k Chicago Book by Fred Ebb & Bob Fosse Music by John Kander Lyries by Fred Ebb Based on the Play by Maurine Dallas Watkins ‘Script Adaptation by David Thompson Premiering in 1975 and the hit of the 1997 Broadway season in a production at City Center's Encore! series, Chicago won six Tony Awards including Best Revival and later the Academy Award as Best Picture of the Year. Winner of 6 Tony? Awards including Best Revival of a Musical Winner of 6 Drama Desk Awards, Outstanding Revival of a Musical “A pulse racing revival that fies us right into musical heaven.” / The New York Times “Wildly entertaining with a dazzling score” / New York Datly News Mate Theatre Happen ISB eeACT ONE Scene One (ScuNE: Chicago, Iinois. The late '20s,) (Following the overture, VELMA enters.) (SONG: No, 2 “AND ALL THAT JAZZ”) ‘VELMA. COME ON. RABE, WHY DON'T WE PAINT THE TOWN, AND ALL. THAT JAZZe IM CONNA ROUGE NY KNEES AND ROLL MY STOCKINGS DOWN, AND ALL THAT JAZZ. START THE CAR, AND ALL THAT JAZ SLICK YOUR HAIR [AND WEAR YOUR BUCKLE SHOES AND ALL. THAT JAZZ.CHICAGO - | ; |UMEAR THAT FATHER DIP asaya |ISCONNA BLOW THE BLUES AND ALL THAT JAZZ Were um HOLD ON, HON, as |S WHERE [STORE THE JUICE |WE'RE GONNA BUNNY HUG. ‘ENSEMBLE. BOUGHT SOME ASPIRIN, AND ALL THAT AZ, DOWN AT UNITED DRUG VELMA, ENSEMALE. INCASEYOU SHAKE APART (COME ON, mae. WAT, WL WALT AND WANT A BRAND NEW START WERE GONNA BRUSH THE ToDo TAAr- Teck Luenv No VELMA/ENSEDDLE. f NER FLEW SOIC, ya. { “CAUSE THE STRATOSHERE, ENSEMBLE MEMBER #2, Skiddoo! HoWeDU 1D LND AN aR VELMA, ToALL THAT Wz AND ALL THAT AZZ baie noel ENSEMBLE MEMBER #1, Hotchal CFL YOURE Gonna se ENSEMBLE MEMBER #3, Whoopee YOUR SHERA SMO SHARE. VELMA. ae AND ALL THAT Azz. AND ALL THAT]AZ1, ENSEMBLE. (whiiperd) Hah! Hah! Hah! eae goonnasiunn VELMA. THER GARTERS BREAK. mystasosrath vena se ees am | ee ENSEMBLE, VELMA /ENSEMBLE. SHOW HER WERE To PARKER GRDIE ane ‘u,eR MomIeRSBLOODD cERDLE (FRED GASELY and ROXIE HART ene) WSD HEAR FRED. Listen, uh, your husband ain't home, is he? eR Bs QUEER VELMA. No, her husband is not at home, a VELMA fe ENSEMBLE. FENSEMBLE laughs.) ALL TH JZ. vaMa. FRED, (lo ROXTE) Comte here! Teen ANGFASE AND LOOSE (The “action® between ROXIE cand FRED is very \ mechanical.)enicaco | cmtcaco | ALL THAT JAZZ, ‘COME ON, BABE, WHY DON'T WE PAINT THE TOWN, AND ALL THAT JAZZ? TM GONNA ROUGE MY KNEES {AND ROLL MY STOCKINGS DOWN, AND ALL THAT Az. ROXIE, Nobody walks out on me. (ROXIE shoots him.) FRED, But sweetheatt ~ (ROXIE, shoots him again.) ROXEE. Don't “sweetheart” me, you somofaebitch! FRED, Roxie, please - (ROXE shoots him again.) (PRED dis.) ROXIE, Oh, I gotta pee. (ROXIE exits.)Mu cHicaco cuicaco Scene Two ’ ROX, (cont) AND IF YOU KNEM HIM LIKE ME (The bedroom. Three hours later.) TRNOW YOU'D AGRER, AMOS. So I, ah, took the gun, Officer, and I shot him. ‘WHAT IFTUHE WORLD FOGARTY. I see, and your wife, Roxie Hart, was inno way SLANDERED MY NAME: involved. Is that right? : ‘Wi, HED BE RIGHT THRE, AMOS, That’s right, Officer. ‘ “TAKING THE BLAME, FOGARTY, Aren't you the cheerful little murderer. } Bi LOVES MESO. ‘AMOS. Murderer? Why just last week, the jury thanked a are nan for shooting a burglar. ISONG: No. 3 ~ “FUNNY HONEY" FOGARTY, Well, that’s just fine, Sign right here, Mr. Hart. AMOS. Freely and gladly. Freely and gladly. CONDUGTOR. For her first number, Miss Roxie Hart would like to sing a song of love and devotion dedicated to her dear husband, Amos. ROXIE, SOMETIMES I'M RIGHT. FOGARTY. (looking through his mallet) Fred Casey. AMOS. Fred Casely. How could he be a burglar? My wife ‘THATS NO GREAT PHYSIQUE, knows him! He sold us our furniture! AND LORD KNOWS HE AIN'T GOT THE SMARTS. ROXIE, BUTLOOK ATTHAT SOUL! {LORD KNOWS ‘THLL YA, THAT WHOLE, ‘HE AINTT GOT THE SMARTS, ISAWIOLELOTcREaTER THAN AMOS. She lied to me. She told me he was a burglar ‘IIE SUM OF Hs PARTS.ro cuicaco. } CHICAGO FOGARTY. You mean he was dead when y Scene Three ISONG: No. 4 ~ “CELL BLOCK TANGO") esses of the Cook A Block Tango. (The jail.) [NOW HE'S SHOT OFF HISTRAR, LCANTSTAND THAT SAP! FOGARTY, Noi 50. ae anymore, are you? ROXIE, Amos, did you hear what he said? (AMOS exits.) Son-of bitch.-.Hail Mary full of grace.. (ROXIE continues to ad lib prayers as FOGARTY lakes her aay.)8 cHicaco s = HE HAD IT COMIN’ ‘HE HAD IP COMIN. [HE ONLY HAD HIMSELF TO BLAME, {IFYOU'D HAVE BEEN THERE, IPYOUD HAVE SEEN T, VELMA, ‘PLL-BEICHA YOU WOULD HAVE DONE THF SAME, cHicaco MONA. urscrre WOMEN. uz ‘HE HAD TT COMIN. Yon know how people hare dese HE HADTT COMIN. ‘ae habits that get you down. HE ONLY HAD HIMSELF 70 ‘ike Beri. Bernie ike to chew BLAME. TPYOU Have BPAN THERE, IYOUD Have SeENTT, TReTCHA YOU WOULD HAE DONE THE SANE HE HAD IT COMIN. He HAD IT com HE ONLY HAD MIMSPLE TO BANE, IFYOU'D HAVE BEEN THERE, ime...” And he di TFYOUD HAVE SESH; ‘$01 took the shoxgun of the wall TLLBETGHA YOU WOULD: ane tire vo warning shows, ee Into his hea. ALL | HAD ITCOMIN. HE HAD IT COMIN. [HE ONLY HAD HINSELE TO BLAME, ‘YOU'D HAVE BEEN THERE, IFYOU' HAVE HEARD CT, PLL BETCHA YOU WOULD HAVE DONE THE SAM WOMEN. ANNIE, HEHADIT COMIN. 1 met Ezckel Young fom Salt HEHADIT COMIN.20 cHicaco WOMEN. (cont) JHE HAD TT COMIN [ME ONLY HAD HINSELF TO BLAME. {FYOU'D HAVE BEEN THERE, YOU'D HAVE HEARD TT, LLBETCHA YOU WOULD HAVE. DONE THE SANE. HE HAD IU COMIN’ = ALL. Hah! LIZ/ANNIE/JUNE/MONA. AND THEN HE USED IT, AND HE ABUSED I. IT WASA MURDER BUT NOT A CRIME. LIPSOHITZ, ETC. ALL, i IF YOU'D HAVE BEEN THERE, D HAVE SEEN T, ANNIE. (cont) ‘And then I found out. “Single?” he told me. Sit only was he married. Ob no! He haa six wives. One of those Mormons, you know. So that night, whe You kaow, some gus jus can' hold theiranenie \VELMA/HUNYAK, YOR.SIX,SQUEH, UUH, CICERO LPscut, BTC. JUNE, Now; I'm standing in the kitchen, «arin up the chicken for dinner, T'ULBFTCHA YOU WOULD HAVE DONE THE SAM. cHicaco a HUNYAK. Mit keresek, en itt? Azt mondjok, hogy a hires Jakem lefogta a ferjem: lecsaptam a fejet. De nem igaz, en artatlan vagyok. Nem tudom mert, iettem, Probaltam a ren- le nem ertettek meg... DONE THE SANE. HE HAD FCOMIN HEHAD Ir COMIN. JE ONLY HAD HIMS®LTO BLAME. IFYOU'D HAVE BEEN THERE, IFYOUD HAVESEEN TLLBETCHA YOU WOULD HAVE DONE THE SAME, HE NADIT- UL ALONG2 CHICAGO cHicaco 2s WOMEN. VELMA. LLIZ/ANNTE/MONA. ‘THEY HAD IT COMIN. ‘THEY HAD IT COMIN. HE MAD IT COMIN. ‘THEY HAD IT COMIN, ‘THEY HAD IT COMIN tHe HAD IT CoMY. ‘THEYTOOKA FLOWER INIT'S-——THEYHADIT COMIN’ ALL HEONLY HAD HIIMSELFTO HK ONLY HAD HIMSELE TO. PRIME. ALONG. ; BLAME, BLAME, ‘AND THEN THEY USED T, IDDNTDOMT, IFYOU'D HAVE BEEN THERE, (F YOU'D HAVE BEEN THERE, AND THEY ABUSED IT surieipon, } {PYOU'D HAVE SEEN T, IFYOU'D HAVE SEEN I, IT'WASA MURDER ‘HOW COULD YOU TFL ME VLLBETCHA YOU WOULD LL-BETCHAYOU WOULD BUT NOT A GRIME, “THAT 1 WAS WRONGE SAME, HAVE DONE THE SAME, iat gum one more time! EHAD IT COMIN, oved Abin Lipschitz more than HEAD IT COMIN. vasa real HE ONLY HAD HINSELFTO is painter. BLAME, He was IFYOU'D HAVE BEEN THERE, always, trying to wel TFYOU' HAVE SEEN TT, He'd go out every ne LL BETCHA YOU WOULD HAVE he ae ae Riad he ‘ALL, found Roh, Gad, Rosemary. " swe e PORES: and evng I guessyou cana We ‘TL, BETGHA YOU WOULD AVE DONE THE SAM broke up because of anit if fecences. He saw himself as aie ‘And saw him ded. ALL ‘HE DvRTY BUM, BUM, BU, BUM “TIE DIRTY BUN, BUM, BUM, BUM. INTE/MONA, ‘VELMA /JUNE. (HUNYAK dabbles.) ‘THEY IAD TT COMIN’ THEY HAD IT COMRY. ‘THFY HAD TT COMIN. ‘THEY HADIT COMIN. ‘THEY HAD IT'COMIN' ALL THEY HADI COMIN’ ALL ALONG. “CAUSE IF THEY USED US, AND THEY ABUSED US, HOW COULD YOU TELL US ‘THAT WE WERE WRONG?cHicaco Scene Four (The jait) ENSEMBLE MEMBER #5. And now, Ladies and Ge the Keeper of the Keys, the Co Mistress of Murderer's row ~ Matron “Mama” M (SONG: No. 5- “WHEN YOU'RE GOOD TO MAMA”) MATRON. ‘ASK ANY OF THE OHICKES IV MY PN. ‘THEY. TELL YOU IM THE SIGGEST MOTHER HEN, LOVE THEM ALL AND ALL OF THEM LOVE ME, ‘BECAUSE THE SYSTEM WORKS, ‘THE SYSTEM CALLED "RECIPROCITY? GOTAUTTE MOTTO, AMAYS SEES ME THROUGH. \WHENYOURE GOOD TO MAMA, Maua’s GOOD TO YOU. THERES ALOT OF FAVORS 1 PREPARED TO Do. YOU DO ONE FOR MAMA, SHELL DO ONE FORYOU. ‘THAT LEIS “TTT FOR TAT THATS THE WAY TLV DON TYOU KNOW THAT THIS HAND ‘WASHES THAT ONE, TOO. ‘WHEN YOURE GOOD TO MAMA, -MAMW’S GOOD T0 YOU. cnrcaco 3 s for a phone call. You must get a lot of ers, Mama, SHE'LL GET HOT FOR ‘WHEN THEY PASS THE BASKET26 cuicaco MATRON. (cont.) ‘THE FOLKS ATOP THE LADDER ARE THE ONES THE WORLD ADORES. MAMA'S GOOD TO YOU’, CHICAGO a Scene Five (The jail.) of my chair! nk you are— here is Velma Kelly. , gosh! Tread Miss Kelly, couldcHIcaco ROXIE. Is being drunk grounds? VELMA. Just ask your lawyer, got a lawyer, |, as they say in Southampton...you are s my deat: (VELMA exits.) ROXIE. So that’s Velma Kelly, don't ya? cuicaco Fo ‘Scene Six (The Visitors’ Area) gentlemen, a tapdance. unts pockets while 1ot my Amos ~ $0 ‘embarrassed...so30 cHicaco cHICAGO ” Scene Seven ISONG: No, 7 “ALL I CARE ABOUT”) ENSEMBLE MEMBER #8. Ladies and gentlemen, prese the Silver Tongued Prince of the Courtroom the only Mr. Billy Flynn, ENSEMBLE WOMEN, ‘WE WANTILLY, ‘WHERE IS BILLY? AND OOH, WHAT LUCK, “CAUSE HERE HE Is! (BILLY FLYNN enters BILLY. Is everybody, (BILLY /ENSEMBLE WOMEN whistle fo...) omy, ITMAYSOUND ODD, DON'T CARE FOR WEARIN’ SILK CRAVATS, RUBY STUDS, SATIN SPATS, ENSEMBLE WOMEN, ALLHE CARES ABOUT ILOvE. BILLY. SHOW ME LONG RAVEN RR FLOWIN’ DOWN ABOUT 70 TERE ALL HE CARES ABOUTS LOVE, amy. a ‘LET ME SEE HER RUNNING FREF, ve ; (spoken) Keep your money, that's enough for met3 CHICAGO BILLY. (cont,) DON'T CARE FOR DRIVIN’ PACKARD CARS, ‘SMOKIN’ LONG, BUCK CIGARS. TWsTIN' THE WRIST wn ‘TINTS TURNIN’ THE SCREW. DILLY /ENSEMBLE WOMEN. ‘ALI (HE) CARE(S) ABOUT 15 LOVE. cicaco, Scene Eight lo, Andy. AMOS. Ainos. My BELLY. Right, Did you bring the rest of the five thousand dollars? AMOS. Well ~ here's five three hundred indred on my insurance. And AMOS. I'll pay you give you notes wi cent is paid. BILLY. You know, when you can you if she was a drunk or a dope fiend. No foolish ‘questions like that, now did [? No. All I said was, “Havecicaco is: either I get the entire five thousand ~ (IMUSIC: No. 8 ~ “$5,000 CUE”} as AMOS exits ROXIE enters.) (To ROx1E:) oF you'll rot in jail before I bring you to trial ROXIE. Look, Mr. Flynn. (SONG: No. 9~ “A LITTLE BIT OF GOOD"} ftage coloratura trill) figure we'll have any trouble with her. (another willy She'll swallow, hook, line, and sinker, cHICAGO (another tll) ‘BILLY. (cont.) Her name's Mary Sunshine. (MARY SUNSHINE enters.) ‘OUR WEARY LIVES CAN WEAVE, YOU'RE SO MUCH BETTER OFF IFYOU BELIEVE ‘THAT THERE'S A LITTLE BIT OF GOOD INEVERYONE. INEVERYONE YOU'LL EVER KNOW, ‘YES, THERES ALITTLE arr OF GOOD ITONLY TAKES THE TAKING TIME WITH ONE ANOTHER FOR UNDER EVERY MEAN VENEER IS SOMEONE WARM AND DEAR KEEP LOOKING FOR THAT BIT OF GOOD IN EVERYONE ‘THE ONES WE CALL BAD ARE NEVER ALL BAD, ‘SO TRY TO FIND THAT LITTLE BIT OF GOOD, JUSTALITLE UTTLE BIT OF Goo», HAH HAH HAH HAM ANE6 cHicaco cHicaco a MARY SUNSHINE, (cont) THERE'S SONEONE WARM AND DEAR. EP LOOKING FOR TAT BIT OF GOOD IN EVERYONE, yOUNEET RAS, "WHEY RE.NOT COMPLETE RATS. SO TRY TO FIND THAT LITTLE BT OF GOOD. IMUSIC: Rim shot] (MARY SUNSHINE exits.) That’ your gr ROXIE. Mary Sunshine is going to interview me! Holy crapt (SONG: No, 11 “WE BOTH REACH FOR THE GUN"} f (MATRON enters) f SUNSHINE enter,) WHERE'D YOU COME FROM: BILLY. (as ROXIE) MISISIPP ENSEMBLE. AND YOUIR PARENTS? BILLY. (as ROXIE) ‘VERY WEALTH. ENSEMBLE. WHERE ARE THEY NOW?38 cuicaco cHIcaco ae ENSEMBLE, } ‘THEN DESCRIBE TT. k | BLY, (as ROXIE) | t HE CAME TOWARD ME ENSEBLE. i ‘WITHTHE PISTOL? ‘WHO'S FRED CASELY BILLY. (as ROXIE) NV EXBOY FRIEND. ENSEMBLE. WIYDYOU SHOOT HIME BILLY. (spoken) She knew that she was doin’ wrong.o CHICAGO, cutcaco a | | BILLY. (as ROXIE) ENSEMBLE, t ‘VERY FRIGHTENED, wniewe ENSEMBLE. BILLY, (as ROXIE) AREOU SORRY? WHEN WE BOTH REACHED FOR THE GUN, ROXIE, (as here) ‘MARY SUNSHINE, ARE YOU KIDDING! UNDERSTANDABLE, UNDERSTANDABLE. ENSEMBLE. BILLY &¢ MARY SUNSHINE, WHATS YOUR STATEMENT? ‘ES, T'S PERFECTLY UNDERSTANDABLE, (COMPREILENSILE, COMPREHENSIBLE [NOT ABT REPREMENSIBLE, ITSO DEFENSIBLE. pny. ENSEMBLE. OFLYES, OH VES, OH VES, “THOUGHT MY CHOO-CHOO JUMPED THE TRACK, TD GIVE MY LIFE TO BRING HIM BACK Lec hea itt BILLY. (as ROXIE) ‘STAY AWAY FROM ENSEMBLE, wHare BILLY, (as ROXIE) JATLAND LIQUOR ENSEMBLE. AND? BILLY. (as ROXTE) AND THE MEN WHHO Alte louder! ENSEMBLE. wuste ‘BILLY, (as ROXIE) PLAY EOR FUN! [MARY SUNSHINE /ENSEMBLE. ENSEMBLE, COWES, OH YES, OH YES. THEY BOTH, AND WHAT? ‘OHYES, THEY BOTH, BILLY. (as ROXIE) ‘Of Yes, THEY BOTH REACH THATS THE THOUGHT THAT THE GUN, THE GUN, THE UN, ENSEMBLE. OH YES, THEY BOTH REACHEI IEGUN, yea? BILLY. (as ROXIE) ‘CANE UPON ME* CHICAGO cuicaco 3 | k MARY SUNSHINE/ENSEMBLE, (cont) Scene Nine IMUSIC: No, 12 ~ “1ST NEWSPAPER HEADLINES" ENSEMBLE MEMBER #7. Stop the pi ENSEMBLE MEMBER #6, ENSEMBLE MEMBER #8, “"We Both Reached for the Gun,’ “TIE GUN, THE GUN, THE GUN, THE GUN, says Roxie!” BIL. ENSEMBLE MEMBER #2. “Dancing Feet Lead to Sorrow’ says OTH REACHED FOR THE GUN, Beauuif | MARY SUNSHINE/ENSEMBLE. MARY SUNSHINE. "Roxie sobs, ‘I'd Give Anything to Bring Hlim Back!" ENSEMBLE MEMBER 5, “Jar Roxie's Downfall!” t (Underscoring stops.) ¥a got that, Charlie? Right. (SONG: No. 13 ~ ROXIE") as ENSEMBLE ext.) n BOTH EACHED FOR THE GUNT“ cuicaco cHICAGO ° ‘MYBOOBS, MY NOSE, FROM JUST SOME DUNB MECHANICS WIFE, ‘THE NAME ONEVERVBODFS LIPS PMGONNA BE IS GONNA BE ROXIE. Sing itt ‘THE LADY RAKIN' INTHE CHIPS ENSEMBLE MEN. ISGONNA BE ROXE, ROXIE! 1M GONNA BE A CELEBRITY ROXIE, “THAT MEANS SOMEBODY BYERVONE KNOWS. WHO SAYS THAT MURDER'S NOT AN ART: ‘THEYRE GONNA RECOGNIZE MY XE ENSEMBLE MEN, (MC HAIR, MY TEETH, MY 8QOBS, MY NOSE. AND WHO IN CASE SIIE DOESN'T LANG FROM JUST SOME DUMB MECHANIC'S WIFE, ‘ROXIE, FM GONNA BE ROXIE ‘CAN SAY SUE STARTED WTI A RANGE ‘WHO SAYS THAT MURDER NOT AN ARTZ Foxy AND WHO IN GASE SHE.DOBSN"T HANG ‘ROXIE/ENSEMBLE MEN, ‘CAN SAY SHE STARTED WITH A BANG? ‘ROXIE HART! CHUH, (CHUH. CHHUHL CHUM, CHUH. CHUM, ENSEMBLE MEN, (whispered) Roxie! ROXIE, "THE LADY RARIN'BN'THE CHIPS IS GONNA BE ENSEMBLE MEN. (whispered) Roxic! SHE GONNA BE A CELEBRITY THINK OF THOSE AUTOGRAPHS TLL SIGN "6000 LUCK TO YOU, ROXIE! AND ILL APPEAR IN ALAVALIERE, ‘THAT GOES ALL THE WAY DOWN TO MY WAST,ry cHicaco cHIcAcO. a [ENSEMBLE MEN. Scene Ten HERE A RING, THERE A RING. ; EVERYWHERE ARING A LING. (The jail.) | ROXIE. (MUSIC: No. 14 - “2ND NEWSPAPER HEADLINES”! BUT ALWAYS IN THE BEST OF TASTE, if : J VELMA. Mama, you know that I am not a jealous person, bat every time T sce that tomato's name on the front ‘SHE'S GIVING UP HER HUNDRUM LIFE ROXIE. IM GONNA BE~ bum." Do you kitow bout someone she (whispered) She made a scandal (sung) AND A START. ROXIE, AND SOPHIE TUGRERLL SHIT, 1KNOW, AON. Ally estou today ithe Har id | YEA Hey, Marn, ve got an en [ENSEMBLE MEN. Uh-huh ROXIE. ‘TO SEE HER NAME GET BILLED BELOW act of desperation. (VELMA approaches ROXIE.) VELMA LMYSISTER AND IAD AN ACT THAT COULDN'T FLOR. MY SISTER ANDI WERE HEADED STRAIGHT FOR THETOR. ‘My SISTER AND I EARNED A THOU A WEEK AT EAS. Oh yeah. BUT MY SISTERS NOM, UNFORTUNATELY, DECEASED,“ cHicaco cuicaco ‘VELMA. (cont.) ‘THEN THOSE DING DONG DADDIES STARTED TO ROAR VELMA, (cont,) 1 know, TI'S SAD, OF COURSE, BUTA FACT ISSTILLAFACT. ‘WHISTLE, STOMPED AND STAMPED ON THE FLOOR AND NOW ALL THAT REMAINS YELLING, SCREAMING, BEGGING FOR MORE, ISTHE REMAINS OF A PERFECT DOUBLE ACT And we'd say, “O.K. fellas, keep your socks up. You Do you know that you are exactly he same size as my ain't seen nothin’ yet!” ‘ALONE Come on, you can say. have to imagine it wth two people. fen her with two people. RSI, (VELMA imitates drums.) the second part was real “THEN SHED. THENTD. THEN we. BUTICAN'T DOTT ALONE, ‘SHED SAY, “WHAT STATE'S CHICAGO IN* Saxophone! PD SAY, TL" “THEN wer, Ya get that? (VELMA ad lbs together) ‘SHE'D SAY “TURN YOUR MOTOR OFF” Together! (dance) ‘BUTI CAN'T DO TT ALONE. ‘CAN HEAR 'EM CHEERIN’ STILL WHEN SHED CO. 1060. WeDo. AND THEN THOSE TWO-ATTJOHNNIES DID IT UP BROWN ‘SHE‘D SAY, YOU'RE THE CAT'S MEOW” “THEN WE'D WOW THE CROWD AGAIN WHEN SHED GO.. P60. And we'd say, “O.K. boys, we ‘afew more partin’ shots!.” And t perfect unison, (dance) this we did in0 cHrcAco cHIcAGo st (QOTTY sees HARRY wih ENSEMBLE MEMBER F0,) MATRON, (coni,) Very odd. (KITTY sees ENSEMBLE MEMBER #10 with HARRY as uel!) \ey sure got lousy flor extremely ocd. nowadays. I mean, (SOTTY see) ENSEMBLE MEMBER #6 with HARRY and go to jail and get a real the women.) Puzzled. She disapp returns she gently awake: IMUSIC out} KITTY. Oh, Harry... HARRY. O.K. Are you gonna believe what you see or what 1 for a second. When she in’ personal, you understand. (ROXTE exits.) personal, Nothin’s ever personal. EMUSIC: No, 18 ~ “3RD NEWSPAPER HEADLINE” (KITTY shoots HARRY and the three ENSEMBLE IE DESERTED BRIDE ON HER WEDDING NIGHT [MEMBERS ~ two times ~ with machine gun blasts.) ‘ENSEMBLE MEMBER #2. “Lake Shore Drive Massacre!" IMPLY CANNOT DO IT ALONE. (VELMA exits.)2 CHICAGO Scene Eleven (The jai.) BILLY. Gentlemen, please, my client will be happy to answer all your questions! (KITTY bles BILLY.) ‘Ow, will you stop biting? I'll get hydrophobia. Kary, hell all of you. I'ni not answering your suite, You're gonna love it KITTY, Wait a minute! Do you know who my father is? BILLY, Step right in here, Ge your questions and afte fan interview myself... ROMTE, Mr, Flynn! Mr: Flynn! cutcaco, (MARY and BILLY exit.) ROXIE. Pineapples. | got a feeling you're in ouble, Roxie. VELMA Socialite. You lose again, Veln ROXIE. There's only one person who can help you now, Roxie. VELMA. There's only one person you can count on now, Velma. CONDUCTOR. And now, Miss Roxie Hart and Miss Velma, Kelly sing a song of unrelenting determination and ‘unmitigated ego. ISONG: No. 19 “MY OWN BEST FRIEND") ROXIE. (ONE THING KNOW VELMA, ONETHING | KNOW ‘ROXIE, AND I'VEALWAYS KNOWN, VELMA, AND I'VE ALWAYS KNOWN, ROXE, TAMMY OWN VELMA LAMM OWN __-VELMA/ROXTE, ‘at the hell do T care about pineapples? Did ya ‘get my trial date? ‘BEST FRIEND. BABYS ALIVEcuicaco VELMA, AND BABY'S HER OWN ‘VELMA/ROXTE. BEST FRIEND, MAN'S THE GUY WHO TOLD ME HE CARES, BUT THEY WERE SCRATCHIN’ MY RACK. "CAUSE I WAS SCRATCHIN' THEIRS. ROXIE. AND TRUSTING TO LUCK, (ROXIE Laughs.) VELMA. -AND TRUSTING T0 LUCK, (VELMA laughs.) ROXIE. THATS ONLY OR FOO, VELMA. ‘THATS ONLY FOR FOOLS, ROXIE, THLAYINA GAME VELMA. IPLAYINA GAME WHERE 1 MAKE THE RULES. ISAM MY OWN BEST FRIEND, ‘VELMA/RONE. “TIREF MUSKETEERS, ENSEMBLE. ai aH cHicaco 8 ROXIE/VELMA, ENSEMBLE. ‘you reporters!canyou nucnse: | MEAN, CAN YOU BELIEVE I> TNOWA GIRL, AGIRL WHO LANDS ONT ‘YOU COULD PUT HER F AND SHED COME HOW SHE DOESIT, HEAVEN KNOWS, SECOND REPORTER. Hold on everybody, she’s comin’ out (ROXIE and a DOCTOS Welt, Doe, is she or VELMA She is, SECOND REPORTER. She WADA Ya vwecHicaco BILLY. Doc, would you swear to that statement int co DOCTOR. Yes, BILLY. Good. Uh...button your fly. (BILLY and the DOCTOR exit.) VELMA, waist, ONTHE OTHER HAND, ‘MY FACE INA PAIL OF SLOP (GET RUN OVER BY A TRUCK AND 1 AM DEADER THAN A DUCK, ANYTHING THATSS TRUE WOULD TRULY CROSS HER EYES. UT WHAT THAT MOUSEIS SELLING, n of the press ~ leave bo YOU BELIEVE n> [MEAN DO YOU BELIEVE Tr (SONG: No, 23 - “ME AND MY BABY”) ROXIE, ‘MY DEAR LITTLE BABY, MY SWEFT LITTLE Babs, curcaco LOOK AT MY BABY AND ME ME AND MY BABY, ‘My BABY AND NE, WERE SO MUCH TOCETIIER YOU COUNT USAS ONE, ‘TELLLOLD MAN WORRY'T0.60 CLIMB A TREE, ‘CALNE IVE COT sn BB, yuck, yuck, NOW DONT YOU AGREE? Wine KEEP rr MUM, WiC harenwe:60 CHICAGO ROXIE. (cont,) TICAN ASSURE YOU IT WONT CO AWAY, LET ME ASSURE YOU LOOKA MY BABY, MY BABY AND ME PACING THE WORLD AND INCIDENTALLY, SO AM (dance to:) ROXIE fe ENSEMBLE MEN, MAMA, MAMA, MAMA, MAMA, MAMA, MAMA, MAMA! cuicaco ENSEMBLE MEN/ENSEMBLE WOMEN. GET OUT OF OUR WAY, FOLKS, AND GIVE US SOME ROOM, ‘WATCH HOW WE BUBBLE AND BLOSSOM AND BLOOM. LIFE WAS A PRISON ‘BUT WE COT THE KEX, ‘ME AND MY BABI, i MYPINK LITTLE BABY, NVRALD LITTLE BABI, LOOKA MY BABY ROXIE. AND NE (ROXIE, and ENSEMBLE MEN exit.) {MUSIC out} «they'd moved.cuicaco ‘AMOS. (cont.) | SOMEONE IN THE MOVIE SHOW YELLED, “ARE INTHE SECOND ROW! “THIS WHOLE PLAGE 1S A POWDER KEGI" you'DNoTIcE HIM, AND EVEN WITHOUT CLUCKING LIKE. HEN, ‘EVERYONE GETS NOTICED, NOW AND THEN, ‘UNLESS, OF COURSE, THAT PERSONAGE SHOULD BE INVISIBLE, INCONSEQUENTIAL NE. CELLOPHANE, ‘MISTER CELLOPHANE. SHOULD HAVE BEEN MY NAME, MISTER CELLOPHANE. “CAUSE YOU CAN LOOK RIGHT THROUGH ME, WALK RIGHT BY ME AND NEVER KNOW PM THERE. SHOULD HAVE BEEN HY NAME, MISTER CELLOPHANE, “CAUSE YOU CAN LOOK RIGHT THROUGH ME, WALK RIGHT BY ME, in you count? Septem! possibly be...the father Cigars anyway. I don’ damn when people...Jaugh. AMOS, Langh? Why would they laugh? cHicaco WALK RIGHT BY ME, AND NFVER KNOWEM THERE, 6scHicaco. AMOS. (cont) TELL, cauLoPiaNe, MISTER CELLOPHANE, STOULD HAVE BEEN wy NAME, MISTER CELLOPHANE, ‘CAUSE YOU CAN LOOK RIGHT THROUGH, WALK RIGHT BY 8, AND NEVER RNOW M THERE, NEVER EVEN KNOW TM THERE, Hope I didn't take up too much of your time, (AMOS exits.) cHIcAco os Scene Two To the MATRON) Hello ladies! Hey, Diesel, ya? s€¢ you. Look, a few weeks away and I've been makin’ pla (IMUSIC) as ENSEMBLE EN ene) (SONG: No, 25 ~ “WHEN VELMA TAKES THE STAND”)cy cHicaco “EM EATIN' OUTOF THE PALM OF HER HAND, (WHEN VELMA TAKES THE STAND. ‘SEE THAT KELLY GI. MAKE THATJURY WHIRL, (VELMA faints.) ROXIE. Is that really what you're gonna do on the stand? VELMA. Yeah. I thought so. ROXIE, Can I offer you just the tecniest bit of criticism? cHICAGO 7 guess I'll go now, But not quietly music, please? ISONG: No, 26 ~ “VELMA TAKES THE STAND EXIT a greasy lawyer! Who's out Id appear in court without me,68 cHicaco ROXIE, And I want my five grand back, too! HUNYAK. No. No. No. CHICAGO Scene Three (An anteroom in the courthouse HUNYAK. Uncle Sam jo es igazsagos, o nem fog suki vagyok. (MUSIC: No. 27 - “HUNGARIAN HANGING”) ty Not... guile .ty. Note0 cHicaco CHICAGO n IMUSIC: Drum roll erescendo} (HUNYAK exits. Noose drops.) IMUSIC: Cymbal crash} Scene Four (The anteroom of the courthouse, March 9th,) (BILLY re-enters and joins ROXIE, who has seen the 18 You say. you're doing on thecurcaco ISONG: No. 28 ~ “RAZZLE DAZZLE”} (GNNE"EM THE OLD RAZZLE DAZILE, -RAZILE DAZZLE EM, (OIVE'EM AN ACT WITH LOTS OF FLASH INIT AND THE REACTION WIL BE PASSIONATE, (GIVE"EM THE OLD Hocts POCUS, E WITH SEQUINS IN TERR NS HINGES ALL ARE RUSTING? (GIVE. EM THE OLD RAZZLE DAZZLE ENSEMBLE, RAZZLE DAZZLE EM. BILLY. GIVE. PM A SHOW THAT'SSO SPLENDIFEROLS, ROW AFTER ROW WILL.GROW VOCIFEROLS. DILLY & ENSEMBLE. (GIVE"EN THE OLD FLIM ALAM FLUMMOX, ENSEMBLE. FOOL-AND FRACTURE BM, ay. HOW GAN THEY HEAR THE TRUTH ABOVE THE ROAR? ENSEMBLE. (growled) ROAR ROAR! ROAR! THIROW "EM A FARE AND A FINAGLE. NEVER KNOW, YOU'RE JUST CHICAGO " BULLY & ENSEMBLE, AND THEY'LL BEG YOU FOR MORE ENSEMBLE. (sinister laughs, fo times) (cahispered) (GIVE "EM THE OLD RAZZLE AZAR. RATZLEDATILE PM, (GEE THE OLD THREE ING CRCUS STUN AND STAGGER EM, ILE. GO INTO YOUR DANCE, ENSEMBLE. NE EW THE OLD RATZLE DAZZLE BILLY. GIVE EM AN ACT THAT'S UNASSAILABLE, ‘THEYLL WAIT A YEAR TIL YOU'RE AVAILABLE, ENSEMBLE. GIVE "EM THE OLD DOUBLE WHAM” cHicaco BILLY. za -RATZLE DAZILE EM. ENSEMBLE. RAZILE DAZZLE EM. amy. RACE DAZZLE EM. BILLY & ENSEMBLE, AND THEY'LL MAKE YOU A STAR cHicaco in Scene Five (The courtroom.) IMUSIC: No. 29 - “COURTROOM SCENE”) BILLY, Ladies and gentlemen, we present ~ Justice. (Tambourine ‘Thank you. (The SODGE. pounds his gavel once.) HARRISON, The State calls ~ ENSEMBLE. (in rhythm) Mr. Amos Mart. (IMUSIC in} as AMOS enters and i “What happened him, because he HARRISON. Exactly IMUSIC: Cymbal choke] “Take the witness. IMUSIC int BILLY, Hello, Amos. AMOS, Amos, that’s right, Mt: Flynn, Amos,CHICAGO ining a divorce front % che was expecting that you [MUSIC out} AMOS. She docs? which she docs — MUSIC: Cynbo! choke Step down, Daddy, (MUSIC) as AMOS exits.) ENSEMBLE, (in rhythin) Roxie Hart to the stand. ((MUSIC] as ROXIE takes the stand.) cHIcaco “4! BILLY. What's your name? ENSEMBLE. (whispered) Roxie! FRED sis.)CHICAGO AMOS. Yeah, yeah, a ROXIE. And I don’t like you working those long hours at the garage either. AMOS, Sure sure, ROXIE. Oh Amos, I want a real home and a child. (MUSIC out} AMOS. Fat chance. IMUSIC: Bass drum} BILLY. So you drifted into this ilicit relationship with Fed Casely because you were unhappy at home. 'appy. BILLY. Yer, you do respect the sacredness of the marriage vow? (FRED enters.) ‘AMOS. I love ya, Honey. I love ya. IMUSIC: Bike Horn} ROXIE. I was being torn apart. (IMUSIC: Ratchet. Drum hits] as AMOS and FRED sit.) cHicaco " him - yes ~ but T (handing her a handkerchief) ‘There, there (Thrusts the handkerchief toward hes: ROXTE remembers to sob.) ENSEMBLE. (continues under the scene) CVE EN THE OW RAZZLEDATILE. ight grocery store to pick up some baking lake cup cakes for my Al was getting ready for bed doorbell rang. ENSEMBLE. “DING-DONG”, [MUSIC out. Doorbell} ROXIE. Fred Casely.0 cHicaco BILLY, And what did he say, Roxie? an ote me! Telling me it was all over? : the error of my ways and... DILLY. And? (ROXIE forgets her story.) ROXIE, And? BILLY. And? ROXIE, And? BILLY. Ancl when you asked him to, did he go away? . Lobject! The counsel is leading the witness. TUDGE, Sustained GUDGE hits gavel on BILLY. I'll rephrase the ROXIE. I said, “Go away! ENSEMBLE. Beat it, bucldy. QUDGE hits gavel three times.) door, but he forced his way in. 1 What did you say? -e-but he followed me, (MUSIC: Four beats} FRED. Look, just have one little drink with me and I'l go. BILLY. Why didn’t you scream? ROXIE. I was afraid 10 wake the neighbors. MUSIC: Tremolo} (loFRED) Please, no good will come of this, and besides, Hove my husband, CHICAGO a IMLIY. So you told him that you loved your husband and What did he say to that? You're mine. You're mine. You're mine, IMUSIC: Apache] (ENSEMBLE: seven fast handclaps.) ROXIE, [can't go on. I can’t go on. I can’t go on. BULLY. No, Ro’ have a right to know. ROXIE. Okay. (ROXIE laps FRED 5 shoulder) IMUSIC: Woodblock three times} (To FRED:) Amios and me are going to have a baby. I knocked it from his hand ~ IMUSIC: Chord] he whirled me aside. IMUSIC: Sustained chord} ROXIE. (fo the FUROR tho pinches her again) Will you cut that out?cutcaco. BILLY, And then? ae ROXIE, And then, (in rhythm) we both reached for the gun, (MUSIC: Too bass drum hits, Violin baby ery} So I closed my eyes and I shot! IMUSIC: Rim shot) FRED CASELY. Roxic ~ IMUSIC: Rim shot] Roxie, please - IMUSIC: Rim shot} ENSEMBLE, (whispered) Hey! BILLY. In defense of your lifet ENSEMBLE. RAVILE DAZALE EM, RAZALE DAZE ROXIE. To save my husband’s unborn child! ENSEMBLE, AND THEY MAKE YOU A STAR! QUDGE hits gave two times.) cHIcaco Scene Six (The jail.) IMUSIC: No, 30 ~ NBC CHIMES} MARY SUNSHINE. (asi se were reporting from the courtroom wior throughout this truly extraordinary!cHicaco, ISONG: No, 31 ~ ISASNAKE INTHE GRASS. WHATEVER HAPPENED TO CLASS? VELMA. ass! ‘VELMA AND MATRON, AH, THERE AIN'T NO GENTLEMEN ‘TO OPEN UPTHE DOORS, THERE AIN'T NO LADIES NOW, ‘THERE'S ONLY PUGS AND WHORES. AND EVEN KIDS'LL KNOCK YA DOWN ‘SO'S THEY CAN Pass, NOBODY'S GOT NO CLASS. VELMA. WHATEVER HAPPENED TO OLD VALUES MATRON, AND FINE MORALS NOW, NO ONE EVEN SAYS "0028" WHEN THEYRE PASSING THEIR GAS. ‘VELMA & MATRON, WHATEVER HAPPENED TO CLASS: class cmicaco 8 | ‘VELMA & MATRON, (cont,) MATRON. AND EVEN KINS'LL RICK YOUR SHINS AND GIVEYOU SASS. VELMA. ‘AND EVEN KIDS RICK YOUR SHINS ALL YOU READ ABOUT TODAY RAPE AND THEFL MATRON. JESUS CHRIST! ‘AINTT THERE NO DECENCY LEFT? 'SGOTHIS BRAINS IN ls CROTCH MATRON. HOLY CRAP VELMA. HOLY CRAP, MATRON. ‘WHAT ASHAME. VELMA. ‘WHAT A SHAME, ‘VELMA & MATRON. WHAT BECAME OF CLASSs cHIcaco Scene 7 ro (The courtroom.) IMUSIC: No. 32 - “BILLY'S SPEECH?) IMUSIC: Drum roll) EMUSIC: Drum roll stops} ~ champion of the downtrodden. IMUSIC in} BILLY. Ladies and Gentlemen, you and I have never killed. hat Roxie Hart irunken beast, Fred Casely, rced liquor upon her, [MARY SUNSHINE. (vocal ad lib) (BILLY removes MARY SUNSHINE’ jacket and wig 10 reveal her to bea him.) BULLY. The defense rests! (MARY SUNSHINE exils,) cHicaco X Scene Bight (The courtroom.) JUDGE, Order! Order! I said order! Members of the Jury. ease rise? And what is your IMUSIC: No. 33 - “THE VERDICT”) IMUSIC: Percussion gunshots] n, A REPORTER rushes in.) should see what's going on out yee action and this babe shot the defense attorney. I's terrible, But what (Enormous cony astory! (Bveryone exits. There's pandemonium. BILLY aid ROXIE remain.)cHicaco BILLY/ENSEMBLE WOMEN. a ‘ALL (RE) CARE(S) ABOUT IS LOVE. (BILLY /ENSEMBLE WOMEN exit AMOS enters.) AMOS. Roxie? jome. You said you still wanted love you. And the baby. Our baby. aby? ven want my picture. I don't under ey didn’t even want my picture. AMOS. My exit music, please... IMUSIC: the ORCHESTRA doesn't play} ROXIE. ...gone... "THERE'S MEN EVERYWHERE, IATL EVERYWHERE, ‘HOOZE EVERYWHERE, LIFE EVERYWHERE, JOvEVEREWHERE. NOWADAYS. CHICAGO, BOKEE. (cont) ‘YOU CAN LIKE THE LIFE YOU'RE LIVIN. ‘YOU CANLIVE THE LIPEYOU LIKE, ‘YOU CAN EVEN MARRY HARRY, ‘BUT MESS AROUND WITH IKE AND THATS 6000, ISNT GRAND, ISN'T MT? (GREAT ISNT. SWELL. (ROXIE exits:) ENSEMBLE MEMBER #2. Ladi (ROXIE and VELMA enter during sperch.) ROXIE & VELMA. YOU CANUIKE THE LIFE YOU'RE LIVIN: ‘BUT MESS AROUND WITH IKE. AND THAT'S 6000, INT IN FLFTY YEARS OR SO, I'S GONNA CHANGE, YOU KNOW, BUT, OH, T'S HEAVEN, NOWADANScurcaco, (IDANCE] ROXIE, and VELMA are “poetry in motion, too moving as one”) (MUSIC: ENSEMBLE member whistles] ROXIE AND VELMA. (breathy) WAWA, WA, WA, WA, WA, WAWA, WA, WA, WA, WA WA, Wawa, ‘Wa, WA, WA, WA WA AND THATS 6000.18 Tre GRAND ISN'T TT? GREAT, SNT TT SWELL ISNT IT? FUNISWT HE ‘BUT NOTHIN STAYS INFIFTY YEARS ORO, T'S GONNA CHANGE, YOU KNOW, BUT. O1, TS HEAVEN, NOWADAYS, (MUSIC: No, 35 ~ “HOT HONEY RAG") MARY SUNSHINE (as man.) Okay, you babes of jae Lets pick up the pace. Let's shake the blues a } , cHicaco _ ROXIE. It was your letters, telegrams, and words of encour. ‘VELMA. But we are the living examples of what a wonderful country this is, MUSIC changes to “ALL THAT JAZZ") ROXIE. So we'd just like to say thank you and God bless you. ‘VELMA/ROXIE. God Bless you. Thank you and God bless you...God be with you. God valk with you aay. God bles you, AND ALL THAT AZ2i Gad bless you. (loud whisper) ‘THATyaze! (Curtain) (MUSIC: No. 37 ~ “BOWS"} (MUSIC: No. 38 ~ “EXIT MUSIC")