Chicago

[ Introduction to ''Overture/

And AII That Jazz'' pIays ]

[ EIectricity crackIes ]

[ Indistinct conversations ]

Anybody seen

the KeIIy Sisters?

You . You're up in five.

-Keep the change, CharIie.

-Thanks.

VeIma, where you been?

And where's Veronica?

She's not herseIf tonight.

But they paid to see

a sister act!

Don't sweat it.

I can do it aIone.

Sh*t!

Come on , VeIma.

Move it, move it! Hurry up!

You're kiIIing me, here!

Ladies and gentIemen . . .

the Onyx CIub

is proud to present

Chicago's hottest dancing duo.

Two jazz babes moving as one.

The KeIIy Sisters.

[ AppIause ]

Come on, babe,

why don't we paint the town

And all that jazz?

l'm gonna rouge my knees

and roll my stockings down

And all that jazz

Start the car,

l know a whoopee spot

Where the gin is cold,

but the piano's hot

lt's just a noisy hall

where there's a nightly brawl

And all

That

Jazz

Skiddoo

And all that jazz

Hotcha

Whoopee

And all that jazz

Slick your hair

and wear your buckle shoes

And all that jazz

l hear that Father Dip

is gonna blow the blues

And all that jazz

Hold on, hon,

we're gonna bunny hug

l bought some aspirin

down at United Drug

ln case you shake apart

and want a brand-new start

To do

That

Jazz

Let's go, babe.

But I didn't even meet

your friend . That manager guy.

Don't worry, Roxie.

It's aII taken care of.

You toId him about me?

Yeah , kid , it's aII arranged .

Find a flask,

we're playing fast and loose

And all that jazz

Right up here

is where l store the juice

And all that jazz

Come on, babe,

we're gonna brush the sky

l betcha Lucky Lindy

never flew so high

'Cause in the stratosphere,

how could he lend an ear

To all

That

Jazz?

Oh, you're gonna see

your sheba shimmy-shake

And all that jazz

Oh, she's gonna shimmy

till her garters break

And all that jazz

Show her

where to park her girdle

Oh, her mother's blood

will curdle

lf she'd hear

her baby's queer

For all

That

Jazz

HeIIo, Miss Borusewicz.

Mrs. Hart.

This is Fred .

He's my brother.

All

That

Jazz

Come on, babe,

why don't we paint the town

And all that jazz?

And all that jazz

l'm gonna rouge my knees

and roll my stockings down

And all that jazz

And all that jazz

Start the car,

l know a whoopee spot

Where the gin is cold,

but the piano's hot

lt's just a noisy hall

where there's a nightly brawl

And all

That

Jazz

RO XIE :
Say it again , Fred .

Oh , you're a star, kid .

My IittIe shootin' star.

No, l'm no one's wife

But, oh, l love my life

And all

That

Jazz

That jazz

Oh , say it again , Fred .

Where's the fire, huh?

Amos ain't home tiII midnight.

Hey, I don't want you to feeI

Iike I'm nagging at you ,

but don't you think it's time

I met your friend

down at the Onyx?

It's been a month

since you toId him about me.

And I know

'cause that was the night

VeIma KeIIy pIugged

her husband and her sister.

You know they say that she found

'em in the kip together?

Gosh , if I ever found Amos

sIipping it to somebody eIse. . .

I'd throw him a great big

going-away party.

It's getting Iate.

I have been thinking a Iot

about my act.

Whenever I get a good idea

I write it in my diary.

It occurred to me the other day

that aII the reaIIy, reaIIy

knockout acts have

something a IittIe different

going on .

Like a signature bit.

And I thought that my thing

couId be aIoof, you know?

Give 'em just enough

to get 'em good and hungry,

but aIways Ieave 'em

wantin' more.

Hey, once I get a name

for myseIf,

maybe we couId open up a cIub

of our own .

You couId run it,

and I couId be the headIiner.

What's the idea?

Wake up, kiddo. You ain't

never gonna have an act.

Says who?

Face it. You're a two-bit taIent

with skinny Iegs.

I'm just a furniture saIesman .

Yeah , but you got connections.

-That guy at the cIub.

-There is no guy.

That night. . .

It was the first time

I set foot in that joint.

I was coIIecting on a bet

from the trombone pIayer.

So you never

toId anyone about me?

Sugar, you were hot stuff.

I wouId have said anything

to get a piece of that.

And now? Now?

We had some Iaughs.

Let's just Ieave it at that.

You can't do this to me.

WouId you get off?

You touch me again ,

I'II put your Iights out!

-Wait.

-Your husband wiII be home soon .

Wash yourseIf before hitting

those sheets again .

You're a Iiar, Fred .

Yeah , yeah , so what?

You Iied to me.

That's Iife, sweetheart.

That's Iife.

You son of a b*tch !

You son of a b*tch !

You're a son of a b*tch !

Hotcha

Whoopee

Why you bothering , SaI?

This one's aII wrapped up.

It's a new city record .

From kiIIin' to confession

in an hour fIat.

SGT. FOGARTY:
Where did you get

the murder weapon?

AMOS :
I keep a gun

in the underwear drawer.

Just in case of troubIe.

That's just fine.

Sign right there, Mr. Hart.

FreeIy and gIadIy.

Don't say we beat it out of you

when you get on the stand .

No, I gave myseIf up.

Surrendered of my own free wiII .

Isn't he the cheerfuI murderer?

RO XIE :

Shootin' a burgIar ain't murder.

Just Iast week,

a jury thanked a man .

I'm gratefuI for citizens

who know the Iaw.

Get in there.

You too.

Sit down .

Okay. From the top.

A man's got a right to protect

his home and Ioved ones, right?

Of course he has.

I come home from the garage,

and I see him cIimbing

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