Here is the script of the screenplay Chicago taken from the book Chicago: The Movie and Lyrics published by Newmarket Press
IN BLACKNESS
The slow, sexy wail of a jazz trumpet. FADE UP on:
ROXIE HART'S EYES, HEAVILY MADE-UP
Red stage lights are reflected in her eyes...the lights shinning brighter as we move in closer... until one eye fills the frame.
The lights get hotter still, almost searching. Bits of neon form a word:
C H I C A G O
The screen goes black.
BANDLEADER (V.O.)
Five-six-seven-eight...
INT. THE ONYX THEATER-NIGHT (LATE 1920S)
On a small stage, the BANDLEADER plays the piano and leads an all-black jazz band in a scorching set. In a former life, this was a neighborhood vaudville house; since the onset of Prohibition, the seats have been ripped out and tables moved in, turning the Onyx into a slightly seedy nightclub. As we move through the crowd, we see a few PATRONS spiking their drinks with bootleg hooch.
IN THE WINGS
A panicked STAGE MANAGER moves through the crowded backstage area.
STAGE MANAGER
Anybody seen the Kelly sisters?
A few CHRORINES in skimpy costumes warm up in the wings. The stage manager checks out the other acts-the VENTRILOQUIST with his wodden doll; the skinny COMIC; the TRAMP act. He points to a loose-limbed ECCENTRIC DANCER.
STAGE MANAGER (CONT'D)
You're up in five.
EXT. THE ONYX-NIGHT
A bleak mid-winter night. A taxi pulls up to the curb and a WOMAN steps out. The longest legs you've ever seen, followed by a suitcase.
VELMA (OFF-CAMERA)
Keep the change, Charlie.
The woman stops in front of a bill. Tonight's headline act: THE KELLY SISTERS- VELMA KELLY & VERONICA KELLY-BACK BY POPULAR DEMAND! A gloved hand rips the bill in half, leaving only the name, VELMA KELLY.
INT. THE ONYX-STAGE-NIGHT
The band is jamming.
INT. THE ONYX-BACKSTAGE-NIGHT
MOVING behind the woman as the stage manager advances on her.
STAGE MANAGER
Velma, where you been? And where's Veronica?
VELMA (O.C.)
She's not herself tonight.
Velma glides through the pandemonium.
STAGE MANAGER
But they paid to see a sister act.
VELMA
Don't sweat it. I can do it alone.
INT. THE ONYX-DRESSING ROOM-NIGHT
Velma's hands open the suitcase, which shows evidence of hasty packing. She lifts out stockings, pumps, a garter with a rhinestone buckle- as well as a pearl-handled revolver wrapped in a bloody handkercheif. (All we see are hands, legs, buckles, stockings, gun, and blood.)
INT. THE ONYX-STAGE-NIGHT
The vamp starts.
BANDLEADER
Ladies and gentlemen, the Onyx Club is proud to present Chicago's hottest dancing duo, two jazz babes moving as one...
INT. THE ONYX-UNDER STARS-NIGHT
Velma runs down the steps and jumps onto a wooden scissor lift. A couple of grizzled STAGEHANDS crank the wheel and the lift rises.
BANDLEADER
...the Kelly sisters.
On the bumpy lift, Velma notices a smudge of blood on her hand. She wipes it off and emerges into view, seeming to rise right out of the piano. Red cupid-bow lips and shiny Louise Brooks hair.
VELMA
COME ON, BABE
WHY DON'T WE PAINT THE TOWN?
AND ALL THAT JAZZ
There are two spots, one shining on Velma, the other where her sister Veronica should be.
VELMA (CONT'D)
I'M GONNA ROUGE MY KNEES
AND ROLL MY STOCKINGS DOWN
AND ALL THAT JAZZ
Velma cocks her head to the balcony. The second PROJECTIONIST rotates his heavy spotlight in Velma's direction.
Velma moves downstage, where MALE and FEMALE DANCERS are draped over tables and chairs, spent after a wild ngiht of partying. It's as if the club has spilled onto the stage.
VELMA (CONT'D)
START THE CAR
I KNOW A WHOOPEE SPOT
WHERE THE GIN IS COLD
BUT THE PIANO'S HOT
IT'S JUST A NOISY HALL
WHERE THERE'S A NIGHTLY BRAWL
AND ALL...
The second spot has drifted again. Velma closes her hand, signaling the projectionist to take the light out.
VELMA (CONT'D)
THAT...
The dancers stir to life.
VELMA (CONT'D)
JAZZ!
BANDLEADER
SKIDOO.
VELMA
AND ALL THAT JAZZ.
ENSEMBLE
HOTCHA!
WHOOPEE!
VELMA
AND ALL THAT JAZZ.
A dance break:
ENSEMBLE
HAH...HAH...HAH
We move through the crowd until we find ROXIE HART standing alone against a mural. She's strikingly pretty, especially in her slip of a black dress. There's also a whiff of desperation that no make-up or perfume can disguise.
VELMA
SLICK YOUR HAIR
AND WEAR YOUR BUCKLE SHOES
AND ALL THAT JAZZ!
I HEAR THE FATHER DIP
IS GONNA BLOW THE BLUES
AND ALL THAT JAZZ
Roxie's eyes remain glued to the stage. She's so enraptured by the act, and by the sheer fact of being in this club- it's as though there's no other reality for her.
VELMA (CONT'D)
HOLD ON, HON
WE'RE GONNA BUNNY HUG
I BOUGHT SOME ASPIRIN
DOWN AT UNITED DRUG
IN CASE YOU SHAKE APART
AND WANT A BRAND NEW START
TO DO THAT-
ON STAGE (ROXIE'S FANTASY)
Roxie takes Velma's place on stage. Same costume, same makeup.
ROXIE
-JAZZ!
Roxie sings and the crowd goes wild.
CASELY (V.O.)
Let's go, babe.
ROXIE
But I didn't even meet your friend.
Casely stuffs a wad of bills in his pocket.
CASELY
Don't worry, Roxie. It's all taken care of.
ROXIE
You told him about me?
CASELY
Yeah, kid, it's all arranged.
He pulls out a hip flask and grabs her rear end.
VELMA
FIND A FLASK
WE'RE PLAYING FAST AND LOOSE
AND ALL THAT JAZZ!
RIGHT UP HERE
IS WHERE I STORE THE JUICE
AND ALL THAT JAZZ!
COME ON, BABE
WE'RE GONNA BRUSH THE SKY
I BETCHA LUCKY LINDY
NEVER FLEW SO HIGH
EXT. ALLEY-NIGHT
Roxie dodges traffic as she follows Casely to his car. The El train looms in the distance.
MUSIC continues as Roxie leads Casely to her fifth floor walk-up. (The rest of the number is INTERCUT between the apartment building and the Onyx.)
VELMA (V.O.)
OH, YOU'RE GONNA SEE YOUR SHEBA SHIMMY SHAKE
On stage, Velma is joined by two male dancers.
VELMA & ENSEMBLE
AND ALL THAT JAZZ
Casely reaches through a stair railing and runs his hand up Roxie's leg.
VELMA (V.O.)
OH, SHE'S GONNA SHIMMY 'TIL HER GARTERS BREAK
On stage, the male dancers reach for Velma's leg.
VELMA & ENSEMBLE
AND ALL THAT JAZZ
Casely stops on the top landing, out of breath. He takes a nip from the flask, pours some down Roxie's throat. His tongue scoops a trickle of gin from her neck.
VELMA (V.O.)
SHOW HER WHERE TO PARK HER GIRDLE
OH, HER MOTHER'S BLOOD'D CURDLE
Roxie stifles a laugh, slushes Fred as they move down the hall.
On stage, the ensemble slinks and slithers behind Velma.
VELMA & ENSEMBLE (HUSHED)
IF SHE'D HEAR
HER BABY'S QUEER
VELMA
FOR ALL...
Casely pushes Roxie against a neighbor's door.
VELMA (CONT'D)
THAT...
Casely throws Roxie's arms up.
VELMA (CONT'D)
JAZZ!
The door cracks open. An unpretty older HOUSEWIFE, glowering.
ROXIE
Evenin', Mrs. Borusewicsz.
MRS. BORUSEWICZ
Mrs. Hart.
She gives Casely the once-over.
ROXIE
This is Fred. He's my brother.
A giggle and a hiccup as Roxie pushes Casely toward her apartment.
VELMA
ALL...
Roxie opens her apartment door.
VELMA (CONT'D)
THAT...
She pushes Casely into the apartment.
VELMA (CONT'D)
JAZZ...
Roxie shuts the door.
The number really explodes now. Frenzied, sleazy, and completely electric.
VELMA (CONT'D)
COME ON, BABE
WHY DON'T WE PAINT THE TOWN
AND ALL THAT JAZZ
I'M GONNA ROUGE MY KNEES
AND ROLL MY STOCKINGS DOWN
AND ALL THAT JAZZ
ENSEMBLE
OH, YOU'RE GONNA SEE YOUR SHEBA SHIMMY SHAKE
AND ALL THAT JAZZ
OH, SHE'S GONNA SHIMMY 'TIL HER GARTERS BREAK
AND ALL THAT JAZZ
Roxie yelps in delight as Casely carries her across the cheap railroad flat. He tosses her on the bed, rips off her stockings and garters.
The band plays faster. Hotter.
More rough foreplay from Casely. Roxie comes up for air, notices her husband Amos staring plaintively from a framed wedding photo. She slams the picture face down.
A montage of body parts- arched backs; curled toes; thrusting hips; crouched legs- makes it hard to distinguish between the hoofing on the stage and the boffing in the bedroom.
There's a commotion at the back of the theater as Chicago POLICEMEN file in.
VELMA (CONT'D)
START THE CAR
I KNOW A WHOOPEE SPOT
WHERE THE GIN IS COLD
BUT THE PIANO'S HOT
ENSEMBLE
SHOW HER WHERE TO PARK HER GIRDLE
OH, HER MOTHER'S BLOOD'D CURDLE
Velma notices the cops moving in her direction. A defiant smile plays on her lips.
VELMA (CONT'D)
IT'S JUST A NOISY HALL
WHERE THERE'S A NIGHTLY BRAWL
AND ALL THAT JAZZ!
ENSEMBLE
IF SHE'D HEAR
HER BABY'S QUEER
FOR ALL THAT JAZZ!
Roxie whispers in Fred's ear, dreamily.
ROXIE
Say it again, Fred.
CASELY
You're a star, kid. My little shootin' star.
Roxie's hands reach up and grab the posts of the iron bed...
...as Velma grabs two guys by the wrists. They pull her on top of the piano.
VELMA
NO, I'M NO ONE'S WIFE
BUT, OH, I LOVE MY LIFE
AND ALL THAT JAZZ!
THAT JAZZ!
Roxie gasps. Velma sees the cops pouring into the wings. And the stage goes black.
INT. ROXIE'S APT.-BEDROOM-NIGHT (ONE MONTH LATER)
In the darkness, a satisfied sigh from Fred Casely.
ROXIE (V.O.)
Say it again, Fred.
It's a month later, which means Casely doesn't bother answering anymore. Roxie tugs on the overhead light, sees him already pulling on his trousers.
ROXIE (CONT'D)
Hey, where's the fire? Amos ain't due home 'til midnight.
Casely grabs his clothes and disappears into the john. Roxie slips into a sad silk robe.
ROXIE (CONT'D)
Freddy...hon...now I don't want you to feel like I'm naggin' at ya...
Casely pees, noisily. Roxie moves over to the Victrola and cranks it. Some heavy, rythmic jazz.
ROXIE (CONT'D)
...but don't you think it's about time I met your friend down at the Onyx? I mean, it's been almost a month since you told him about me.
