53 pages • 1-hour read
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Ritzi empties the gray sock into her hand and looks at her wedding band, unprepared for the wave of regret she feels. Ritzi slips the ring on her finger as Vivian walks in, shocked to learn Ritzi is married. Owney’s been asking for Ritzi, but she doesn’t want to see him.
Ritzi calls the office of the New York World and asks for George Hall, the reporter. When Hall picks up, Ritzi hints at the corruption in the city’s political arena and confesses that she made the phone call to him two weeks ago about district leader Martin Healy selling judges’ seats.
Almost a month earlier, at the Globe Theater in Atlantic City, Ritzi and Crater went to a show. A few minutes before intermission, Ritzi said she had to use the bathroom, but she crept into the box occupied by Judge Samuel Seabury. She informed him that Healy was selling judgeships to any politician who could afford his fee. Seabury didn’t believe her, but she insisted that Crater paid a year’s salary for his seat and encouraged Seabury to be the one to publicly uncover the scandal.
Now, Ritzi meets George Hall at a park and tells him Crater got into a cab on August 6 and hasn’t been seen since. She refuses to provide her name and threatens to go to his competitor if Hall even mentions her. She tells him that she’ll be in touch with the rest of the story soon.
Maria goes back to the Craters’ apartment, fearful of running into either Mr. or Mrs. Crater. Inside, she opens the drawer containing the manila envelopes; when she tips one into her lap, thousands of dollars fall out.
Someone pounds on the front door, looking for Crater, but Maria tells him that the Craters are in Maine. He introduces himself as George Hall. He wants to look around, but Maria refuses. He asks if she’s sure Crater’s in Maine, and she says she is. He asks about when she last saw Crater and what he said at that time. When he asks for her name, she gives her mother’s: Amedia Christian. After Hall leaves, Maria thinks about how Crater signs her paychecks and he is gone, so she steals $500.
The money feels heavy in Maria’s purse as she walks to Smithson’s. Owney arrives to see the progress on his suits, and she sees the “dark gangster” Jude warned her about. Owney is most interested in Maria, and he eventually tells her that he knows she works for Crater.
In 1969 at Club Abby, Jude tells Stella that he read her memoir, which painted her as a victim. He hopes she will give him a confession now. She says Joe’s disappearance caused her a great deal of suffering. She lives in a nursing home now, dying of lung cancer. Jude asks about the envelopes she found and what was inside them.
The narrative returns to 1930. Stella returns to the apartment, but she wants to return to Maine in a few days. She finds the four manila envelopes in the drawer. The first contains $12,619 cash. Another contains Joe’s life insurance policies; the third contains his will, and the fourth a list of everyone who owns him money. Here, she thinks, is proof of his corruption.
Stella recalls a dinner at home 10 years earlier. Joe told her to put on a nicer dress, and he reset the table with linen napkins, candlesticks, and their wedding china. He told her how important it was that they look the part if he was going to become a judge. He told her she must shop in the right stores, say the right things; he warned her not to act like one of those female activists who fought for women’s suffrage.
Jude promises to get Maria’s rosary fixed. They go to see a show at the Morosco Theatre, and she quickly identifies Ritzi in the chorus.
Stella makes phone calls, asking if anyone has seen Joe. No one has, and another justice tells Stella how imperative it is that they find Joe quickly. She heads to the Morosco Theatre to look for William Klein, Joe’s closest friend. Klein says he had dinner with Joe three weeks ago but hasn’t seen him since. Klein makes eye contact with a chorus girl who looks familiar to Stella, but the girl fades into the crowd. Stella asks for the ladies’ room.
Ritzi, still in costume, spots Stella Crater talking to Klein. She dresses quickly, then runs to the bathroom to vomit. Meanwhile, Maria tells Jude that she needs to visit the ladies’ room. From her stall, she hears the door next to her bang open and another woman vomiting into the toilet. They meet at the sinks a few minutes later. Suddenly, a toilet flushes, and Stella Crater emerges. When Ritzi sees Stella, she retches again. Stella offers her a mint and compliments her performance onstage. Stella also compliments Maria’s appearance before leaving.
Stella takes a cab to Club Abbey. Stan, the bartender, points out Owney Madden, and she asks for whiskey on the rocks, Joe’s drink. Stella confronts Owney, asking for the deed to her lake house back. When Joe gave it to him, he forgot that it’s in her name, not his. In exchange, Stella says she won’t tell police that Joe returned to the city at Owney’s insistence.
When Stella gets home, she finds her mother, Emma Wheeler, waiting. Stella goes to the safe and deposits the lake house deed inside.
Jude is still asleep when Maria leaves for church. When she enters the confessional, Father Donnegal congenially slides the partition back and smiles at her. She tells him she stole money from her employer, offering a “thin slice” of truth when he asks why. He tells her she must return it, that truth is most important. She asks about what Jude spoke of when he visited the priest several weeks ago, but Donnegal will not say.
Maria remembers the night of Jude’s promotion, several months prior. He got very drunk and confessed that the new job came with “strings” attached. Maria understands the corruption behind the scenes and feels she has opened Pandora’s box: Jude is no safer as a detective than he’d been on vice, perhaps even less.
Leo Lowenthall and Jude visit Stella. Leo says he checked the hospitals and morgues, and Joe’s not there. Stella lets them look around. As they move toward the bureau where she found the envelopes, she pretends not to watch; Leo opens the drawer and finds it empty. He says he’s puzzled that Joe left nothing behind, and Jude looks troubled. The detectives leave, suggesting Stella return to Maine and promising to contact her if they find anything. Once they’re gone, she retrieves the bag containing the envelopes from under her bed.
Smithson tells Maria that Owney is sending a car for her; he wants Maria to do a custom tailoring job. Shorty Petak arrives and says that several chorus girls are having trouble with their costumes.
When Ritzi questions Maria’s presence, Maria explains that she’s a seamstress and only works as a maid in the mornings. Ritzi says she might need Maria’s help with her costumes in a few months, and Maria tells Ritzi where to find her when it’s time.
Maria looks into Mrs. Crater’s top bureau drawer, but it’s empty. She brought the cash to return but cannot do it, so she stuffs it back into her purse and does the cleaning, intending to meet Jude for lunch. She hasn’t been comfortable with him since she saw him plant those envelopes, and he’s been so preoccupied that he hasn’t noticed.
Jude brings fish and chips and tells her about his new case: Crater’s disappearance. He asks Maria what she knows, and she says only that people are looking for Joe. He asks if she spoke to the reporter, and she admits that she did; he warns her not to speak to anyone else. Maria feels ill, realizing that each is speaking in half-truths for the first time in their relationship. Jude says he has to go to Maine to get a statement from Stella.
Lawhon uses two allusions in this section that emphasize the exploitation and depravity of the 1930s New York political scene, highlighting The Corruption in Politicized Power Dynamics. When Jude gets drunk on the night of his promotion, it is less like a celebration and more like a way to numb his fear and anxiety about all the “strings” that come with his new role. He says that he’s essentially been told to “Prepare to dance, Pinocchio. Or [his] family pays” (123). Carlo Collodi’s The Adventures of Pinocchio (1883) is the story of a wooden puppet who longs to become a real boy; Jude’s use of the allusion speaks to the corruption and control that goes on behind the scenes in the NYC legal system, which he is now entangled in. Leo recommends Jude for Crater’s case because he and the commissioner want Jude to prove his loyalty. Jude is no longer free to make his own choices, and he must cater to his corrupt superiors to protect his family, even planting evidence in the Craters’ apartment. He exists now to be manipulated, just like a puppet.
The second allusion occurs when Maria learns of this corruption and feels “She’d opened Pandora’s box” (124). In Greek mythology, Pandora is the first woman, and Zeus created her to be an evil to men. He gives her a box full of all the world’s evils and wrongs, with only hope at the very bottom, and tells her not to open it. When she does, all the terrible things inside are set loose on the world. Likewise, Maria feels that she committed one small act of disobedience by asking for one little favor from the Craters—Jude’s promotion—without realizing the implications of that choice. Now, her and Jude’s life will be forever changed, dictated by the evils she set loose with that request. Neither truly understood the corruption at the heart of New York’s politics, and now they will suffer the consequences of taking part in it.
Another theme that emerges is Female Solidarity as a Means of Empowerment and Survival. Despite the potential antagonism that could exist among Stella, Ritzi, and Maria, the women instead help one another in subtle but meaningful ways, acknowledging the powerlessness they share in a patriarchal society. Maria is surprised when Ritzi defends her against Crater when she walks in on them in the apartment, and this helps Maria decide to keep the secret of their affair. Stella is somewhat eager to help Maria and Jude, offering to nudge her husband to put in a good word for Jude and to listen through the “back channels” of the political wives. She even says to Maria, a woman far beneath her socially and financially, “We’re in this together. Where would women be if we didn’t look out for one another?” (19). Later, when Ritzi learns that Stella smashed Joe’s hand in a car door in retaliation for his affair, she feels “A perverse sort of pride” (34).
When all three women meet in the ladies’ room at the Morosco Theatre, Maria offers paper towels to the sick Ritzi, and Stella offers mints, even complimenting Ritzi’s performance in the show. Finally, though Maria envies Ritzi’s pregnancy and reflects how desperately she herself wants one, she offers to help Ritzi by altering her costumes when her belly grows. Thus, despite the way these women are pitted against one another by men like Crater and Owney Madden, they recognize their shared powerlessness and find the compassion to treat one another as human beings rather than competition or threats.



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