
great deal in three months, my dear Roxy puts money in envelope with note,
2:11:48
thank you, dear mister. Flynn gives envelope to bailiff. Miss Sunshine,
2:11:54
please, he goes. She drops the languid pose and turns to Flynn
2:11:58
with the hearty grin at a boy, let's go. Flynn returns to brief.
2:12:05
He'll ask you why you didn't tell them the story you told this morning.
2:12:09
Yeah, I've wondered about that too. You droop your head. Let
2:12:15
us think when and to whom did you finally reveal the dearest secret of a
2:12:18
woman's heart, Only after long gray days in jail, when her soul cried
2:12:24
out for sympathy. Then I'll point to merry sunshine to a woman, and
2:12:31
the state's attorney wonders why she didn't confide in him, And you look modest,
2:12:37
still drooping, Flynn nods mm hmm. They threatened and tortured and were
2:12:43
successful in tearing from her the confession of her weakness. What do I do?
2:12:50
Lynn waves for silence, the frailty that is woman in loving too well,
2:12:56
but she kept locked within the sanctuary of her heart. Roxy, on
2:13:01
her own initiative, tries to follow with effective pantomime the sacred secret of her
2:13:07
coming motherhood, looks up and catches her in ludicrous pose. What the hell
2:13:13
Roxy, with dignity? I'm only trying to do what you say, Flynn
2:13:20
grimly. We're not playing charades. Droop. That's all you do, Droop.
2:13:26
Then I turned towards you. I'm thankful, I'm glad, I'm proud
2:13:33
that you did. Roxy heart. Roxy lifts head expectantly. Then what do
2:13:39
I do? Flynn glares at her. What do you want to do?
2:13:43
Turn a cartwheel? Roxy rebelliously looks kind of dumb just to sit there.
2:13:50
I'll take care of that. You droop, and that's all She tosses her
2:13:56
head, unconvinced as he skims down the page. Hm. Sorry sorry,
2:14:03
hm ah, here we are. If sorrow could avail Fred Casey would be
2:14:09
here now, for she'd give her life and gladly to bring the dead man
2:14:13
back. You nod, she does raptly, But we can't do that.
2:14:20
Gentleman. You may take her life, as the state asks, but it
2:14:24
won't bring Caseley back. That's always news to him. Now now ah,
2:14:31
here's where you start to cry. Covers his face completely with his hands in
2:14:37
demonstration. Roxy sarcastically, why don't you get me a mask? Softly,
2:14:45
very softly? Orchestral gesture? And for what purpose? To protect society?
2:14:52
Do you fear? That weeping girl meets Roxy's glare of cold suspicion, You
2:15:00
fool, can't you see how damn silly Roxy hastily takes handkerchief. Oh yes,
2:15:07
I was so interested. I forgot weep for her reformation, long speech
2:15:16
ending, we can't give her happiness. You lift your head and listen to
2:15:20
a mist of tears. She does. No, it is too late for
2:15:26
that betrayed, crushed We can let her pick up the broken fragments of life,
2:15:31
The tangled threads, quiver your lip. We can give her another chance.
2:15:39
And that's all for you, all for me. What's the rest of
2:15:43
it about Flynn with satisfaction, Harrison? What's he got to do with it?
2:15:50
I'll show it ain't justice he wants, but conviction for that means promotion.
2:15:54
And how long will that take? Flynn carelessly an hour or so?
2:16:01
Roxy aghast an hour or so talking about him? What's the big idea?
2:16:09
Why it gets their minds off of you? Oh? It does, does
2:16:13
it? And it gets them thinking what a dirty crook he is? Say?
2:16:16
Whose trial is this mine? Or Harrison's? Flynn chuckles as he takes
2:16:22
a cigar his before I get through, And don't I crucify him? Roxy
2:16:28
drums her fingers ominously on the table, seething, And where do I come
2:16:33
in? What do I do? Flynn roaring? My god? Is this
2:16:39
a circus? Sit still? That's what you do and look downcast and sad,
2:16:46
far off, not at the jury, or burrow your head and your
2:16:50
arms on the table. Roxy bangs her hand down on the table, like
2:16:56
how I do HiT's me? They want to see, not you around like
2:17:00
a little fat monkey, Flynn Purple, it's my speech that brings them.
2:17:05
Dear God, they've had enough of your damned face, and it's my speech
2:17:11
that'll save your neck significantly if it's saved. They stand glaring at each other,
2:17:18
and Roxy yields sulkily. All right, go ahead and talk then,
2:17:24
but not about Harrison. Say I'm running this and I'm paying for it,
2:17:30
and in advance remember that, So don't get cute, or I'll throw the
2:17:35
whole damn thing over. Walk out on you. Roxy throws chair to one
2:17:39
side and starts after him. You goddamned old crook, Shut up, you
2:17:45
dirty little The door opens to admit Sunshine and Jake and the Bailiff his honest
2:17:50
here Billy to Roxy, Come on, Cinderella, the stage is set.
2:17:56
There's an instant transformation. Flynn gathered up his briefcase and hands Roxy a bunch
2:18:01
of lilies of the valley from the table, and she adjusts her expression to
2:18:07
wistful innocence as she goes slowly to the door. Flynn in admiration and solemn
2:18:13
tribute a brave little woman. He follows immediately after her, then the Bailiff,
2:18:22
then Sunshine and Jake, making a regular procession As curtain falls, and
2:18:26
lights dim out to denote the passage of an hour or so. Scene two
2:18:35
afternoon, same day, Judge Canton's Court, Criminal Court Building, Chicago.
2:18:41
The bench with its high pulpit stand is at the center rear, the witness
2:18:46
box and jury seats at the left. The clerk's desk with phone and records
2:18:52
in the enclosure at the right. There is a long table left of center
2:18:58
with chairs for the accused and bailiff, council for the defense attorney, and
2:19:03
runner for the state. A high rail with center passageway shuts off the common
2:19:09
herd of listeners and furnishes a comfortable back for the pews of the privileged few.
2:19:16
The semicircle at the right for relatives of the exhibiting attorneys, visiting lawyers,
2:19:20
politicians, and oh yes, relatives of the deceased. That on the
2:19:28
left with its narrow slanting table for the representatives of the press. Windows on
2:19:33
the right look out toward Clark Street Adore at the left extreme front leads to
2:19:39
the jury room and bullpen for the accused. Another rear extreme right to the
2:19:46
judge's chamber. Court is in session. His honor, A closely shaven gentleman
2:19:52
in the interesting forties is on the bench, and his bailiff, a grizzled
2:19:58
old chap stands gavel in hand, just inside the rail of the inner sanctum,
2:20:03
where the clerk hugs the Bible well worn on the outside. At least
2:20:09
the jury. A dozen of assorted sizes, with a preponderance of the middle
2:20:15
aged fatherly type, are in the box. The court reporter, a near
2:20:20
sighted dormouse, scribbles on and on. Mister Harrison resplendent in a new suit,
2:20:28
Mister Flynn comfortable in an old one. The accused and a sleepy bailiff
2:20:33
all around the table, a half dozen reporters in press seats. Cameraman in
2:20:39
the sanctum at his honor's right so they can have full shot at the jury,
2:20:43
witness and accused. Cameraman just back of his honor for a full shot
2:20:50
at the auditor's council and accused cameraman just inside the outer rail for a close
2:20:56
up of witness and questioning attorney, and then just beyond the rail in the
2:21:03
wide passageway between general auditors and court proper moviemen from a newsweekly real movie cameras
2:21:11
that grind and grind and cleague lights with their eerie glare. At present,
2:21:16
however, they are not in action, and the court is slightly relaxed.
2:21:22
Amos is on the stand and the Assistant State's attorney is reading to him from
2:21:26
a long typewritten paper. There's a fatuous smile on his face. His eyes
2:21:31
wander over the audience, and he speaks slowly, eager to prolong the occasion.
2:21:39
Mister Flynn, whose chair faces jury and press but is carefully out of
2:21:43
the judge's vision, is working hard. He listens with care to each word
2:21:48
of his worthy opponent, ready to register broadly the proper emotion Amazement at his
2:21:54
audacity, anger, anger barely restrained from physical violence, at the knavery of
2:22:01
the fellow, disgust at his chicanery, amusement at his stupidity, and through
2:22:07
them all a jolly camaraderie with the jury, a knowing look, a shake
2:22:11
of the head, a smile. They are not to be taken in.
2:22:16
He knows that, ready also to spring up in objection. The judge and
2:22:22
jury may be listening to mister Harrison, They certainly hear his thundering tones,
2:22:28
but they rest their eyes, maybe feast their eyes on a fairer object.
2:22:33
Than a dapper states attorney or the gangling young man in green. You have
2:22:37
guessed it, gentle reader, Roxy, and who can blame them for?
2:22:43
The courtroom is hot and crowded, and she wears that dress with meaning.
2:22:48
Her hair soft and shining, is an ariel in the sunlight. Her cheeks
2:22:54
are a petal pink. Her parted lips arose. She's working hard too,
2:23:01
tilted forward on the edge of her chair, white hands clasped to her breast.
2:23:07
Harrison reads from typewritten paper. Question by Sergeant Murdock, What happened next?
2:23:15
Answer by Roxy Heart He Casey started for his hat and coat but didn't
2:23:22
get that far. Questioned by Sergeant Murdoch, why not? Answer by roxy
2:23:28
Heart wrings out brutally because by God I shot him. There is a startled
2:23:37
silence, and Harrison pauses. The jury sits up sharply and looks shocked.
2:23:43
Roxy is astounded and turns to Flynn, who half rises in involuntary anger,
2:23:48
then sits back and pats her arm comfortably. Perfect teamwork. Harrison reads,
2:23:56
signed April the third, Roxy hands paper to Amos. Do you recognize the
2:24:03
signature? Amos studies it carefully. I guess so beams at crowd tell the
2:24:11
jury. Amos leans back and tweaks suspenders. Lady, who used to be
2:24:18
my wife? Exactly? And weren't you at the police station when your wife
2:24:24
smiles pleasantly your ex wife made this confession. Amos drawls, well, now,
2:24:33
I don't know as i'd want to go so far as to say.
2:24:37
Harrison paces nervously, yes or no? Didn't you hear us say those very
2:24:45
words and answer to Sergeant Murdock's questions some of them? Yes? Harrison flings
2:24:52
paper down in exasperation. What's your purpose in testifying? What are you?
2:24:58
Flynn springs your honor? I object, the states, trying to discredit his
2:25:03
own witness. Harrison hurls at Amos, why did you come to me?
2:25:09
And Flynn excitedly, your honor. The sole purpose of this questioning is to
2:25:15
cast reflection upon the witness. Judge in a bored tone, so stained Harrison
2:25:22
stands a moment, nonplussed, then turns on his heel in disgust. Take
2:25:28
the witness. Flynn nods pleasantly to Amos, you are at present divorced from
2:25:35
the defendant. Yes, sir, who obtained this divorce? I did when
2:25:41
did you fall suit be the fourth? Was there any particular reason, mister
2:25:46
Hart, for your filing suit on this exact day? Well, sir,
2:25:52
the papers came out the day before with the story of flounders at the statement
2:26:00
she was that there was gonna be a little stranger. Flynn smiles broadly.
2:26:07
No, mister Hard, is that grounds for divorce? Amos? Wisely?
2:26:15
Little too much of a stranger? Likewise gets a smile. You mean by
2:26:20
that you doubted the paternity of your child? Smiles again, I mean the
2:26:28
child, Yes, sir, warms up and you can see how that made
2:26:33
me look like I was easy. Flynn smiling. And they can't put anything
2:26:39
over on you, can they? I'll say they can't. Had your wife
2:26:45
apprised you of her condition prior to said announcement? Has that? Had your
2:26:50
wife told you about this stranger? Amos promptly, no, sir, neither
2:26:56
one of them. If counsel has gone up as you this line of inquiry
2:27:01
further yourana, don't you think it would be advisable to exclude women from the
2:27:05
room. Reporters sit up animatedly and take down every word Judge with slow smile.
2:27:13
If any lady wishes to leave. She may do so. Now Roxy
2:27:20
starts up with alacrity, and he adds with another smile, except the defendant.
2:27:26
Flynn looks around at the crowd and calls out genially, that's right.
2:27:33
Stick to me, girls to amos. Did you question her after you read
2:27:37
it? Talk it over with her? No, Flynn suddenly flames. Josh
2:27:45
took the word of a reporter, believed a vile story you read in some
2:27:48
yellow paper. Urana, I object irrelevant and immaterial. Paternity and divorce have
2:27:56
nothing to do with the murder of Fred case lay by Roxy hot Flynn wheels
2:28:01
toward him. Paternity and divorce were introduced by you to besmirch the name of
2:28:05
that defenseless girl. Roxy drops her head modestly, your honor, I'm merely
2:28:13
cross examining on direct judge very bored. Proceed Flynn in lighter tone. And
2:28:22
now, mister Hart, do you expect the jury to believe that? With
2:28:26
all due respect to the press, wave and bow toward them. Jake gives
2:28:31
a grin and salute in response. Our courts would grant you a divorce nearly
2:28:37
on a newspaper story. No, Sarah I had a statement that she'd made
2:28:43
and signed herself. All about how she in this? And where did you
2:28:48
get this statement? Amos looks blandly toward Harrison, who frowns from the State
2:28:54
Attorney's office. Flynn nods comprehendingly. Ah, so, the state's Attorney's office
2:29:03
gave you a statement that enabled you to get a divorce? Did it that
2:29:09
enabled you to cast aside the woman you had sworn to love and cherish for
2:29:13
better or worse? Roxy wipes her eyes carefully. And what, mister Hart,
2:29:20
did you give the states attorney? Harrison springs up hotly, Your honor,
2:29:28
this is still much to Flynn. Withdraw that. Withdraw that you gentlemen,
2:29:35
gentlemen with reproachful glance toward Flynn. Council should be more discreet, all
2:29:43
right, your honor? I withdraw the question, pause as unnecessary to Amos.
2:29:50
You obtained your divorce then because you doubted the legitimacy of this offspring,
2:29:56
Yes, sir, I'm nobody's fool. I'm not. And if you became
2:30:01
convinced you were wrong, had been hasty, you'd be mad enough to admit
2:30:07
it, wouldn't you, Yes, sir, You'd be willing, in fact
2:30:11
to take her back. Amos his eyes meet. Roxies yes, I'd take
2:30:20
her back, provided of course, excused, halts Amos as he starts to
2:30:26
leave, all one word more. I just answer where you are? Can
2:30:33
you swear you are not the father of this child? Well, no,
2:30:39
not exactly. Come here they go to judge. Reporters spring up and cluster
2:30:45
about bench hushed conference while Amos shakes his head first yes, then no,
2:30:52
then yes. To Judge's questions, Amos swings off. I hate as dumb
2:30:58
as I look, Harrison curtly. The state rests. The clerk calls in
2:31:03
loud voice. Roxy Heart, a movie man, converses with the judge hurriedly
2:31:09
while cameras are adjusted. She takes the stand Cleaglights flood the room with uncanny
2:31:16
glares. The judge straightens and looks judicial. The lawyers turn careful profiles to
2:31:24
the camera and the jury for this moment, look their sacred responsibility. Clerk
2:31:31
holds up Bible, blah blah blah blah blah blah blah, truth, truth,
2:31:39
truth, selp you God, Roxy, so bravely for all her fright
2:31:46
I do. She is excited, She is thrilled. The crowds, the
2:31:50
lights, the noise, all for her. She takes to it like a
2:31:54
duck to water. Flynn takes his stand at her right. He doesn't want
2:32:00
to cheat the camera. They must have at least a profile, preferably three
2:32:05
quarters. What is your name? He is looking at the jury, but
2:32:09
it is intent on the camera and does not answer. Roxy lifts eyes heavenward,
2:32:16
Roxy Heart. Flynn flings his arm out with a magnificence that is alarming.
2:32:22
The camera can't hear words. Where do you live? Missus Hart?
2:32:28
Roxy closes her eyes with vampire passion and clasps one hand to her heart.
2:32:33
Cook County Jail. Flynn a terrific impact of fist in palm and the famous
2:32:41
Billy Flynn's scowl. How old are you twenty three? Chokes the three so
2:32:48
lip readers will not see, and wipes a tear from her eyes. The
2:32:52
camera has all at once for a while. Lights are gone, the grinding
2:32:56
stops, and there's a general relaxation from the terrific strain. Let's see where
2:33:03
were we? Ah? Yes, were you acquainted with Fred M. Caseley
2:33:09
the deceased? Yes, sir. Note From now on, she's very much
2:33:15
the plain, simple, honest and god fearing working girl. When did you
2:33:20
first meet him? Ten minutes after five September the eighth. Like all good
2:33:26
witnesses, she has mastered the mnemonic system recommended by mister A of Seattle.
2:33:31
Where did this meeting transpire in the vestibule of the Waverley Company, eighteen sixty
2:33:37
one South Michigan Boulevard, Chicago, Illinois. Relate to the jury, what
2:33:43
conversation, if any, took place between you on this date? It was
2:33:50
raining and I was standing there with my girlfriend looking out for We didn't have
2:33:54
an umbrella, and mister Caseley came by and said it's a fine day for
2:33:58
ducks and we both said yes, both of you. Roxy after conscientious thought,
2:34:05
yes, sir, both of us. And he said he had an
2:34:09
umbrella and would we care to walk to the car car street car and we
2:34:15
said yes, forestalling his question. She said yes and we started out,
2:34:20
and before we got to the corner he said his auto was there and he'd
2:34:26
take us home. Well, you know how crowded a cottage grove car is
2:34:30
at five point thirty on a rainy day when it gets to eighteenth Street,
2:34:33
And we said yes, and he did her first. Then me, how
2:34:39
did mister Caseley conduct himself during this drive, Roxy looks puzzled, unusually friendly
2:34:46
in any way. No, sir, When was the next time you saw
2:34:52
him? The following Tuesday? It rained again and he took us home,
2:34:56
both of you, yes, sir, both of us. Yes. And
2:35:01
the next time Thursday, and then Friday. Apologetically we had a kind of
2:35:09
wet spell along then, you remember, and was your friend with you each
2:35:15
time? Oh? Yes, sir. Did you ever see mister Caseley on
2:35:20
any other occasions? Yes, sir? Where Roxy innocently why at the office,
2:35:30
Flynn impatient at her dullness socially? I mean, did he ever take
2:35:35
you places? Roxy falters slightly, Yes, sir. Do you recall the
2:35:41
first place you went with him? Yes, sir, the Policeman's Benefit ball.
2:35:46
She looks reproachfully at officers Murdoch and Patterson, who are trying to hang
2:35:52
her. They twist uncomfortable. Oh when was that Christmas Eve? Relate to
2:35:58
the glory. What conversation, if any, you had, in regard to
2:36:03
this ball? Well, one evening, I've jet your honor time and place.
2:36:09
Can you fix the time and place? Roxy promptly five eighteen Tuesday,
2:36:16
October seventh, Going south on Michigan Boulevard, and he said he had a
2:36:20
couple of tickets to the ball, which was to be at the Colisseum,
2:36:24
and a very swell affair, and he had been aiming to take his sister
2:36:28
and she couldn't go, and would I care to? And if I did
2:36:31
and had nobody to go with, why he'd take me? Flynn leans forward.
2:36:37
Did you know at this time, missus Hart, that he was married?
2:36:43
Roxy shocked? Oh no, sir, Oh no, mister Flynn.
2:36:48
Flynn with sad reproach, but you were married, Roxy, Roxy drops her
2:36:56
head. Yes, sir, you believe in the same awardness of the marriage
2:37:01
tie, don't you, Your honor I object what the witness believes is immateial.
2:37:07
You know the marriage tie is sacred, don't you, Roxy reverently,
2:37:13
Yes, sir, That's what I told him all along. Flynn in feigned
2:37:18
surprise. Oh so he had asked you before? Oh, yes, sir,
2:37:22
from the very start. Will you tell us then, just why you
2:37:28
made an exception for the Policeman's ball, Roxy in low tone. I don't
2:37:33
know. So many things happen, and you don't know why, looks far
2:37:39
away and gives a long sigh, But I wouldn't have. I'm sure I
2:37:45
wouldn't have if my if Amos's lips tremble and delicate pause. Mister Hart hadn't
2:37:52
quarreled that morning, Flynn again surprised. Oh did you and your mister Hart
2:38:01
quarrel? Roxy drops her head, life crushed within her, hope beaten out,
2:38:09
Yes, sir, and who was to blame? Roxy? Flat,
2:38:15
weary tone, I was, I guess seems like I couldn't stop pestering him,
2:38:22
pestering him or what about? Roxy flings her head back and a rich
2:38:28
tone breaks through. Because I wanted a home. I didn't want to work.
2:38:35
He was making his forty a week, and I wanted a real home
2:38:39
with children. Her head droops again. The jury wipes its eyes. Flynn
2:38:46
decides to forgive her, and his tone is gentle. I see, so
2:38:52
conditions in your home caused you to yarana. I object to counsel's drawing conclusions
2:38:58
as to Flynn, blandly strike it out, And so you drifted on and
2:39:05
on in this relation. Unhappy, Oh, most unhappy? Why were you
2:39:11
unhappy? Because I was deceiving my husband and because I Fainter was doing wrong?
2:39:18
Why didn't you stop? I did want to. I tried to,
2:39:24
but he'd plead mister Casey and say he couldn't live without me. Glynn to
2:39:31
court reporter, states Exhibit D, hands paper to Roxy and pauses a moment.
2:39:37
Then his tone is cold. The subject is distasteful to him, and
2:39:43
he has discussed for a man who would drag such matters into a courtroom.
2:39:48
In this you admit illicit relations with the deceased. She is in an agony
2:39:52
of shame. Is this statement true or false? Roxy? In a low
2:39:58
tone. It's true. She will not lie. You can feel that she
2:40:07
will not lie. You have heard other statements read to the jury alleged to
2:40:13
be made by you. To Officer Murdoch, I hand you states Exhibits E
2:40:18
and F. Are these true or false? Roxy? Energetically false? Do
2:40:26
you accuse the state of changing now your are rephrase your question? Uh,
2:40:33
describe your state of mind at the time of the confession. Oh, I
2:40:39
was all upset, frightened, worried, cry and laughin'. Do you think
2:40:43
it might be called hysterical? Yes, sir, that's it. Hysterical.
2:40:48
Flynn pauses a moment, then speaks in deep, solemn tone. Roxy,
2:40:54
Heart, the state charges you with the murder of Fred Caseley. Gililty or
2:41:00
not guilty. Roxy speaks first to judge, then to jury. Not guilty,
2:41:07
Oh, not guilty. I I killed him, yes, but not
2:41:13
not the other Flynn quietly, do you remember Friday, April the third,
2:41:20
Roxy, low, steady tone. I do tell the jury now, in
2:41:24
your own way, the happenings of that day from five o'clock on. Take
2:41:31
your time and speak clearly. Roxy turns to face the jury directly. They
2:41:37
perk up with interest. I left work as usual at five, took the
2:41:41
cottage grove car, stopped at the A and p for some baking powder for
2:41:46
biscuits for breakfast the next morning. He was always so fond of my biscuits.
2:41:52
Yes, yes, sympathetically. And what time was this? About twenty
2:41:58
six? And I was just getting into a house dress when the doorbell rang.
2:42:03
I thought it was Irma, my girlfriend, and so I slipped into
2:42:07
a sort of kimona and went to the door. Yes, and who was
2:42:13
there? It was mister Casey who spoke first. He did. Do you
2:42:18
remember what he said? Yes, sir, hello, Roxy, I had
2:42:24
to see you just once more. What did he mean by that I had
2:42:28
written him a note telling him it was all over and that we must quit,
2:42:33
for it could never end in happiness. What brought you to this decision?
2:42:37
I had learned he was married, and I realized I loved my husband
2:42:43
and perhaps we could be happy. And did he go away as you asked
2:42:46
him? To Harrison shouting object to counsels feeding the witness? I beg your
2:42:54
pardon? And what did you say? I begged him to go away and
2:43:00
tried to close the door, but he forced his way in. I told
2:43:03
him to wait in the living room while I dressed. It's hard for her
2:43:07
to go on, but he followed me into the bedroom. Yes, and
2:43:13
then asks each question with an air of triumph. I begged him to go,
2:43:18
told him the neighbors would see him, that my husband would soon be
2:43:22
home. And what did he say? He'd been drinking and wouldn't listen.
2:43:28
Finally, he said, if I'd just take one drink with him, he'd
2:43:31
go. And I did. What was the liquor? What kind was it?
2:43:37
Roxy ingenuously, I don't know. It was in a bottle and tasted
2:43:43
very bad. Flynn smiles. Bad liquor or just tasted bad to you?
2:43:48
Roxy? Seriously, Yes, sir, Flynn nods triumphantly. Why didn't you
2:43:56
scream? I was ashamed for the neighbors to know. Do you know how
2:44:00
you'd feel? Her eyes meet the butcher's and he nods. And I'd kept
2:44:05
telling him what I'd said in the letter, that no good would come of
2:44:09
it, that I loved my husband. Oh, you told him that you
2:44:15
loved your husband? And what did he say to that? It made him
2:44:18
mad? And he said it didn't matter. I was his, and he
2:44:24
kept trying to take me in his arms. Looks appealingly at Flynn and hesitates,
2:44:30
Yes, Roxy, you must tell the jury everything. The reporters sit
2:44:35
up alert. They have a right to know. The jury looks as if
2:44:39
it's not only a duty but a pleasure. Roxy faint and finally, I
2:44:46
told him my delicate condition, the moment for which they have waited. And
2:44:54
what did he say to that? He swore, looks shocked and said that
2:44:58
he'd kill me before he'd see another man's child. The reporters lick it up,
2:45:05
where were you at this time? By the victrola show the jury.
2:45:09
She scrambles to the diagram hanging on the wall and casey here indicates bed Flynn
2:45:18
impressively as he hands her back to the witness chair with all the tenderness jew
2:45:22
a mother to be. Now, Roxy tell the jury just what happened next.
2:45:30
The pillows were thrown back and mister Hart's revolver was laying there. He
2:45:35
grabbed I knocked it from his hand. It fell to the floor, and
2:45:39
he whirled me aside back by the dresser. Now and we both grabbed for
2:45:43
the gun. I reached it first, and he started toward me. I
2:45:48
can see him now with that awful look in his eyes. What kind of
2:45:52
look? Describe it to the jury. I can't describe it, but a
2:45:58
terrible look, angry wild Flynn purrs, Were you afraid? Did you think
2:46:05
he meant to kill you? Roxy shudders, Oh, yes, sir,
2:46:11
I knew if he once reached the gun. Flynn purs more deeply. It
2:46:16
was his life then or yours? Yes, sir, faintly, as she
2:46:22
lifts her eyes and not just mine, pause, then continues dramatic narrative,
2:46:30
coming right toward me with that awful look, that wild look. I closed
2:46:35
my eyes and barely whispers shot in defense of your life. Roxy lifts her
2:46:45
head nobly to save my husband's innocent, unborn child. Flynn, with a
2:46:52
wave of hand to Harrison, take the witness black for an instant to denote
2:46:58
the passage of several It is late that afternoon and Flynn is making his closing
2:47:03
plea. He stands before the jury. This is the hour he earns the
2:47:09
five thousand and Billy Sunday himself never worked harder with muscle as well as brain,
2:47:16
minus coat and collar, With perspiration standing in great beads on his forehead.
2:47:22
He's fighting, gentlemen, fighting with every drop of his blood for the
2:47:28
life of that brave little woman. The jury, hypnotized, enthralled, hangs
2:47:33
on each word and follows every gesture. The press watch benignly. They know
2:47:41
his whole bag of tricks, but Billy's always worth watching. Even the judge
2:47:46
listens and Roxy. This scene is really the close of an hour's duel between
2:47:54
Roxy and Flynn. When the curtain goes up, honors are even, and
2:47:58
she is faithful, registering the emotions outlined for her in rehearsal. Gradually,
2:48:05
however, she extends her field deeper emotion gesture, writhing. She works for
2:48:13
her audience, the jury, and they fascinated, are torn between her contortions
2:48:18
and the fervid orator Flynn, who feels them slipping, turns when his speech
2:48:24
permits and tries to stop her with furtive gesture. Of course, she is
2:48:31
oblivious, and he is forced to redouble his own efforts louder tone, wilder
2:48:37
manner to drown her out, until toward the end you have them both playing
2:48:41
in grand crescendo, Flynn in low dramatic tone. Can't you see her that
2:48:48
night, alone, alone with only God and that body? Pause? You
2:48:56
and I have never killed, gentlemen. We do not know the agony of
2:49:01
that hour. We can only guess the mad regret, the bitter reproach,
2:49:07
the torture, the hell He grinds it out like a minister. She lived
2:49:13
through. Then the soul's catessamaine alone. Roxy droops in the approved manner.
2:49:22
The jury gives her a glance of sympathy. Then is back with Flynn and
2:49:26
into this sacred room rush the police. He snarls an imitation of Murdoch and
2:49:33
grasps an imaginary arm. Roxy studies her wrist. Why did you kill him?
2:49:39
Come on, now, you'd better tell threats, physical violence and the
2:49:43
worthy, State's attorney sarcasm with his kindness his promises, imitates Harrison with a
2:49:52
husky whisper. Come clean and I'll help you. Come clean and I'll get
2:49:58
you off. Roxy follows, nodding eagerly with a look of reproach at Harrison.
2:50:05
Frightened, hysterical, the girl breaks down. She does confess. Dazed
2:50:11
and bewildered, she says yes to whatever they ask her. Take statement from
2:50:16
court stenographer. Do you believe, gentlemen, that's a word for word confession
2:50:24
he read you? Of course not. No human being could have made such
2:50:28
a deliberate, coherent statement, certainly not this delicate, frightened girl. No,
2:50:35
there was a careful selection. Ah bit here lifts out morsels from the
2:50:41
air. Ah bit there an addition, deletion, anything to build up his
2:50:48
case. He's hoarsely confidential. He's got to bring home a conviction or lose
2:50:54
his job. All eyes are turned in scorn toward Harrison, who SLINKs down
2:51:01
with eyes downcast. And then he read it to you. Malicious twist of
2:51:07
meaning reads as Harrison read in former scene. But he didn't get that far,
2:51:13
questioned why not answer? Because by god I shot him that's the way
2:51:20
he read it to you, ain't it? Jury looks grieved. It's true.
2:51:26
He flings the paper on table. He would have you believe, gentlemen,
2:51:31
that child sitting there. Roxy lifts her head the picture of girlish innocence
2:51:39
swore. He is shocked, as the jury was that morning. Those were
2:51:43
her words. Yes, but ah, what a different meaning this beast,
2:51:50
this drunken brute who had forced his way into her home. And remember,
2:51:54
gentlemen, if she had shot him down, then the law would have upheld
2:51:58
her. He was coming toward her, threatening her life. Breaks off and
2:52:05
resumes in melancholy tone. What was the future to her? Crushed, betrayed,
2:52:11
broken hearted, nothing less than nothing but the little life that fluttered beneath
2:52:18
her heart. Taps his fountain pen pocket. Ah, Mother, love stirred
2:52:24
within her, and those words were a tribute to her omnipotent maker, who
2:52:30
stood by her inner hour of need. He brings it out with ministerial reverence.
2:52:37
Roxy's gaze is directed heavenward, and her hands clasped to her heart in
2:52:41
prayer. By God, I shot him. Jury looks relieved, effective pause
2:52:48
while little Eva does her stuff. He goes on quietly. I'm sorry she
2:52:54
loved as she did. I'm sorry this monster preyed on her innocence. I
2:53:00
wish he had never entered that happy little home. If sorrow could avail,
2:53:05
he warms up. Fred Casey would be here now, for she'd give her
2:53:09
life and gladly to bring the dead man back. Roxy nods in ecstatic confirmation
2:53:15
and begins enthusiastic pantomime. But we can't do that, gentleman, melancholy.
2:53:22
You may take her life as a state, asks, but it won't bring
2:53:26
Caseley back. Gives Roxy a fixed look. She recalls her cue and starts
2:53:31
moaning and sobbing. And for what purpose? To protect society? His voice
2:53:37
rings out. Do you fear that weeping girl? Finger darts to the tailor
2:53:45
do you to the hard boiled egg in the corner? Do you? They
2:53:50
don't? He continues, for her reformation. She learned her lesson, gentlemen
2:53:56
in that dark hour alone. For punishment, My god, she's punished enough.
2:54:03
No, none of these, but to satisfy the greedy ambition of the
2:54:07
prosecution. Prosecution, no persecution. You are asked for a life, gentlemen.
2:54:16
He turns in exasperation at the loudness of Roxy's wails and gives her a
2:54:20
signal for quiet, which she sublimely ignores. He raises his voice to a
2:54:26
shriek in the effort to drown her, My one who would climb to fame
2:54:31
on dead bodies. Pause, filled with her sobs, almost howls. We
2:54:37
can't give her happiness. The jury is with her. No, it is
2:54:43
too late for that betrayed, crushed. We can only let her pick up
2:54:48
the broken fragments of life, the tangled threads. She is supposed to quiver
2:54:54
her lip, but instead she rises staggers towards the jury without stretch hands.
2:55:01
We can give her another chance. She tatters, gives a wild shriek,
2:55:05
and falls in a dead faint by his side, Grand confusion, and she's
2:55:11
carried out. He turns to judge, will rest your honor. You may
2:55:18
give the case to the jury. Black for an instant to denote the passage
2:55:22
of three or four hours. Courtroom ten o'clock that night, gloomy and dull,
2:55:30
with doors closed and the press awaiting verdict, Amos strides in passageway.
2:55:35
Jake stands at vestibule door half ajar disclosing bailiff with ear to keyhole of jury
2:55:43
room. Men and women, reporters lounge in press seats. A poker game
2:55:48
has just finished among cameramen at clerk's desk, and Babe is giving imitation of
2:55:54
Flynn for photographers and the lawyer himself, who watches from judge's doorway. Babe
2:56:01
stretches forth hands and exaggerates Flynn's manner, and then kerflop the prettiest faint I
2:56:07
ever saw, and my camera not even set, and they carried her out
2:56:13
just like a stiff or hypnotized. You could have stuck pins in her.
2:56:18
God, what a picture that would have made. And this dirty bomb gives
2:56:24
Flynn a shove. That was a real fight, boys, unhonest to God,
2:56:28
tell it's a Sweeney Rathe under your speech. It ended my speech,
2:56:33
all right. And her in there dancin' the Charleston with sudden inspiration. Make
2:56:39
her do it again. Now we could get her picture now. All they
2:56:43
want now is the verdict. Good Lord, I wish suddenly I've got it.
2:56:50
They fall to discussion. Flynn joins the reporters. Jake returns from vestibule.
2:56:56
Well, they're through of the clean prohibitions. There ought to be one
2:57:00
before long. What is it now? Ten to two? The drummer says
2:57:05
he knew a Jane like her once, and the third guy from the end
2:57:07
just pure cussinness. Flash bang, flash bang, flash bang. Everyone stares
2:57:15
in amazement. There's nothing to take pictures of. The cameras are not set,
2:57:18
just the flashlight rods. Hey there, what's the big idea? Smoking
2:57:24
them out? If that don't bring them, it's Gabriel's cue. The judge
2:57:28
appears at the door from his chambers and from the prisoner's room left, Roxy
2:57:33
minus her dress, peeps out. Listen, judge, can't we get a
2:57:39
few pictures now? It's getting late and if you want this with your oatmeal,
2:57:43
Babe yells to Roxy, come on, red, we're shooting them now
2:57:48
to judge, you and her and council and me here with the ring and
2:57:54
license. Now, if we just had the jury, couldn't you call him
2:57:58
out for a minute? Sure, then we be through, Judge in alarm,
2:58:03
No, that would be grounds for reversal. I'm sorry, but all
2:58:09
right, one of her in her lawyer's arms. Bailiff rushes in loud whisper,
2:58:16
they're coming, They're coming. Flynn hurries to prisoner's room to get his
2:58:20
fair charge. Babe grins hanu that'd Bringham. All scramble to appointed places.
2:58:28
The jury files in Roxy in exquisite orchid evening gown enters on Flynn's arm.
2:58:35
Foreman gives judge envelope. There is an expectant hush. After all, you
2:58:41
never know, you know, Judge reads. We the jury find the defendant
2:58:48
not guilty. Flash bang, flash bang. A shriek from Roxy, cheers,
2:58:54
confusion and general bedlam all around. She kisses the judge, the stenographer,
2:59:01
and anybody else within reach. The jury climbs over the rail. Pressed
2:59:05
by her public, she mounts the council table, flings her arms out in
2:59:11
a carefully set speech delivered in her best artificial manner, while the cameramen go
2:59:16
on with their pictures and the cleague lights take up their glare. Dear friends,
2:59:22
kind friends who have stood by me in the dark hours of the past,
2:59:28
His honor, mister Flynn, mister Callahan, Jake by the outer door
2:59:33
gives a look of disgust. Mary Sunshine and all you guys on the jury.
2:59:39
You've been so kind to me, so so encouraging, that I'm gonna
2:59:46
do something for you bang, bang bang. Three pistol shots from the corridor
2:59:52
outside, then a woman's shriek. All stand poised a moment, intense silence.
2:59:58
What the hell, Sunshine Avidly another murder? A police swhistle outside as
3:00:05
one man. The crowd flings around from Roxy and breaks for the door.
3:00:11
Hey you come back here, they go steadily on. Wait a minute,
3:00:16
I want to tell you something. No one even gives her a look.
3:00:20
She bursts into old time rage. You god damn bumbs walking out on me
3:00:26
when I want to make a speech, climbs down angrily and starts after them.
3:00:31
It's important, it's news, Flynn. Only he and Amos are left.
3:00:37
Now forget it. You're all washed up, Roxy hopping around like a
3:00:43
hornet. I am not washed up. I'm gonna be in vaudeville. I'm
3:00:48
famous. What sure booked solid for ten weeks. But the wedding, no
3:00:56
wedding, It would ruin my career. But the ring takes from pocket and
3:01:01
shows her platinum and diamonds. This time, Roxy grabs it. I'll keep
3:01:07
it to remember you by. But the baby, Roxy, the baby,
3:01:11
baby, My god, do I look like an amateur? Babe dashes into
3:01:18
his camera all set for action. Another case for you, Billy over his
3:01:24
shoulder. It won't take a minute, now, Captain. Just a little
3:01:28
picture of the two slayers with you here between them. They enter a police
3:01:33
sergeant and a weeping defiant girl, followed by cameramen and reporters who cluster about
3:01:39
like flies mosquitoes buzzards. Jake to Billy, another Jane out for trigger practice,
3:01:46
bumped off the boyfriend, also his wife. Gee, hey, god,
3:01:50
good to the papers. Roxy in spasm of jealousy and envy two of
3:01:56
them. Oh my god, come on here, it's a picture of you
3:02:00
with machine Gunrosie. Roxy slides into position as she sees the cameras are set.
3:02:05
The Ja slayer meets the Cicero kid, shake hands, poses them,
3:02:11
No, jerks her hand away and flings arm up to cover her face.
3:02:16
I don't want in the papers. Jake jerks it down again. Come on,
3:02:22
sister, you gotta play ball. This is Chicago. The lights go
3:02:26
on, the cameras grind, flash bang curtain. End of Act three and
3:02:35
of Chicago by Maureen Watkins