Tuesday, 25 October 2016

Scottsboro Boys

Scottsboro Boys
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For the musical, see The Scottsboro Boys (musical).

The Scottsboro Boys, with attorney Samuel Leibowitz, under guard by the state militia, 1932
The Scottsboro Boys were nine black teenagers falsely accused in Alabama of raping two White American women on a train in 1931. The landmark set of legal cases from this incident dealt with racism and the right to a fair trial. The cases included a lynch mob before the suspects had been indicted, a frameup, all-white juries, rushed trials, and disruptive mobs. It is frequently cited as an example of an overall miscarriage of justice in the United States legal system.
On March 25, 1931, several people were hoboing on a freight train traveling between Chattanooga and Memphis, Tennessee. Several white teenagers jumped off the train and reported to the sheriff that they had been attacked by a group of black teenagers. The sheriff deputized a posse comitatus, stopped and searched the train at Paint Rock, Alabama and arrested the black Americans. Two young white women also got off the train and accused the black teenagers of rape. The case was first heard in Scottsboro, Alabama, in three rushed trials, in which the defendants received poor legal representation. All but 12-year-old Roy Wright were convicted of rape and sentenced to death, the common sentence in Alabama at the time for black men convicted of raping white women,[1] even though there was medical evidence to suggest that they had not committed the crime.[2]
With help from the Communist Party USA (CPUSA), the case was appealed. The Alabama Supreme Court affirmed seven of the eight convictions, and granted 13-year-old Eugene Williams a new trial because he was a minor. Chief Justice John C. Anderson dissented, ruling that the defendants had been denied an impartial jury, fair trial, fair sentencing, and effective counsel. While waiting for their trials, eight of the nine defendants were held in Kilby Prison. The cases were twice appealed to the United States Supreme Court, which led to landmark decisions on the conduct of trials. In Powell v. Alabama (1932), it ordered new trials.[3]
The case was returned to the lower court and the judge allowed a change of venue, moving the retrials to Decatur, Alabama. Judge Horton was appointed. During the retrials, one of the alleged victims admitted fabricating the rape story and asserted that none of the Scottsboro Boys touched either of the white women. The jury found the defendants guilty, but the judge set aside the verdict and granted a new trial.
The judge was replaced and the case tried under a more biased judge, whose rulings went against the defense. For the third time a jury—now with one black American member—returned a guilty verdict. The case was sent to the US Supreme Court on appeal. It ruled that African Americans had to be included on juries, and ordered retrials.[4] Charges were finally dropped for four of the nine defendants. Sentences for the rest ranged from 75 years to death. All but two served prison sentences. One was shot in prison by a guard and permanently disabled. Two escaped, were later charged with other crimes, convicted, and sent back to prison. Clarence Norris, the oldest defendant and the only one sentenced to death, "jumped parole" in 1946 and went into hiding. He was found in 1976 and pardoned by Governor George Wallace, by which time the case had been thoroughly analyzed and shown to be an injustice. Norris later wrote a book about his experiences. The last surviving defendant died in 1989.
"The Scottsboro Boys," as they became known, were defended by many in the North and attacked by many in the South. The case is now widely considered a miscarriage of justice, particularly highlighted by use of all-white juries. Black Americans in Alabama had been disenfranchised since the turn of the century and thus were generally disqualified from jury duty. The case has been explored in many works of literature, music, theatre, film and television. On November 21, 2013, Alabama's parole board voted to grant posthumous pardons to the three Scottsboro Boys who had not been pardoned or had their convictions overturned.[5]
Contents  [hide] 
1 Arrests and accusations
2 Lynch mob
3 Scottsboro trials
3.1 Defense attorneys
3.2 Norris and Weems trial
3.3 Patterson trial
3.4 Powell, Roberson, Williams, Montgomery and Andy Wright trial
3.5 Roy Wright trial
3.6 Death sentences
3.7 Help from Communist Party and NAACP
3.8 Appeal to Alabama Supreme Court
3.9 Williams ruling
3.10 Weems and Norris ruling
3.10.1 Dissent
3.11 Appeal to United States Supreme Court
4 Decatur trials
4.1 Patterson trial
4.1.1 Defense
4.2 Closing arguments
4.3 Verdict
4.4 Horton grants Patterson a new trial
4.5 New trials under Callahan
4.6 Norris retrial
4.7 United States Supreme Court reverses Decatur convictions
4.8 Final round of trials
4.9 Final decisions
4.10 Aftermath
4.11 2013 pardon
4.12 Fates of the defendants
4.13 In popular culture
5 Notes and references
5.1 Notes
5.2 References
6 External links
Arrests and accusations[edit]

Victoria Price (left) and Ruby Bates (right) in 1931
On March 24, 1931, on the Southern Railway line between Chattanooga and Memphis, Tennessee, nine black youths were "hoboing" on a freight train with several white males and two white women.[6][7][8] A fight began between the white and black groups near the Lookout Mountain tunnel, and the whites were kicked off the train. A posse in Paint Rock, Alabama, was given orders to search for and "capture every Negro on the train."[9] The posse arrested the black teenagers for assault.[10]
The black teenagers were Olen Montgomery (aged 17), Clarence Norris (aged 19), Haywood Patterson (aged 18), Ozie Powell (aged 16), Willie Roberson (aged 16), Charlie Weems (aged 16), Eugene Williams (aged 13), and brothers Andy (aged 19), and Roy Wright (aged 12 or 13).[6]
The posse also encountered two white women, Ruby Bates and Victoria Price, who told the posse that they had been raped by the black teenagers.[11] A doctor was called and soon examined the women for evidence of rape and for samples of semen.[citation needed] A widely published photo showed the two women shortly after the arrests in 1931.[citation needed]
Lynch mob[edit]
In the Jim Crow South, lynching of black males accused of raping or murdering whites was common; word quickly spread of the arrest and rape story. Soon a lynch mob gathered at the jail in Scottsboro, demanding the youths be surrendered to them.[12]

The crowd at Scottsboro on April 6, 1931
Sheriff Wann stood in front of the jail and addressed the mob, saying he would kill the first person to come through the door.[13] He removed his belt and handed his gun to one of his deputies. He walked through the mob and the crowd parted to let him through; Wann was not touched by anyone. He walked across the street to the courthouse where he telephoned Governor Benjamin M. Miller, who mobilized the Alabama Army National Guard to protect the jail.[13][14] He took the defendants to the county seat of Gadsden, Alabama, for indictment and to await trial. Although rape was potentially a capital offense in Alabama, the defendants at this point were not allowed to consult an attorney.[citation needed]
Scottsboro trials[edit]
The prisoners were brought to court by 118 Alabama guardsmen, armed with machine guns. It was market day in Scottsboro, and farmers were in town to sell produce and buy supplies. A crowd of thousands soon formed.[15] Courthouse access required a permit due to the salacious nature of the testimony expected.[16] As the Supreme Court later described this situation, "the proceedings ... took place in an atmosphere of tense, hostile, and excited public sentiment."[17] For each trial, all-white juries were selected. There were few African Americans in the jury pool, as most had been disenfranchised since the turn of the century by a new state constitution and white discriminatory practice, and were thus disqualified from jury service.[citation needed]
Defense attorneys[edit]
The pace of the trials was very fast before the standing-room-only, all-white audience. The judge and prosecutor wanted to speed the nine trials to avoid violence, so the first trial took a day and a half, and the rest took place one right after the other, in just one day. The judge had ordered the Alabama bar to assist the defendants, but the only attorney who volunteered was Milo Moody, a 69-year-old attorney who had not defended a case in decades.[16] The judge persuaded Stephen Roddy, a Chattanooga, Tennessee, real estate lawyer, to assist him. Roddy admitted he had not had time to prepare and was not familiar with Alabama law, but agreed to aid Moody.[18]
Against accepted practice, Roddy presented both the testimony of his clients and the case of the girls. Because of the mob atmosphere, Roddy petitioned the court for a change of venue, entering into evidence newspaper and law enforcement accounts[19] describing the crowd as "impelled by curiosity".[20][21] Judge Hawkins found that the crowd was curious and not hostile.[22]
Norris and Weems trial[edit]
Clarence Norris and Charlie Weems were tried first. During prosecution testimony, Victoria Price stated that she and Ruby Bates witnessed the fight, that one of the black men had a gun, and that they all raped her at knifepoint. During cross-examination by Roddy, Price livened her testimony with wisecracks that brought roars of laughter.[23]

Clarence Norris

Charlie Weems
Dr. Bridges testified that his examination of Victoria Price found no vaginal tearing (which would have indicated rape), and that she had had semen in her for several hours. Ruby Bates failed to mention that either she or Price was raped until she was cross-examined.[24] The prosecution ended with testimony from three men who claimed the black youths fought the white youths, put them off the train, and "took charge" of the white girls. The prosecution rested without calling any of the white youths as witness.[25]
During the defense testimony, defendant Charles Weems testified that he was not part of the fight, that Patterson had the pistol, and that he had not seen the white girls on the train until the train pulled into Paint Rock.[citation needed]
Defendant Clarence Norris stunned the courtroom by implicating the other defendants. He denied participating in the fight or being in the gondola car where the fight took place. But he said that he saw the alleged rapes by the other blacks from his spot atop the next boxcar.[24][26] The defense put on no further witnesses.[citation needed]
During closing, the prosecution said, "If you don't give these men death sentences, the electric chair might as well be abolished."[27] The defense made no closing argument at all, nor did it address the sentencing of the death penalty for their clients.[27]
The Court started the next case while the jury was still deliberating the first. The first jury deliberated less than two hours before returning a guilty verdict; it also imposed the death sentence on both Weems and Norris.[28]
Patterson trial[edit]

Haywood Patterson
The trial for Haywood Patterson occurred while the Norris and Weems cases were still under consideration by the jury. When the jury returned its verdict from the first trial, the jury from the second trial was taken out of the courtroom. When the verdicts of guilty were announced, the courtroom erupted in cheers, as did the crowd outside. A band, there to play for a show of Ford Motor Company cars outside, began playing Hail, Hail the Gang's All Here and There'll be a Hot Time in the Old Town Tonight.[28][29] The celebration was so loud that it was most likely heard by the second jury waiting inside.[citation needed]
After the outburst, the defense of Patterson moved for a mistrial, but Judge Hawkins denied the motion and testimony continued.[30] The second trial continued. During the second trial's prosecution testimony, Victoria Price mostly stuck with her story, stating flatly that Patterson raped her. She accused Patterson of shooting one of the white youths. Price volunteered, "I have not had intercourse with any other white man but my husband. I want you to know that."[28][29]
Dr. Bridges repeated his testimony from the first trial.[29] Other witnesses testified that "the negroes" had gotten out of the same gondola car as Price and Bates; a farmer claimed to have seen white women [on the train] with the black youths.[31]
Patterson defended his actions, testifying again that he had seen Price and Bates in the gondola car, but had nothing to do with them. On cross-examination he testified that he had seen "all but three of those negroes ravish that girl," but then changed his story. He said that he had not seen "any white women" until the train "got to Paint Rock."[32]
The younger Wright brother testified that Patterson was not involved with the girls, but that nine black teenagers had sex with the girls.[29] On cross examination, Roy Wright testified that Patterson "was not involved with the girls, but that, "The long, tall, black fellow had the pistol. He is not here." He claimed also to have been on top of the boxcar, and that Clarence Norris had a knife.[33]
Co-defendants Andy Wright, Eugene Williams, and Ozie Powell all testified that they did not see any women on the train. Olen Montgomery testified that he sat alone on the train and did not know of any of the referenced events.[34] The jury quickly convicted Patterson and recommended death by electric chair.[35]
Powell, Roberson, Williams, Montgomery and Andy Wright trial[edit]
This trial began within minutes of the previous case.

Ozie Powell



Willie Roberson



Eugene Williams



Olen Montgomery



Andy Wright

Price repeated her testimony, adding that the black teenagers split into two groups of six to rape her and Ruby Bates. Price accused Eugene Williams of holding the knife to her throat, and said that all the other teenagers of having knives.[36] Under cross examination she gave more detail,[35] adding that someone held a knife to the white teenager, Gilley, during the rapes.[35]
This trial was interrupted and the jury sent out when the Patterson jury reported; they found him guilty.[37] There was no uproar at the announcement. Ruby Bates took the stand, identifying all five defendants as among the 12 entering the gondola car, putting off the whites, and "ravishing" her and Price.[35]
Dr. Bridges was the next prosecution witness, repeating his earlier testimony. On cross examination, Bridges testified detecting no movement in the spermatozoa found in either woman, suggesting intercourse had taken place some time before. He also testified that defendant Willie Roberson was "diseased with syphilis and gonorrhea, a bad case of it." He admitted under questioning that Price told him that she had had sex with her husband and that Bates had earlier had intercourse as well, before the alleged rape events.[38]
The defense called the only witnesses they had had time to find—the defendants. No new evidence was revealed.
Next prosecution witnesses testified that Roberson had run over train cars leaping from one to another, and that he was in much better shape than he claimed.[38] Sim Gilley testified that he saw "every one of those five in the gondola,"[39] but did not confirm that he had seen the women raped.
The defense again waived closing argument, and surprisingly the prosecution then proceeded to make more argument. The defense objected vigorously, but the Court allowed it.[39]
Judge Hawkins then instructed the jury, stating that any defendant aiding in the crime was as guilty as any of the defendants who had committed it. The jury began deliberating at four in the afternoon.
Roy Wright trial[edit]
The prosecution agreed that 13-year-old Roy Wright[1] was too young for the death penalty; it did not seek it. The prosecution presented only testimony from Price and Bates. His case went to the jury at nine that evening. His jury and that from the trial of five men were deliberating at the same time.

Roy Wright
At nine on Thursday morning, April 9, 1931, the five defendants in Wednesday's trial were all found guilty. Roy Wright's jury could not agree on sentencing, and was declared a hung jury that afternoon. All the jurors agreed on his guilt, but seven insisted on the death sentence while five held out for life imprisonment (in cases like this, that was often an indication that the jurors believed the suspect was innocent but they were unwilling to go against community norms of conviction). Judge Hawkins declared a mistrial.[40]
Death sentences[edit]
The eight convicted defendants were assembled on April 9, 1931, and sentenced to death by electric chair. The Associated Press reported that the defendants were "calm" and "stoic" as Judge Hawkins handed down the death sentences one after another.[40]
Judge Hawkins set the executions for July 10, 1931, the earliest date Alabama law allowed. While appeals were filed, the Alabama Supreme Court issued indefinite stays of executions 72 hours before the defendants were scheduled to die. The men's cells were next to the execution chamber, and they heard the July 10, 1931 execution of William Hokes,[41] a black man from St. Clair County convicted of murder.[42] They later recalled that he "died hard."[43]
Help from Communist Party and NAACP[edit]
After a demonstration in Harlem, the Communist Party USA took an interest in the Scottsboro case. Chattanooga Party member James Allen edited the Communist Southern Worker, and publicized "the plight of the boys."[44] The Party used its legal arm, the International Labor Defense (ILD), to take up their cases,[45] and persuaded the defendants' parents to let the party champion their cause. The ILD retained attorneys George W. Chamlee, who filed the first motions, and Joseph Brodsky.
The NAACP also offered to handle the case, offering the services of famed criminal defense attorney Clarence Darrow. However, the Scottsboro defendants decided to let the ILD handle their appeal.[1]
Chamlee moved for new trials for all defendants. Private investigations took place, revealing that Price and Bates had been prostitutes in Tennessee, who regularly serviced both black and white clientele.[46] Chamlee offered Hawkins affidavits to that effect, but the judge forbade him to read them out loud. The defense argued that this evidence proved that the two women had likely lied at trial.[47] Chamlee offered the Scottsboro uproar when the verdicts were reported as further evidence that the change of venue should have been granted.
Appeal to Alabama Supreme Court[edit]
Following Judge Hawkins' denial of the motions for new trial, attorney George W. Chamlee filed an appeal and was granted a stay of execution. Chamlee was joined by Communist Party attorney Joseph Brodsky and ILD attorney Irving Schwab. The defense team argued that their clients had not had adequate representation, had insufficient time for counsel to prepare their cases, had their juries intimidated by the crowd, and finally, that it was unconstitutional for blacks to have been excluded from the jury. In the question of procedural errors, the state Supreme Court found none.
Williams ruling[edit]
On March 24, 1932, the Alabama Supreme Court ruled against seven of the eight remaining Scottsboro Boys, confirming the convictions and death sentences of all but the 13-year-old Eugene Williams. It upheld seven of eight rulings from the lower court.
The Alabama Supreme Court granted 13-year-old Eugene Williams a new trial because he was a juvenile, which saved him from immediate threat of the electric chair.[48]
Weems and Norris ruling[edit]
The Court upheld the lower court's change of venue decision, upheld the testimony of Ruby Bates, and reviewed the testimony of the various witnesses. As to the "newly discovered evidence," the Court ruled: "There is no contention on the part of the defendants, that they had sexual intercourse with the alleged victim ... with her consent ... so the defendants would not be granted a new trial."[49]
As to representation, the Court found "that the defendants were represented by counsel who thoroughly cross examined the state's witnesses, and presented such evidence as was available."[49] Again, the Court affirmed these convictions as well. The Alabama Supreme Court affirmed seven of the eight convictions and rescheduled the executions.
Dissent[edit]
Chief Justice John C. Anderson dissented, agreeing with the defense in many of its motions. Anderson stated that the defendants had not been accorded a fair trial and strongly dissented to the decision to affirm their sentences.[50] He wrote, "While the constitution guarantees to the accused a speedy trial, it is of greater importance that it should be by a fair and impartial jury, ex vi termini ("by definition"), a jury free from bias or prejudice, and, above all, from coercion and intimidation."[51]
He pointed out that the National Guard had shuttled the defendants back and forth each day from jail, and that
this fact alone was enough to have a coercive effect on the jury.[51]
Anderson criticized how the defendants were represented. He noted that Roddy "declined to appear as appointed counsel and did so only as amicus curiae." He continued, "These defendants were confined in jail in another county ... and local counsel had little opportunity to ... prepare their defense."[51] Moreover, they "would have been represented by able counsel had a better opportunity been given."[51] Justice Anderson also pointed out the failure of the defense to make closing arguments as an example of underzealous defense representation.[51] About the courtroom outburst, Justice Anderson noted that "there was great applause ... and this was bound to have influence."[52]
Anderson noted that, as the punishment for rape ranged between ten years and death, some of the teenagers should have been found "less culpable than others," and therefore should have received lighter sentences. Anderson concluded, "No matter how revolting the accusation, how clear the proof, or how degraded or even brutal, the offender, the Constitution, the law, the very genius of Anglo-American liberty demand a fair and impartial trial."[52]
Appeal to United States Supreme Court[edit]
Main article: Powell v. Alabama
The case went to the United States Supreme Court on October 10, 1932, amidst tight security. The ILD retained Walter Pollak[53] to handle the appeal. Alabama Attorney General Thomas Knight, Jr. represented the State.
Pollak argued that the defendants had been denied due process first due to the mob atmosphere, and second, because of the strange attorney appointment and their poor performance at trial. Last, he argued that African Americans were systematically excluded from jury duty contrary to the Fourteenth Amendment.
Knight countered that there had been no mob atmosphere at the trial, and pointed to the finding by the Alabama Supreme Court that the trial had been fair and representation "able." He told the Court that he had "no apologies" to make.[54]
In a landmark decision, the United States Supreme Court reversed the convictions on the ground that the due process clause of the United States Constitution guarantees the effective assistance of counsel at a criminal trial. In an opinion written by Associate Justice George Sutherland, the Court found the defendants had been denied effective counsel. Chief Justice Anderson's previous dissent was quoted repeatedly in this decision.
The Court did not fault Moody and Roddy for lack of an effective defense, noting that both had told Judge Hawkins that they had not had time to prepare their cases. They said the problem was with the way Judge Hawkins "immediately hurried to trial."[3] This conclusion did not find the Scottsboro defendants innocent, but ruled that the procedures violated their rights to due process under the Fifth and Fourteenth Amendments. The Supreme Court sent the case back to Judge Hawkins for a retrial.
Decatur trials[edit]
When the case, by now a cause celebre, came back to Judge Hawkins, he granted the request for a change of venue. The defense had urged for a move to the city of Birmingham, Alabama, but the case was transferred to the small, rural community of Decatur. This was near homes of the alleged victims and in Ku Klux Klan territory.[55]
The American Communist Party maintained control over defense of the case, retaining the New York criminal defense attorney Samuel Leibowitz. He had never lost a murder trial and was a registered Democrat, with no connection to the Communist Party. They kept Joseph Brodsky as the second chair for the trial.
The case was assigned to District Judge James Edwin Horton and tried in Morgan County. His appointment to the case drew local praise. The Judge carried a loaded pistol in his car throughout the time he presided over these cases.[why?][55]
The two years that had passed since the first trials had not dampened community hostility for the Scottsboro Boys. But others believed they were victims of Jim Crow justice, and the case was covered by numerous national newspapers.
At the trial, some 100 reporters were seated at the press tables. Hundreds more gathered on the courthouse lawn. National Guard members in plain clothes mingled in the crowd, looking for any sign of trouble. The Sheriff's department brought the defendants to Court in a patrol wagon guarded by two carloads of deputies armed with automatic shotguns.
In the courtroom, the Scottsboro Boys sat in a row wearing blue prison denims and guarded by National Guardsmen, except for Roy Wright, who had not been convicted. Wright wore street clothes. The Birmingham News described him as "dressed up like a Georgia gigolo."[56]
Leibowitz asserted his trust in the "God fearing people of Decatur and Morgan County";[56] he made a pretrial motion to quash the indictment on the ground that blacks had been systematically excluded from the grand jury. Although the motion was denied, this got the issue in the record for future appeals. To this motion, Attorney General Thomas Knight responded, "The State will concede nothing. Put on your case."[56]
Leibowitz called the editor of the Scottsboro weekly newspaper, who testified that he'd never heard of a black juror in Decatur because "They all steal."[57] He called local jury commissioners to explain the absence of African Americans from Jackson County juries. When Leibowitz accused them of excluding black men from juries, they did not seem to understand his accusation. It was as if the exclusion was so ordinary as to be unconscious.[58] (Note: Since most blacks could not vote after having been disenfranchised by the Alabama constitution, the local jury commissioners probably never thought about them as potential jurors, who were limited to voters.)
Leibowitz called local black professionals as witnesses to show they were qualified for jury service. Leibowitz called John Sanford, an African American of Scottsboro, who was educated, well-spoken, and respected. The defense attorney showed that "Mr. Sanford" was evidently qualified in all manner except by virtue of his race to be a candidate for participation in a jury. During the following cross examination, Knight addressed the witness by his first name, "John." The first two times that he did so, Leibowitz asked the court to have him alter his behavior. He did not, and this insult eventually caused Leibowitz to leap to his feet saying, "Now listen, Mr. Attorney-General, I've warned you twice about your treatment of my witness. For the last time now, stand back, take your finger out of his eye, and call him mister," causing gasps from the public seated in the gallery.[59] The judge abruptly interrupted Leibowitz.[60]
While the pretrial motion to quash the indictment was denied, Leibowitz had positioned the case for appeal. The issue of composition of the jury was addressed in a second landmark decision by the U.S. Supreme Court, which ruled that race could not be used to exclude anyone from candidacy for participation on a jury anywhere in the United States. This astonished (and infuriated) many residents of Alabama and many other Southern states.
Patterson trial[edit]
See also: Patterson v. Alabama
Judge Horton called the first case against Haywood Patterson and began jury selection. Leibowitz objected that African-American jurors had been excluded from the jury pool. He called the jury commissioner to the stand, asking if there were any blacks on the juror rolls, and when told yes, suggested his answer was not honest.[57] The locals resented his questioning of the official and "chewed their tobacco meditatively."[61] The National Guard posted five men with fixed bayonets in front of Leibowitz's residence that night.[61] The jury was selected by the end of the day on Friday and sequestered in the Lyons Hotel.[61]

Attorney General Thomas Knight, Jr
A large crowd gathered outside the court house for the start of the Patterson trial on Monday, April 2. Without the "vivid detail" she had used in the Scottsboro trials, Victoria Price told her account in 16 minutes.[62] The defense had what she had said before under oath on paper, and could confront her with any inconsistencies. The only drama came when Knight pulled a torn pair of step-ins from his brief case and tossed them into the lap of a juror to support the claim of rape.[62]
Leibowitz used a 32-foot model train set up on a table in front of the witness stand to illustrate where each of the parties was during the alleged events, and other points of his defense.[62] When asked if the model in front of her was like the train where she claimed she was raped, Price cracked, "It was bigger. Lots bigger. That is a toy."[62] Leibowitz later conceded that Price was "one of the toughest witnesses he ever cross examined."[63] Her answers were evasive and derisive. She often replied, "I can't remember" or "I won't say." Once when Leibowitz confronted her with a contradiction in her testimony, she exclaimed, sticking a finger in the direction of defendant Patterson, "One thing I will never forget is that one sitting right there raped me."[62] The attorney tried to question her about a conviction for fornication and adultery in Huntsville, but the court sustained a prosecution objection.[63]
Price insisted that she had spent the evening before the alleged rape at the home of a Mrs. Callie Brochie in Chattanooga. Leibowitz asked her whether she had spent the evening in a "hobo jungle" in Huntsville, Alabama with a Lester Carter and Jack Tiller, but she denied it. Leibowitz said that Callie Brochie was a fictional character in a Saturday Evening Post short story and suggested that Price's stay with her had been equally fictional.[64]

Victoria Price responded on cross-examination at the trial: "You're a pretty good actor yourself, Mr. Leibowitz"
As the historian James Goodman wrote:
Price was not the first hardened witness [Leibowitz] had faced, and certainly not the most depraved. Nor was she the first witness who tried to stare him down and, failing that, who seemed as if she were about to leap out of her seat and strike him. She was not the first witness to be evasive, sarcastic and crude. She was, however, the first witness to use her bad memory, truculence, and total lack of refinement, and at times, even ignorance, to great advantage.[65]
Many of the whites in the court room likely resented Leibowitz as a Jew from New York hired by the Communists, and for his treatment of a southern white woman, even a low-class one, as a hostile witness.[65] Some wondered if there was any way he could leave Decatur alive. The National Guard Captain Joe Burelson promised Judge Horton that he would protect Leibowitz and the defendants "as long as we have a piece of ammunition or a man alive."[65] Once Captain Burelson learned that a group was on their way to "take care of Leibowitz," he raised the drawbridge across the Tennessee River, keeping them out of Decatur.[citation needed]
Judge Horton learned that the prisoners were in danger from locals. Once he sent out the jury and warned the courtroom, "I want it to be known that these prisoners are under the protection of this court. This court intends to protect these prisoners and any other persons engaged in this trial."[66] Threats of violence came from the North as well. One letter from Chicago read, "When those Boys are dead, within six months your state will lose 500 lives."[67]

Dr. R.R. Bridges testifying in Decatur
Leibowitz systematically dismantled each prosecution witness' story under cross-examination. He got Dr. Bridges to admit on cross examination that "the best you can say about the whole case is that both of these women showed they had sexual intercourse."[68] Paint Rock ticket agent W. H. Hill testified to seeing the women and the black youths in the same car, but on cross-examination admitted not seeing the women at all until they got off the train. The Posse member Tom Rousseau had claimed to see the women and youths get off the same car but under cross-examination admitted finding the defendants scattered in various cars at the front of the train. Lee Adams testified that he had seen the fight, later saying that he was a quarter mile from the tracks. Ory Dobbins repeated that he'd seen the women try to jump off the train, but Leibowitz showed photos of the positions of the parties that proved Dobbins could not have seen everything he claimed. Dobbins insisted he had seen the girls wearing women's clothing, but other witnesses had testified they were in overalls.[69]
The prosecution withdrew the testimony of Dr. Marvin Lynch, the other examining doctor, as "repetitive." Many years later, Judge Horton said that Dr. Lynch confided that the women had not been raped and had laughed when he examined them. He said that if he testified for the defense, his practice in Jackson County would be over. Thinking Patterson would be acquitted, Judge Horton did not force Dr. Lynch to testify, but the judge had become convinced the defendants were innocent.[70]
Defense[edit]
Leibowitz began his defense by calling Chattanooga resident Dallas Ramsey, who testified that his home was next to the hobo jungle mentioned earlier. He said that he had seen both Price and Bates get on a train there with a white man on the morning of the alleged rape.[71]
Train fireman Percy Ricks testified that he saw the two women slipping along the side of the train right after it stopped in Paint Rock, as if they were trying to escape the posse. Leibowitz put on the testimony of Chattanooga gynecologist, Dr. Edward A. Reisman, who testified that after a woman had been raped by six men, it was impossible that she would have only a trace of semen, as was found in this case.[72]
Leibowitz next called Lester Carter, a white man who testified that he had had intercourse with Bates. Jack Tiller, another white, said he had had sex with Price, two days before the alleged rapes. He testified that he had been on the train on the morning of the arrests. He had heard Price ask Orville Gilley, a white youth, to confirm that she had been raped. However, Gilley had told her to "go to hell." Morgan County Solicitor Wade Wright cross-examined Carter. Wright tried to get Carter to admit that the Communist Party had bought his testimony, which Carter denied. But he said that the defense attorney Joseph Brodsky had paid his rent and bought him a new suit for the trial.[73]
Five of the original nine Scottsboro defendants testified that they had not seen Price and Bates until after the train stopped in Paint Rock. Willie Roberson testified that he was suffering from syphilis, with sores that prevented him from walking, and that he was in a car at the back of the train.[citation needed]
Olen Montgomery testified that he had been alone on a tank car the entire trip, and had not known about the fight or alleged rapes. Ozie Powell said that while he was not a participant, he had seen the fight with the white teenagers from his vantage point from between a box car and a gondola car, where he had been hanging on. He said he saw the white teenagers jump off the train. Roberson, Montgomery, and Powell all denied they had known each other or the other defendants before that day. Andy Wright, Eugene Williams, and Haywood Patterson testified that they had previously known each other, but had not seen the women until the train stopped in Paint Rock. Knight questioned them extensively about instances in which their testimony supposedly differed from their testimony at their trial in Scottsboro. They did not contradict themselves in any meaningful way.[74]
Haywood Patterson testified on his own behalf that he had not seen the women before stopping in Paint Rock; he withstood a cross examination from Knight who "shouted, shook his finger at, and ran back and forth in front of the defendant."[75] At one point, Knight demanded, "You were tried at Scottsboro?" Patterson snapped, "I was framed at Scottsboro." Knight thundered, "Who told you to say that?" Patterson replied, "I told myself to say it."[75]
Just after the defense rested "with reservations," someone handed Leibowitz a note. The attorneys approached the bench for a hushed conversation, which was followed by a short recess. Leibowitz called one final witness. Ruby Bates had been notably absent. She had disappeared from her home in Huntsville weeks before the new trial, and every sheriff in Alabama had been ordered to search for her, to no avail.[60] Now, two guardsmen with bayonets opened the courtroom doors, and Bates entered, "in stylish clothes, eyes downcast."[76]
Every head turned. Judge Horton stared, the prosecutors seethed, and her companion Victoria Price, brought out for Bates to identify, glared. Attorney General Knight warned Price to "keep your temper."[76] The young girl, alleged victim of "the worst crime in the state," was going to testify. After so many witnesses' stories crumbling under cross-examination, Bates' testimony must have seemed to be the final blow to the prosecution's case. Bates testified that there was no rape, that none of the defendants touched her or even spoke to her. When asked if she had been raped on March 25, 1931, Bates said, "No sir." Why did she lie? Bates replied, "I told it just like Victoria did because she said we might have to stay in jail if we did not frame up a story after crossing a state line with men." Bates continued, asserting that Price had said "she didn't care if all the Negroes in Alabama were put in jail."[76]
Bates admitted having intercourse with Lester Carter in the Huntsville railway yards two days before making accusations. Finally, she testified she had been in New York City and had decided to return to Alabama to tell the truth, at the urging of Rev. Harry Emerson Fosdick of that city.[76]

Rev. Harry Emerson Fosdick

Ruby Bates testifying.
With his eye tuned to the southern jury, Knight picked up on her northern dress in cross examination. He ripped into Bates, asking her where she had gotten her stylish coat, hat, and shoes. When she responded that the Communist Party had paid for her clothes, any credibility she had with the jury was destroyed. Judge Horton warned spectators to stop laughing at her testimony or he would eject them.[76][citation needed]
Closing arguments[edit]
By the time Leibowitz closed, the prosecution had played on anti-Semitic remarks.[77] Wade Wright added to this, referring to Ruby's boyfriend Lester Carter as "Mr. Caterinsky" and calling him "the prettiest Jew" he ever saw. He said, "Don't you know these defense witnesses are bought and paid for? May the Lord have mercy on the soul of Ruby Bates. Now the question in this case is this—Is justice in the case going to be bought and sold in Alabama with Jew money from New York?"[77]
Leibowitz objected and moved for a new trial. Judge Horton refused to grant a new trial, telling the jury to "put [the remarks] out of your minds."[78] One author describes Wright's closing argument as "the now-famous Jew-baiting summary to the jury."[79] He goes on to say that, "Until Wright spoke, many of the newspapermen felt that there was an outside chance for acquittal, at least a hung jury. But ... From then on the defense was helpless."[79]
In his closing, Leibowitz called Wright's argument an appeal to regional bigotry, claiming talk about Communists was just to "befuddle" the jury. He described himself as a patriot, a "Roosevelt Democrat", who had served the "Stars and Stripes" in World War I, "when there was no talk of Jew or Gentile, white or black."[80] As to Wright's reference to "Jew money", Leibowitz said that he was defending the Scottsboro Boys for nothing and was personally paying the expenses of his wife, who had accompanied him.[80]
"I'm interested," Leibowitz argued, "solely in seeing that that poor, moronic colored boy over there and his co-defendants in the other cases get a square shake of the dice, because I believe, before God, they are the victims of a dastardly frame up."[81] He called Price's testimony "a foul, contemptible, outrageous lie."[81] He ended with the Lord's Prayer and a challenge to either acquit or render the death sentence—nothing in between.[81]
Attorney General Knight delivered his rebuttal, roaring that if the jury found Haywood not guilty, they ought to "put a garland of roses around his neck, give him a supper, and send him to New York City." Considering the evidence, he continued, "there can be but one verdict—death in the electric chair for raping Victoria Price."[82]
Verdict[edit]

It has been suggested that Irwin Craig be merged into this article. (Discuss) Proposed since February 2015.
The jury began deliberating Saturday afternoon and announced it had a verdict at ten the next morning, while many residents of Decatur were in church. The jury foreman, Eugene Bailey, handed the handwritten verdict to Judge Horton. The jury found the defendant guilty of rape, and sentenced Patterson to death in the electric chair.[83] Bailey had held out for eleven hours for life in prison, but in the end agreed to the death sentence.[83]
According to one account, juror Irwin Craig held out against imposition of the death penalty, because he thought that Patterson was innocent.[84]
Horton grants Patterson a new trial[edit]
The defense moved for a retrial and, believing the defendants innocent, Judge James Edwin Horton agreed to set aside the guilty verdict for Patterson. Horton ruled the rest of defendants could not get a fair trial at that time and indefinitely postponed the rest of the trials, knowing it would cost him his job when he ran for re-election.[85]
Judge Horton heard arguments on the motion for new trial in the Limestone County Court House in Athens, Alabama, where he read his decision to the astonished defense and a furious Knight:
These women are shown ... to have falsely accused two Negroes ... This tendency on the part of the women shows that they are predisposed to make false accusations... The Court will not pursue the evidence any further.
Horton ordered a new trial—the fourth for Patterson.
When Judge Horton announced his decision, Knight stated that he would retry Patterson. He said that he had found Orville "Carolina Slim" Gilley, the white teenager in the gondola car, and that Gilley would corroborate Price's story in full. At Knight's request, the court replaced Judge Horton with Judge William Washington Callahan, described as a racist. He later instructed the jury in the next round of trials that no white woman would voluntarily have sex with a black man.[86]
New trials under Callahan[edit]
During the Decatur retrial, held from November 1933 to July 1937, Judge Callahan wanted to take the case off "the front pages of America's newspapers."[87] He banned photographers from the courthouse grounds and typewriters from his court room.[83] "There ain't going to be no more picture snappin' round here," he ordered. He also imposed a strict three-day time limit on each trial, running them into the evening.[88] He removed protection from the defense, convincing Governor Benjamin Meek Miller to keep the National Guard away.
The defense moved for another change of venue, submitting affidavits in which hundreds of residents stated their intense dislike for the defendants, to show there was "overwhelming prejudice" against them.[89] The prosecution countered with testimony that some of the quotes in the affidavits were untrue, and that six of the people quoted were dead.[90] The defense countered that they had received numerous death threats, and the Judge replied that he and the prosecution had received more from the Communists. The motion was denied.[91]
Leibowitz led Commissioner Moody and Jackson County Circuit Clerk C.A. Wann through every page of the Jackson County jury roll to show that it contained no names of African Americans. When, after several hours of reading names, Commissioner Moody finally claimed several names to be of African Americans,[92] Leibowitz got handwriting samples from all present. One man admitted that the handwriting appeared to be his. Leibowitz called in a handwriting expert, who testified that names identified as African-American had been added later to the list, and signed by former Jury Commissioner Morgan.[93]
Judge Callahan did not rule that excluding people by race was Constitutional, only that the defense had not proven that African Americans had been deliberately excluded. By letting Leibowitz go on record on this issue, Judge Callahan provided grounds for the case to be appealed to the US Supreme Court for a second time. It was the basis for the court's finding in Norris v. Alabama (1935), that an exclusion of African-American grand jurors had occurred, violating the due process clause of the Constitution.
Haywood Patterson's Decatur retrial began on November 27, 1933. Thirty-six potential jurors admitted having a "fixed opinion" in the case,[93] which caused Leibowitz to move for a change of venue. Callahan denied the motion.[91] Callahan excluded defense evidence that Horton had admitted, at one point exclaiming to Leibowitz, "Judge Horton can't help you [now]."[88] He routinely sustained prosecution objections but overruled defense objections.
Price testified again that a dozen armed negro men entered the gondola car. She said Patterson had fired a shot and ordered all whites but Gilley off the train.[94] She said the negros had ripped her clothes off and repeatedly raped her at knife point, and pointed out Patterson as one of the rapists.[95] She said they raped her and Bates, afterward saying they would take them north or throw them in the river.[93] She testified that she had fallen while getting out of the gondola car, passed out and came to seated in a store at Paint Rock. Leibowitz questioned her until Judge Callahan stopped court for the day at 6:30. When he resumed the next morning, he pointed out many contradictions among her various versions of the rape.
Judge Callahan repeatedly interrupted Leibowitz's cross examination of Price, calling defense questions "arguing with the witness," "immaterial, "useless," "a waste of time" and even "illegal."[96] The many contradictions notwithstanding, Price steadfastly stuck to her testimony that Patterson had raped her.[97]
Orville Gilley's testimony at Patterson's Decatur retrial was a mild sensation.[95] He denied being a "bought witness," repeating his testimony about armed blacks ordering the white teenagers off the train.[94] He confirmed Price's rape account, adding that he stopped the rape by convincing the "negro" with the gun to make the rapists stop "before they killed that woman."[98] Leibowitz cross examined him at length about contradictions between his account and Price's testimony, but he remained "unruffled."[98] Gilley testified to meeting Lester Carter and the women the evening before the alleged rapes, and getting them coffee and sandwiches. Callahan interrupted before Leibowitz could find out if Gilley went "somewhere with [the women]" that night.[99]
The prosecution called several white farmers who testified that they had seen the fight on the train and saw the girls "a-fixin' to get out," but they saw the defendants drag them back.[94][100]
Lester Carter took the stand for the defense. He had testified in the first Decatur trial that Price and Bates had had sex with him and Gilley in the hobo jungle in Chattanooga prior to the alleged rapes, which could account for the semen found in the women. But Judge Callahan would not let him repeat that testimony at the trial, stating that any such testimony was "immaterial."
Ruby Bates was apparently too sick to travel. She had had surgery in New York, and at one point Leibowitz requested that her deposition be taken as a dying declaration. While she was not dying, committed to his three-day time limit for the trial, Judge Callahan denied the request to arrange to take her deposition.[101] Although the defense needed her testimony, by the time a deposition arrived, the case had gone to the jury and they did not hear it at all.[102]
Haywood Patterson took the stand, admitting he had "cussed" at the white teenagers, but only because they cussed at him first. He denied seeing the white women before Paint Rock. On cross-examination Knight confronted him with previous testimony from his Scottsboro trial that he had not touched the women, but that he had seen the other five defendants rape them. Leibowitz objected, stating that the U.S. Supreme Court had ruled previous testimony illegal. Judge Callahan allowed it, although he would not allow testimony by Patterson stating that he had not seen the women before Paint Rock.[100] Patterson explained contradictions in his testimony: "We was scared and I don't know what I said. They told us if we didn't confess they'd kill us—give us to the mob outside."[103]
Patterson claimed the threats had been made by guards and militiamen while the defendants were in the Jackson County jail. He said threats were made even in the presence of the Judge. Patterson pointed at H.G. Bailey, prosecutor in his Scottsboro trial, stating, "And Mr. Bailey over there—he said send all the niggers to the electric chair. There's too many niggers in the world anyway."[103]
Closing arguments were made November 29 through November 30, without stopping for Thanksgiving. Callahan limited each side to two hours of argument.[104]
Knight declared in his closing that the prosecution was not avenging what the defendants had done to Price. "What has been done to her cannot be undone. What you can do now is to make sure that it doesn't happen to some other woman." Leibowitz objected that the argument was "an appeal to passion and prejudice" and moved for a mistrial. Knight agreed that it was an appeal to passion, and Callahan overruled the motion. Knight continued, "We all have a passion, all men in this court room to protect the womanhood in Alabama."[105] For his summation, Solicitor Wade Wright reviewed the testimony and warned the jury, "that this crime could have happened to any woman, even though she was riding in a parlor car, instead of box car."[100]
The Solicitor H.G. Bailey reminded the jury that the law presumed Patterson innocent, even if what Gilley and Price had described was "as sordid as ever a human tongue has uttered." Finally he defended the women, "Instead of painting their faces ... they were brave enough to go to Chattanooga and look for honest work."[100] Bailey attacked the defense case.
They say this is a frame-up! They have been yelling frame-up ever since this case started! Who framed them? Did Ory Dobbins frame them? Did brother Hill frame them? We did a lot of awful things over there is Scottsboro, didn't we? My, my, my. And now they come over here and try to convince you that that sort of thing happened in your neighboring county.[106]
Judge Callahan charged the jury that Price and Bates could have been raped without force, just by withholding their consent. He instructed them, "Where the woman charged to have been raped is white, there is a strong presumption under the law that she will not and did not yield voluntarily to intercourse with the defendant, a Negro."[107] He instructed the jury that if Patterson was so much as present for the "purpose of aiding, encouraging, assisting or abetting" the rapes "in any way," he was as guilty as the person who committed the rapes.[107]
He told them that they did not need to find corroboration of Price's testimony. If they believed her, that was enough to convict. Judge Callahan said he was giving them two forms—one for conviction and one for acquittal, but he supplied the jury with only a form to convict. He supplied them with an acquittal form only after the prosecution, fearing reversible error, urged him do so.[108]
As Time Magazine described it, "Twenty-six hours later came a resounding thump on the brown wooden jury room door. The bailiff let the jurors out [from the Patterson trial]. The foreman unfisted a moist crumpled note, handed it to the clerk. A thin smile faded from Patterson's lips as the clerk read his third death sentence."[109]
In May 1934, despite having run unopposed in the previous election for the position, James Horton was soundly defeated when he ran for re-election as a circuit judge. The vote against him was especially heavy in Morgan County. In the same election, Thomas Knight was elected Lieutenant Governor of Alabama.[110]
Norris retrial[edit]
Judge Callahan started jury selection for the trial of defendant Norris on November 30, 1933, Thanksgiving afternoon. At this trial, Victoria Price testified that two of her alleged assailants had pistols, that they threw off the white teenagers, that she tried to jump off but was grabbed, thrown onto the gravel in the gondola, one of them held her legs, and one held a knife on her, and one raped both her and Ruby Bates.[111] She claimed Norris raped her, along with five others.
Callahan would not allow Leibowitz to ask Price about any "crime of moral turpitude." Nor would he allow Leibowitz to ask why she went to Chattanooga, where she had spent the night there, or about Carter or Gilley. Neither would he allow questions as to whether she'd had sexual intercourse with Carter or Gilley. During more cross-examination, Price looked at Knight so often Leibowitz accused her of looking for signals. Judge Callahan cautioned Leibowitz he would not permit "such tactics" in his courtroom.[112]
Dr. Bridges was a state witness, and Leibowitz cross examined him at length, trying to get him to agree that a rape would have produced more injuries than he found. Callahan sustained a prosecution objection, ruling "the question is not based on the evidence."[113]
Ruby Bates had given a deposition from her hospital bed in New York, which arrived in time to be read to the jury in the Norris trial. Judge Callahan sustained prosecution objections to large portions of it, most significantly the part where she said that she and Price both had sex voluntarily in Chattanooga the night before the alleged rapes.
Leibowitz read the rest of Bates' deposition, including her version of what happened on the train.[114] She said that there were white teenagers riding in the gondola car with them, that some black teenagers came into the car, that a fight broke out, that most of the white teenagers got off the train, and that the blacks "disappeared" until the posse stopped the train at Paint Rock. She testified that she, Price and Gilley were arrested, and that Price made the rape accusation, instructing her to go along with the story to stay out of jail. She reiterated that neither she nor Price had been raped.[115] Leibowitz chose to keep Norris off the stand.[114]
Closing arguments were on December 4, 1933. In his closing argument, Leibowitz called the prosecution's case "a contemptible frame-up by two bums."[116] He attempted to overcome local prejudice, saying "if you have a reasonable doubt, hold out. Stand your ground, show you are a man, a red-blooded he-man."[116] The prosecution's closing argument was shorter and less "barbed" than it had been in the Patterson case. It was addressed more to the evidence and less to the regional prejudice of the jury.[116]
Leibowitz made many objections to Judge Callahan's charge to the jury. The New York Times described Leibowitz as "pressing the judge almost as though he were a hostile witness."[117] New York City Mayor Fiorello H. La Guardia had dispatched two burly New York City police officers to protect Leibowitz. During the long jury deliberations, Judge Callahan also assigned two Morgan County deputies to guard him.
The jury began deliberation on December 5. After 14 hours of deliberation, the jury filed into the court room; they returned a guilty verdict and sentenced Norris to death. Norris took the news stoically.
Leibowitz's prompt appeal stayed the execution date, so Patterson and Norris were both returned to death row in Kilby Prison. The other defendants waited in the Jefferson County jail in Birmingham for the outcome of the appeals. Leibowitz was escorted to the train station under heavy guard, and he boarded a train back to New York.[118]
United States Supreme Court reverses Decatur convictions[edit]
See also: Patterson v. Alabama
The case went to the United States Supreme Court for a second time as Norris v. Alabama. The court reversed the convictions for a second time on the basis that blacks had been excluded from the jury pool because of their race.[119]
Attorneys Samuel Leibowitz, Walter H. Pollak and Osmond Frankel argued the case from February 15 to February 18, 1935. Leibowitz showed the justices that the names of African Americans had been added to the jury rolls. The Justices examined the items closely with a magnifying glass. Thomas Knight maintained that the jury process was color blind.
Because the case of Haywood Patterson had been dismissed due to the technical failure to appeal it on time, it presented different issues. Attorneys Osmond Frankel and Walter Pollak argued those.[120]

Chief Justice Charles Evans Hughes
On April 1, 1935, the United States Supreme Court sent the cases back a second time for retrials in Alabama. Writing for the Court, Chief Justice Charles Evans Hughes observed the Equal Protection Clause of the United States Constitution clearly forbade the states from excluding citizens from juries due solely to their race.[121] He noted that the Court had inspected the jury rolls, chastising Judge Callahan and the Alabama Supreme Court for accepting assertions that black citizens had not been excluded. According to the U.S. Supreme Court, "something more" was needed. The Court concluded, "the motion to quash ... should have been granted."[4] The Court ruled that it would be a great injustice to execute Patterson when Norris would receive a new trial, reasoning that Alabama should have opportunity to reexamine Patterson's case as well.[122]
Alabama Governor Bibb Graves instructed every solicitor and judge in the state, "Whether we like the decisions or not... We must put Negroes in jury boxes. Alabama is going to observe the supreme law of America."[123]
Final round of trials[edit]
After the case was remanded, on May 1, 1935, Victoria Price swore new rape complaints against the defendants as the sole complaining witness. An African American, Creed Conyer, was selected as the first black person since Reconstruction to sit on an Alabama grand jury. Indictment could be made with a two-thirds vote, and the grand jury voted to indict the defendants. Thomas Knight, Jr. by now (May, 1935) Lieutenant Governor, was appointed special prosecutor to the cases.[124]
Leibowitz recognized that he was viewed by Southerners as an outsider, and allowed the local attorney Charles Watts to be the lead attorney; he assisted from the sidelines. Judge Callahan arraigned all the defendants except the two juveniles in Decatur; they all pleaded not guilty.
Watts moved to have the case sent to the Federal Court as a civil rights case, which Callahan promptly denied. He set the retrials for January 20, 1936.[125]

Alabama Governor Bibb Graves
Final decisions[edit]
By January 23, Haywood Patterson was convicted of rape and sentenced to 75 years—the first time in Alabama that a black man had not been sentenced to death in the rape of a white woman.[1] Patterson escaped from prison in 1948; he published The Scottsboro Boy in 1950. That year he was caught by the FBI in Michigan. The governor of the state refused to extradite Patterson to Alabama. He was later arrested for stabbing a man in a bar fight and convicted of manslaughter. Patterson died of cancer in prison in 1952, after serving one year of his second sentence.
On July 15, 1937, Clarence Norris was convicted of rape and sexual assault and sentenced to death. Governor Bibb Graves of Alabama in 1938 commuted his death sentence to life in prison. He was paroled in 1946 and moved north, where he married and had children. In 1970 he began seeking a pardon, with the help of the NAACP and Alabama's attorney. In 1976 Governor George Wallace pardoned Norris, declaring him "not guilty." Norris' autobiography, The Last of the Scottsboro Boys, was published in 1979. Norris died on January 23, 1989, of Alzheimer's disease.
On July 22, 1937, Andrew Wright was convicted of rape and sentenced to 99 years. He was paroled, but returned to prison after violating parole. Finally released in 1950, he was paroled in New York State.
On July 24, 1937, Charlie Weems was convicted of rape and sentenced to 105 years in prison. He was paroled in 1943 after serving 12 years in some of the worst prisons in the United States.
Ozie Powell was sent to Kilby Prison with Wright and Norris. While they were being transported to Birmingham Prison on January 24, 1936, two officers threatened the men. Powell pulled a pocket knife and cut one of the officers, while the other two allegedly pulled him away with their manacled hands. One of the officers shot Powell in the face, and he suffered permanent brain damage.[126] Powell pleaded guilty to assaulting the deputy and was sentenced to 20 years. The state dropped the rape charges as part of this plea bargain. Powell was released from prison in 1946.

Ozie Powell in hospital
On July 24, 1937, the state of Alabama dropped all charges against Willie Roberson, Olen Montgomery, Eugene Williams, and Roy Wright. The four had spent over six years in prison, the adults on death row.
After Alabama freed Roy Wright, the Scottsboro Defense Committee took him on a national lecture tour. He joined the United States Army. Later he married and joined the Merchant Marine. After Wright came back from a lengthy time at sea in 1959, he thought his wife had been unfaithful. He shot and killed her before turning the gun on himself and committing suicide.[127]
On July 26, 1937, Haywood Patterson was sent to Atmore State Prison Farm. The remaining "Scottsboro Boys" in custody were sent to Kilby Prison.
Aftermath[edit]
Governor Graves had planned to pardon the prisoners in 1938, but was angered by their hostility and refusal to admit their guilt. He refused the pardons but did commute Norris' death sentence to life in prison.
Ruby Bates toured for a short while as an ILD speaker. She said she was "sorry for all the trouble that I caused them," and claimed she did it because she was "frightened by the ruling class of Scottsboro." Later, she worked in a New York state spinning factory until 1938; that year she returned to Huntsville. Victoria Price worked in a Huntsville cotton mill until 1938, then moved to Flintville, Tennessee.
Scottsboro: A Tragedy of the American South (1969) by Dan T. Carter was widely thought to be authoritative, but it wrongly asserted that Price and Bates were dead. An NBC TV movie, Judge Horton and the Scottsboro Boys (1976), asserted that the defense had proven that Price and Bates were prostitutes; both sued NBC over their portrayals. Bates died in 1976 in Washington state, where she lived with her carpenter husband, and her case was not heard. Price's case was initially dismissed but she appealed. When the US Supreme Court agreed to hear the case in 1977, Price disregarded the advice of her lawyer and accepted a settlement from NBC. She used the money to buy a house. Price died in 1983, in Lincoln County, Tennessee.[128][page needed][129][page needed]
Most residents of Scottsboro have acknowledged the injustice that started in their community.[130] In January 2004, the town dedicated a historical marker in commemoration of the case at the Jackson County Court House.[131] According to a news story, "An 87-year-old black man who attended the ceremony recalled that the mob scene following the Boys' arrest was frightening and that death threats were leveled against the jailed suspects. Speaking of the decision to install the marker, he said, 'I think it will bring the races closer together, to understand each other better.'"[130]
Shelia Washington founded the Scottsboro Boys Museum and Cultural Center in 2010 in Scottsboro.[132] It is located in the former Joyce Chapel United Methodist Church, and is devoted to exploring the case and commemorating the search for justice for its victims.[133]
2013 pardon[edit]
In early May 2013, the Alabama legislature cleared the path for posthumous pardons.[132] On November 21, 2013, the Alabama Board of Pardons and Paroles granted posthumous pardons to Weems, Wright and Patterson, the only Scottsboro Boys who had neither had their convictions overturned nor received a pardon.[134][135]
Governor Robert J. Bentley said to the press that day:
While we could not take back what happened to the Scottsboro Boys 80 years ago, we found a way to make it right moving forward. The pardons granted to the Scottsboro Boys today are long overdue. The legislation that led to today's pardons was the result of a bipartisan, cooperative effort. I appreciate the Pardons and Parole Board for continuing our progress today and officially granting these pardons. Today, the Scottsboro Boys have finally received justice.[136]
Fates of the defendants[edit]
In 1936, Haywood Patterson was convicted of rape and sentenced to 75 years in prison. He escaped in 1949 and in 1950 was found in Michigan, but the governor refused to extradite him. In 1951 he was convicted in an assault and sentenced to prison, where he died of cancer in 1952.
In 1936, Ozie Powell was involved in an altercation with a guard and shot in the face, suffering permanent brain damage. He pleaded guilty to assault, and the rape charges were dropped. He was paroled in 1946.
1937, Charlie Weems was convicted and sentenced to 105 years. He was paroled in 1943 after having been held in prison for a total of 12 years in some of Alabama's worst institutions.
1937, Andy Wright was convicted and sentenced to 99 years. He was paroled and returned to prison after violating parole. He was paroled in New York State in 1950.
1937, Clarence Norris was convicted of rape and was the only defendant sentenced to death. Governor Bibb Graves of Alabama in 1938 commuted his death sentence to life. Given parole in 1946, he "jumped" and went into hiding. In 1976 he was found in Brooklyn, New York. Governor George Wallace pardoned him that year, declaring him "not guilty". Norris published an autobiography, The Last of the Scottsboro Boys (1979). He died of Alzheimer's disease on January 23, 1989.
In 1937, the state dropped all charges for Willie Roberson, Olen Montgomery, Eugene Williams, and Roy Wright, who had already been in prison for six years.
Roy Wright had a career in the US Army and Merchant Marine. In 1959, believing his wife had been unfaithful during his tour, he shot and killed her, and shot himself, committing suicide.[127]
2013, the state of Alabama issues posthumous pardons for Patterson, Weems, and Andy Wright.
In popular culture[edit]
Literature
African-American poet and playwright Langston Hughes wrote about the trials in his work Scottsboro Limited.
The novel To Kill a Mockingbird by Harper Lee is about growing up in the Deep South in the 1930s. An important plot element concerns the father, attorney Atticus Finch, defending a black man against charges of rape. The trial in this novel is often characterized as based on the Scottsboro case. But Harper Lee said in 2005 that she had in mind something less sensational, although the Scottsboro case served "the same purpose" to display Southern prejudices.[137]
Ellen Feldman's Scottsboro: A Novel (2009) was shortlisted for the Orange Prize; it is a fictionalized account of the trial, told from the point of view of Ruby Bates and a fictional journalist, Alice Whittier.
Richard Wright's 1940 novel Native Son (New York: Harper, 1940) was influenced by the Scottsboro Boys case. There is a parallel between the court scene in Native Son in which Max calls the "hate and impatience" of "the mob congregated upon the streets beyond the window" (Wright 386) and the "mob who surrounded the Scottsboro jail with rope and kerosene" after the Scottsboro boys' initial conviction. (Maxwell 132)[138]
Music
The American folk singer and songwriter Lead Belly commemorated the events in his song "The Scottsboro Boys."[139] In the song, he warns "colored" people to watch out if they go to Alabama, saying that "the man gonna get ya," and that the "Scottsboro boys [will] tell ya what it's all about."
Metal/Rap band Rage Against The Machine provides imagery of the Scottsboro Boys in their music video No Shelter, along with imagery of the executions of Sacco and Vanzetti, two men who were also denied a fair trial in court and were executed by authorities.[140]
Film and television
In 1976, NBC aired a TV movie called Judge Horton and the Scottsboro Boys, based on the case.
In 1998, Court TV produced a television documentary on the Scottsboro trials for its Greatest Trials of All Time series.[141]
Daniel Anker and Barak Goodman produced the story of the Scottsboro Boys in the 2001 documentary Scottsboro: An American Tragedy, which received an Oscar nomination.
Timothy Hutton starred in a 2006 film adaptation titled Heavens Fall.[142]
Theater
Jean-Paul Sartre's 1946 play The Respectful Prostitute (La Putain respectueuse), in which a black man is wrongfully blamed for an incident on a train involving a white prostitute, is believed to have been based on the Scottsboro case.[143]
The Scottsboro Boys is a staged musical portrayal of the Scottsboro case. The show premiered Off Broadway in February 2010[144] and moved to Broadway's Lyceum Theatre in October 2010. The show received good reviews, but closed on December 12, 2010.[145][146] The musical opened in London's Young Vic Theatre in 2013 before moving to the Garrick Theatre in October 2014.
Direct from Death Row The Scottsboro Boys, a black ensemble vaudevillesque "play with music and masks" Mark Stein production, directed by Michael Menendian, and presented at Chicago's Raven Theatre during the 2015 and 2016 seasons. [147]

The Respectful Prostitute (1952)

EPTEMBER 3, 2007 · 2:53 PM ↓ Jump to Comments
The Respectful Prostitute (1952)
“Don’t paw me, you’re not part of my contract.”

Based on a Jean Paul Sartre play, The Respectful Prostitute explores the moral choices experienced by a white prostitute after she witnesses a crime committed against a black man.

Set during the segregation period, the film begins on a train traveling to a small town in the Deep South. A white woman, prostitute/singer/hostess Lizzie McKay (Barbara Laage), is manhandled by two white men who are drunk. During the scuffle, a white man kills a black man who is an innocent bystander. The white man, the nephew of a local senator, is hauled off for the crime. In jail, he’s perfectly happy to brag about the killing, but his uncle and cousin want him set free and decide a little witness tampering is the perfect solution.

The plan is to get Lizzie to sign a statement that the murdered black man was trying to rape her, and that the white man came to her rescue. There are only two impediments to this plan–Lizzie and the only other witness–the murdered man’s black friend. Both the senator and his son decide that Lizzie can be bought or persuaded to sign the false statement, and they try a number of different tactics to win her compliance. As far as they are concerned, she shouldn’t testify against a member of her “own race”–and whether or not the white man is guilty is beside the point. Lizzie, however, is already on the fringes of society. She doesn’t exactly relate to the privileged white set, so the dilemma for the senator becomes a matter of making Lizzie identify with her race.

In the meantime, the black witness is terrified. He doesn’t expect Lizzie to tell the truth about what happened, and now in hiding, he knows he’ll be lynched if found.

Lizzie is a hard character who’s tough enough not to buckle to fear, but she’s not immune to other rhetoric. As an outcast from mainstream white society, she becomes humanised by her experience with the slimy southern politician and his ‘old boy network’ who would quite happily sweep the crime under the rug.

The film is dubbed. It would probably be too absurd for a French film set in the Deep South to have subtitles, but the dubbing is an unfortunate feature of the film. Luckily, there are not many close-ups, so the dubbing isn’t too distracting. The Respectful Prostitute is an interesting story that explores the ugliness of racism, and in Sartre’s hands, Lizzie’s moral choices become the focal point of this tale.JEAN-PAUL SARTRE was born in Paris in 1905. After being graduated from the Ecole Normale Superieure in 1929 with a doctorate in philosophy, he taught for a while at Le Havre, Lyon, and Paris. Taken prisoner in 1940, he was released after nine months, and returned to Paris and teaching. His first play, The Flies, was produced in Paris during the German Occupa-tion. His second play, No Exit, was the first to be performed in Paris after the liberation. In addition to plays, his works include important philosophical works and novels. In 1964 Sartre declined the Nobel Prize for Literature. He died in 1980.

THE RESPECTFUL PROSTITUTE - JEAN-PAUL SARTRE

THE RESPECTFUL PROSTITUTE - Play
(La Putain respectueuse)
JEAN-PAUL SARTRE
TO MICHEL AND ZETTE LEIRIS
A PLAY IN ONE ACT AND TWO SCENES
CHARACTERS IN THE PLAY
LIZZIE
THE NEGRO
FRED
JOHN
JAMES THE SENATOR
SEVERAL MEN
La Putain respectueuse (The Respectful Prostitute) was presented for the first time at the Theatre Antoine, Paris, on November 8, 1946.
SCENE ONE
A room in a Southern town of the United States. 
White walls. 
A couch. 
To the right, a window; to the left, a bathroom door. 
In the background, a small antechamber leading to the street. 
Before the curtain rises, a roaring noise from the stage. 
LIZZIE is alone, half dressed, running the vacuum cleaner. 
The bell rings. 
She hesitates, looks toward the door leading to the bathroom.
The bell rings again. 
She turns off the vacuum cleaner, goes to the bathroom door, and half opens it.
LIZZIE [in a low voice] Someone is ringing, don't come out. 
[She goes to open the door leading to the street].
THE NEGRO appears in the doorway. 
He is a tall, strapping Negro with white hair. 
He stands stiffly.] 
LIZZIE What is it? You must have the wrong address.
LIZZIE [A pause.] What do you want? Speak up.
THE NEGRO [pleading]: Please ma'am, please.
LIZZIE Please what? [She looks him over.] Wait a minute. That was you on the train, wasn't it? So you got away from them, eh? How did you find my place?
THE NEGRO Please.
LIZZIE Please what? Do you want money?
THE NEGRO No, ma'am. [A pause.] Please tell them that I didn't do anything.
LIZZIE Tell who?
THE NEGRO The judge. Tell him, ma'am, please tell him.
LIZZIE I'll tell him nothing.
THE NEGRO Please.
LIZZIE Nothing doing. I'm not buying anybody else's troubles, I got enough of my own. Beat it.
THE NEGRO You know I didn't do anything. Did I do something?
LIZZIE Nothing. But I'm not going to the judge. Judges and cops make me sick.
THE NEGRO I left my wife and children. I've been running and dodging all night. I'm dead beat.  LizzlE, Get out of town.
LIZZIE  Who's watching?
THE NEGRO The white folks.
LIZZIE Which white folks?
THE NEGRO All of them. Were you out this morning?
LIZZIE No.
THE NEGRO The streets are full of all kinds of white folks. Old ones, young ones; they talk without even knowing each other.
LIZZIE What does that mean?
THE NEGRO It means all I can do is run around until they get me. When white folk who have never met before, start to talk to each other, friendly like, it means some nigger's goin' to die. [A pause.] Say I haven't done anything, ma'am. Tell the judge; tell the newspaper people. Maybethey'll print it. Tell them, ma'am, tell them, tell them!
LIZZIE Don't shout. I got somebody here. [A pause.] Newspa-pers are out of the question. Ican't afford to call attention to myself right now. [A pause.] If they force me to testify, I promiseto tell the truth.
THE NEGRO Are you gonna tell them I haven't done anything?
LIZZIE I'll tell them.
THE NEGRO You swear, ma'am?
LIZZIE Yes, yes.
THE NEGRO By our Lord, who sees US all?
LIZZIE Oh, get the hell out of here. I promise, that ought to be enough. [A pause.] But get going. Get out!
THE NEGRO  [suddenly]: Please, won't you hide me?
LIZZIE Hide you?
THE NEGRO Won't you, ma'am? Won't you?
LIZZIE Hide you! Me? I'll show you! [She slams the door in his face.] And that's that! 
LIZZIE [She turns toward the bathroom.] You can come out. 
[FRED emerges in shirt sleeves, without collaror tie.]
FRED Who was that?
LIZZIE Nobody.
FRED I thought it was the police.
LIZZIE The police? Are you mixed up with the police?
FRED No. I thought they came for you.
LIZZIE [offended]: You got a nerve! I never took a cent off any-one!
FRED Weren't you ever in trouble with the police?
LIZZIE Not for stealing, anyway. [She busies herself with the vac-uum cleaner.]
FRED [irritated by the noise]: Hey!
LIZZIE [shouting to make herself heard]: What's the matter, honey?
FRED [shouting]: You're busting my eardrums.
LIZZIE  [shouting]: I'll soon be finished. [A pause.] That's the way I am.
FRED [shouting]: What?
LIZZIE [shouting]: I tell you I'm like that.
FRED [shouting]: Like what?
LIZZIE [shouting]: Like that. I can't help it, the next morning I have to take a bath and run the vacuum cleaner. [She leaves the vacuum cleaner.]
FRED [pointing toward the bed]: Cover that, while you're at it.
LIZZIE What?
FRED The bed. I said you should cover the bed. It smells of sin.
LIZZIE Sin? How come you talk like that? Are you a preacher?
FRED No. Why?
LIZZIE You sound like the Bible. [She looks at him.] No, you're not a preacher: you're too well dressed. Let's see your rings. [Admiringly] Say—look at that! Are you rich?
FRED Yes.
LIZZIE Very rich?
FRED Yes, very.
LIZZIE So much the better. [She puts her arms around his neck and holds up her lips to be kissed.] It's better when a man is rich; you feel more secure that way. [He is about to embrace her, then turns away.]
FRED Cover the bed.
LIZZIE All right, all right. I'll cover it. [She covers the bed and laughs to herself.] "It smells of sin!" What do you know about that? You know, it's your sin, honey. [FRED shakes his head.]Yes, of course, it's mine too. But then, I've got so many on my conscience— 
[She sits down on the bed and forces FRED to sit beside her.] 
LIZZIE Come on. Sit on our sin. A pretty nice sin, wasn't it? [She laughs.] But don't lower your eyes like that. Do I frighten you? 
[FRED crushes her against him brutally.] 
LIZZIE You're hurting me! You're hurting me! [He releases her.] 
LIZZIE You're a funny guy. You seem to be in a bad mood. 
LIZZIE [After a while] Tell me your first name. You don't want to? That bothers me, not to know your first name. Really, it would be the first time. They don't usually tell me their last names, and I can understand that. But the first name! How do you expect me to know one of you from another if I don't know your first names? Tell me, honey, go on.
FRED  No.
LIZZIE Well, then, you can be the nameless gentleman. 
LIZZIE [She gets up.] Wait. I'm going to finish straightening things up. 
LIZZIE [She puts a few things in order.] There we are. Everything's in place. The chairs around the table: that's more refined. Do you know anyone who sells prints? I'd like some pictures on the wall. I have a lovely one in my trunk. The Broken Pitcher, it's called. It shows a young girl; she's broken her pitcher, poor thing. It's French.
FRED What pitcher?
LIZZIE How should I know? Her pitcher. She must have had a pitcher. I'd like to have an old grandmother to match. She could be knitting, or telling her grandchildren a story. I think I'll pul up the shades and open the window. [She does.] How nice it is outside! It's going to be a fine day. [She stretches.] Oh, I feel good; it's a beautiful day, I've taken a bath, I've had a good loving; gee, I feel swell! How good I do feel! Come look at the view I have. Look! I have a lovely view. Nothing but trees, it makes you feel rich. I certainly had luck: right off I found a roonn in a nice place. Aren't you coming? Don't you like your own town?
FRED I like it from my own window.
LIZZIE [suddenly]: It doesn't bring bad luck, to see a nigger just after waking up, does it?
FRED Why?
LIZZIE I—there's one going past down there, on the other side of the street.
FRED It's always bad luck when you. see a nigger. Niggers are the Devil. [A pause.] Close the window.
LIZZIE Don't you wiint me to air the place?
FRED I told you to close the window. O.K. And pull down the shade. Put the lights on again.
LIZZIE Why? Because of the niggers?
FRED Don't be stupid!
LIZZIE It's so nice and sunny.
FRED I don't want Any sunshine in lbere. I want it to be like it was last night. Close the windovv, I said. I'll find the sun-shine again when I go out. 
[He gets up, goes toward her, and looks at her.]
LIZZIE [vaguely uneasy]: What's the rriatter?
FRED Nothing. Give me my tie.
LIZZIE It's in the bathroom. 
[She goes out. 
FRED hastily opens the drawers of the table and rummages through them. 
LIZZIE comes back with his tie.] 
LIZZIE Here you are! Wait. [She ties it for him.] 
LIZZIE You know, I don't usually take one-night stands because then I have to see too many new faces. What I'd like would be to have three or four older men, one for Tuesday, one for Thursday, one for the weeitend. I'm telling you this: you're rather young, but you are a serious fellow, and should you ever feel the urge— Well, well, I won't insist. Think it over. My, my! You're as pretty as a picture. Kiss me, good-looking; kiss me just for the hell of it. What's the matter? Don't you want to kiss me? 
[He kisses her suddenly and brutally, then pushes her away.] 
LIZZIE Oof!
LIZZIE What?
FRED You're the Devil.
LIZZIE The Bible again! What's the matter with you?
FRED Nothing. I was just kidding.
LIZZIE Funny way to kid. [A pause.] Did you like it?
FRED Like what?
LIZZIE [she mimics him, smiling]: Like what? My, but you're stupid, my little lady.
FRED Oh! Oh that? Yes, I liked it. I liked it fine. How much do you want?
LIZZIE Who said anything about that? I asked you if you liked it. You might have answered me nicely. What's the matter? You didn't really like it? Oh, that would surprise me, you know, that would surprise me very much.
FRED Shut up.
LIZZIE  You held me tight, so tight. And then you whispered that you loved me.
FRED  You were drunk.
LIZZIE No, I was not drunk.
FRED Yes, you were drunk.
LIZZIE I tell you I wasn't.
FRED In any case, I was. I don't remember anything.
LIZZIE That's a pity. I got undressed in the bathroom, and when I came back to you, you got all red and flustered, don't you remember? I even said to you: "There's my little lobster." Don't you remember how you wanted to put out the light and how you loved me in the dark? I thought that was nice and respectful. Don't you remember?
FRED No.
LIZZIE And when we pretended we were two babies in the same crib? Don't you remember that? 
FRED I tell you to shut up. What's done at night belongs to the night. In the daytime you don't talk about thet.
LIZZIE And if it gives me a kick to talk about it? I had a good time, you know.
FRED Sure, you had a good time! [He approaches her, gently kisses her shoulders, then takes her by the throat.] You always enjoy yourself when you've got a man wrapped up. 
FRED [A pause.] I've forgotten all about it, your wonderful night. Completely forgotten it. I remember the dance hall, that's all. If there was anything else, you're the only one who remembers it.
 [He presses his hands to her throat.]
LIZZIE What are you doing?
FRED Just holding your throat in my hands.
LIZZIE You're hurting me.
FRED You are the only one who remembers. If I were to squeeze a tiny bit harder, there would be no one in the world to remember last night. [He releases her.] How much do you want?
LIZZIE If you don't remember, it must be because I didn't do my work well. I wouldn't charge for a bad job. 
FRED Cut the comedy. How much?
LIZZIE Look here; I've been in this place since the day before yesterday. You were the first one to visit me. The first cus-tomer gets me free; it brings luck.
FRED I don't need your presents. [He puts a ten-dollar bill on the table.]
LIZZIE I don't want your dough, but I'd like to know how much you think I'm worth. Wait, let me guess! 
[She picks up the bill with her eyes closed.] 
LIZZIE Forty dollars? No, that's too much, and anyway there would be two bills. Twenty dollars? No? Then this must be more than forty dollars. Fifty. A hundred? 
[All the while, FRED watches her, laughing silently.] 
LIZZIE I hate to do this, but I'm going to look. [She looks at the bill.] Haven't you made a mistake?
FRED I don't think So.
LIZZIE You know what you gave me?
FRED Yes.
LIZZIE Take it back. Take it right back. [He makes a gesture of refusal.] Ten dollars! Ten dollars! That's what I call a good lay—a young girl like me for ten dollars? Did you see my legs?
[She shows him her legs.] 
LIZZIE And my breasts? Did you see them? Are these ten-dollar breasts? Take your ten bucks and scram, before I get sore. Ten bucks. My lord kisses me all over, my lord keeps wanting to start all over again, my lord asks me to tell him about my childhood, and this morning my lord thinks he can crab, and complain, as if he paid me by the month; and all for how much? Not for forty, not for thirty, not for twenty: for ten dollars!
FRED For pigging around, that's a lot.
LIZZIE Pig yourself. Where do you come from, you hayseed? Your mother must have been a   fine slut if she didn't teach you to respect women.
FRED Will you shut up?
LIZZIE A fine bitch! A fine bitch!
FRED [with cold rage]: My advice to you, young woman, is don't talk to the fellows around here about their mothers, if you don't want to get your neck twisted.
LIZZIE [approaching him]: Go on, strangle me! Strangle me! Let's see you do it!
FRED [retreating]: Don't get excited. 
[LIZZIE takes a vase from the table, with the evident intention of throwing it at him.] 
FRED Here's ten dollars more, just don't get excited. Don't get excited or I'll have you run in.
LIZZIE You, you're going to have me run in?
FRED Yes. Me.
LIZZIE You?
FRED Me.
LIZZIE That I'd like to see!
FRED I'm Clarke's son.
LIZZIE Which Clarke?
FRED Senator Clarke.
LIZZIE Yeah? And I'm Roosevelt's daughter.
FRED Have you ever seen a picture of Senator Clarke in the papers?
LIZZIE Yeah. So what?
FRED Here it is. [He shows her a photograph.] I'm there next to him. He's got his arm around my shoulder.
LIZZIE [suddenly calm]: Look at that! Gosh, he's a good-looking man, your father. Let me see.
[FRED snatches the photograph out of her hands.]
FRED That's enough.
LIZZIE He looks so nice—sorta kind and yet firm! Is it true that he's got a silver tongue? [He doesn't answer.] Is this your garden?
FRED  Yes.
LIZZIE He looks so tall. And those little girls on the chairs—are they your sisters? [He doesn't reply.] Is your house on the hill?
FRED Yes.
LIZZIE Then, when you get your breakfast in the morning, you can see the whole town from your window.
FRED Yes.
LIZZIE Do they ring a bell at mealtime to call you? You might answer me.
FRED We have a gong for that.
LIZZIE [in ecstasy]: A gong! I don't understand you. With such a family and such a house, you'd have to pay me to sleep out. [A pause.] I'm sorry I said that about your mother; I was mad. Is she in the picture too?
FRED I've forbidden you to talk about her.
LIZZIE All right, all right. [A pause.] Can I ask you a question? [He doesn't answer.] If it disgusts you to make love, why did you come here to me? [He doesn't answer. She sighs.] Well, as long as I'm here, I guess I'll have to get used to your ways. 
[A pause. FRED combs his hair in front of the mirror.]
FRED You're from up North?
LIZZIE Yes.
FRED From New York?
LIZZIE What's it to you?
FRED You spoke of New York, just before.
LIZZIE Anyone can talk about New York. That doesn't prove a thing.
FRED Why didn't you stay up there?
LIZZIE I was fed up.
FRED Trouble?
LIZZIE Yes, sure. I attract trouble; some people are like that. You see this snake?  [She shows him her bracelet.] It brings bad luck.
FRED Why do you wear it?
LIZZIE As long as I have it, I have to keep it. It's supposed to be pretty awful—a snake's revenge. 
FRED You were the one the nigger tried to rape?
LIZZIE What's that?
FRED You arrived the day before yesterday, on the six-o'clock express?
LIZZIE  Yes.
FRED Then you must be the one.
LIZZIE No one tried to rape me. [She laughs, not without a trace of bitterness.] Rape me! That's agood one.
FRED It's you; Webster told me yesterday, on the dance floor.
LIZZIE Webster? [A pause.] So that's it!
FRED That's what?
LIZZIE SO that's what made your eyes shine. It excited you, huh? You bastard! With such a goog father. 
FRED You little fool! [A pause.] If I thought you had slept with a nigger—
LIZZIE Go on.
FRED I have five colored servants. When they call me to the phone, they wipe it off before they hand it to me. 
LIZZIE [whistles admiringly]: I see.
FRED [calmly]: We don't like niggers too much here, and we don't like white folk who play sround with them.
LIZZIE That'll do. I have nothing against them, but I don't like them to touch me.
FRED How could anyone be sure? You are the Devil. The nigger is the Devil too. [Abruptly] So he tried to rape you? 
LIZZIE What's it to you?
FRED The two of them came over to your seat. Then after a while they jumped on you. You called for help and some white people came. One of the niggers flashed his razor, and a white man shot him. The other nigger got away.
LIZZIE Is that what Webster told you?
FRED Yes.
LIZZIE Where did he get that story?
FRED It's all over town.
LIZZIE All over town? That's just my luck. Haven't you got anything else to talk about?
FRED Did it happen the way I said?
LIZZIE Not at all. The two niggers kept to themselves and didn't even look at me. Then four white men got on the train, and two of them made passes at me. They had just won a foot-ball game, and they were drunk. They said that they could smell nigger and wanted to throw them out of the window. The blacks fought back as well as they could, and one of the white men got punched in the eye. And that was when he pulled out a gun and fired. That was all. The other nigger jumped off the train as we were coming into the station.
FRED We know who it is. He'll gain nothing by waiting. [A pause.] When you come up before the judge, are you going to tell him the story you just told me?
LIZZIE What's it to you?
FRED Answer me.
LIZZIE I am not coming up before any judge. I told you I hate any trouble.
FRED You'll have to appear in court.
LIZZIE I won't go. I don't want anything more to do with the cops.
FRED They'll come and get you.
LIZZIE Then I'll tell them what I saw. [A pause.]
FRED Do you realize what that means?
LIZZIE What does that mean?
FRED It means testifying against a white man in behalf of a nigger.
LIZZIE But suppose the white man is guilty.
FRED He isn't guilty.
LIZZIE Since he killed, he's guilty.
FRED Guilty of what?
LIZZIE Of killing!
FRED But it was a nigger he killed.
LIZZIE So what?
FRED If you were guilty every time you killed a nigger—
LIZZIE He had no right. 
FRED What right?
LIZZIE He had no right.
FRED That right comes from up North. [A pause.] Guilty or not, you can't punish a fellow of your own race. 
LIZZIE I don't want to have anyone punished. They'll just ask me what I saw, and I'll tell them.
[A pause. FRED comes up to her.]
FRED What is there between you and this nigger? Why are you protecting him?
LIZZIE I don't even know him.
FRED Then what's the trouble?
LIZZIE I just want to tell the truth.
FRED The truth! A ten-dollar whore who wants to tell the truth! There is no truth; there's only whites and blacks, that's all. Seventeen thousand white men, twenty thousand niggers. This isn't New York; we can't fool around down here. [A pause.] Thomas is my cousin.
LIZZIE What?
FRED Thomas, the one who killed the nigger; he's my cousin.
LIZZIE [surprised]: Oh!
FRED He comes from a good family. That might not mean much to you, but he's from a good family all the same. 
LIZZIE Good! A guy who kept rubbing up against me and tried to put his hand under my skirt. I can do without such gen-tlemen. I'm not surprised that you both come from the same family.
FRED [raising his hand]: You dirty bitch! [He controls himself.] You are the Devil, and with the Devil you can't win. He put his hand under your skirt, he shot down a dirty nigger; so what? You do things like that without thinking; they don't count. Thomas is a leading citizen, that's what counts.
LIZZIE Maybe so. But the nigger didn't do anything.
FRED A nigger has always done something.
LIZZIE I'd never rat on anyone.
FRED If it's not on him, it'll be on Thomas. You'll have to give away one of them, whatever you do. You'll just have to choose.
LIZZIE So there we are! Here's me in it up to my neck—just for a change. [To her bracelet] God damn you, can't you pick on anyone else? 
[She throws the bracelet on the floor.]
FRED How much do you want?
LIZZIE I don't want a cent.
FRED Five hundred dollars.
LIZZIE Not a cent.
FRED It would take you much more than one night to earn five hundred dollars.
LIZZIE Especially if all I get is tightwads like you. [A pause.] So that's why you picked me up  last night. 
FRED Oh, hell.
LIZZIE So that was why. You said to yourself: "There's the babe. I'll go home with her and arrange the whole thing." So that's what you wanted! You tickled my hand, but you were as cold as ice. You were thinking: "How'll I get her to do it?" [A pause.] But tell me this! Tell me this, my boy. If you came up here with me to talk business, did you have to sleep with me? Huh? Why did you sleep with me, you bastard? Why did you sleep with me?
FRED Damned if I know.
LIZZIE [sinks into a chair, weeping]: Oh, you dirty, filthy bastard!
FRED Five hundred dollars. Don't cry, for Christ's sake! Five hundred dollars! Stop bawling! Stop bawling! Look, Lizzie! Lizzie! Be reasonable! Five hundred dollars!
LIZZIE [sobbing]: I'm not reasonable, and I don't want your five hundred dollars. I just don't want to bear false witness. I want to go back to New York, I want to get out of here! I want to get out of here! [The bell rings. Startled, she stops crying. The bell rings again. Whispering] Who is it? Be quiet. [A long ring.] I won't open. Be still. [Knocking on the door.]
JOHN  (A VOICE) Open up. Police.
LIZZIE [in a low voice]: The cops. I knew it had to happen. [She exhibits the bracelet.] It's this thing's fault. [She kisses it and puts it back on her arm.] I guess I'd better keep it on me. Hide.
[Knocking on the door.]
JOHN  THE VOICE: Police!
LIZZIE But why don't you go hide? Go in the toilet. [He doesn't budge. She pushes him with all her strength.] Well, go on! Get out!
JOHN  THE VOICE: Are you there, Fred? Fred? Are you there?
FRED Yes, I'm here. [He brushes her aside. She looks at him with amazement.]
LIZZIE So that's what you were after! 
[FRED opens the door and admits JOHN and JAMES
[The door to the street remains open.]
JOHN  Police. Are you Lizzie MacKay?
LIZZIE [without hearing him, continues to look at FRED]: So that's why!
JOHN  [shaking her by the shoulder]: Answer when you are spo-ken to.
LIZZIE What? Yes, that's me.
JOHN  Your papers.
LIZZIE [makes an effort to control herself]: What right have you got to question me? What are you doing in my place? 
[JOHN shows his badge.] 
LIZZIE Anyone can wear a star. You're buddies of my fine gentleman here and you're ganging up on me to make me talk. 
JOHN  [showing his police card]: You know what that is?
LIZZIE [indicating JAMES]: How about him?
JOHN  [to JAMES]: Show her your card. 
[JAMES shows it to her. LIZZIE looks at it, goes to the table, with-out saying anything, pulls out some papers, and gives them to the men.]
JOHN  JOHN [pointing to FRED]: You brought hm here last night, right? You know that prostitution is against the law?
LIZZIE Are you sure you can come in here without a warrant? Aren't you afraid I'll make trouble for you.
JOHN  Don't you worry about us. [A pause.] I asked if you brought him up here to your place?
LIZZIE [since the police entered she has changed; she has become more hard and vulgar]: Don't crack your skull. sure, I brought him up to my place. I let him have it for f'tee. That burns you up, doesn't it?
FRED  You will find two ten-dollar bills on the 'table. They are mine.
LIZZIE Prove it!
FRED [to the two others, without looking at her]: I picked them up at the bank yesterday morning with twenty'-eight others of the same series. You've only got to check 1:up on the serial numbers.
LIZZIE [violently]: I wouldn't take them. I refused his filthy money. I threw it in his face.
JOHN  If you refused, why is it lying on the table?
LIZZIE [after a pause]: That does it. [She looks at FRED in a kind of stupor and says, almost tenderly] So that's whtat you were up to? [To the others] Well, what do you want?
JOHN  Sit down. [To FRED] You told her what's what? [FRED nods.] I told you to sit down. [He pushes her into a chair.] The judge agrees to let Thomas go if he has a signed statement from you. The statement has already been writken for you; all you have to do is sign it. Tomorrow there'll be a formal hearing. Can you read? [LIZZIE shrugs her shoulders, and he hands her a paper.] Read it and sign.
LIZZIE Lies from beginning to end.
JOHN  Maybe so. So what?
LIZZIE  I won't sign.
FRED Take her along. [To LIZZIE] It's eighteen months, you know.
LIZZIE Eighteen months, yes. But when I get out, I'll fry your hide.
FRED Not if I can help it. [They look at each other.] You might telegraph New York; I think she's wanted up there for something.
LIZZIE [admiringly]: You're as bitchy as a woman. I never thought I'd meet a guy who could be such a bastard. 
JOHN  Make up your mind. Either you sign or it's the cooler.
LIZZIE I prefer the cooler. I don't want to lie.
FRED Not lie, you slut! And what did you do all night? When you called me "honey baby," "lover man," I suppose you weren't lying. When you sighed to make me think I was giving you a thrill, weren't you lying?
LIZZIE [defiantly]: You'd like to think so, wouldn't you? No, I wasn't lying.
[They stare at each other]
FRED looks away.]
FRED FRED: Let's get this over with. Here's my fountain pen. Sign.
LIZZIE You can put it away. [A pause] 
[The three men seem embarrassed.]
FRED So that's the way it is! The finest fellow in town, and his life depends on the whim of a floozy like this! [He walks up and down, then comes abruptly up to LIZZIE] Look at him. [He shows her a photograph.] You've seen a man or two, in your filthy trade. Have you ever seen a face like that? Look at that forehead, look at that chin, look at the medals on his uniform. No, no, don't look away. There is no getting out of it: here's your victim, you have got to face him. See how young he is, how straight he stands. Isn't he handsome? But don't you worry, when he leaves prison, ten years from now, he will be bent like an old man, bald and toothless. But you'll be proud of your good work. You were just a little chiseler until now; but this time, you're dealing with a real man, and you want to take his life. What do you say to that? Are you rotten to the core? [He forces her to her knees.] On your knees, whore. On your knees before the picture of the man you want to dishonor! 
[CLARKE enters through the door they have left open.]
THE SENATOR Let her go. [To LIZZIE]: Get up.
FRED Hello!
JOHN  Hello!
THE SENATOR Hello! Hello!
JOHN  [to LIZZIE]: Meet Senator Clarke.
THE SENATOR [to LIZZIE]: Hello!
LIZZIE Hello!
THE SENATOR Fine! Now we've all been introduced. [He looks at Lizzta] So this is the young lady. She impresses me as a mighty nice girl.
FRED She doesn't want to sign.
THE SENATOR She is perfectly right. You break in on her without having the right to do so.
[Then, more forcefully, to forestall JOHN] 
THE SENATOR Without having the slightest right to do so. You are brutal to her, and you try to make her go against her own conscience. This is not the American way. Did the Negro rape you, my child?
LIZZIE No.
THE SENATOR Excellent. So that is clear. Look me in the eyes. [He looks at her fixedly.] I am sure she is telling the truth. [A pause.] Poor Mary! [To the others] Well, boys, let's go. There is nothing more to be done here. Let's make our apologies to the young lady and go.
LIZZIE Who's Mary?
THE SENATOR Mary? She is my sister, the mother of this unfor-tunate Thomas. A poor, dear old lady, who is going to be killed by all this. Good-by, my child.
LIZZIE [in a choking voice]: Senator!
THE SENATOR My child?
LIZZIE  I'm sorry.
THE SENATOR  Why should you be sorry, when you have told the truth?
LIZZIE I am sorry that—that that's the truth.
THE SENATOR There is nothing either of us can do about that. And no one has the right to ask you to bear false witness. [A pause.] No. Don't think of her any more.
LIZZIE Who?
THE SENATOR Of my sister. Weren't you thinking about my sister?
LIZZIE Yes.
THE SENATOR I can read your mind, my child. Do you want me to tell you what's going on in your head? [Imitating LIZZIE]"lf I signed, the Senator would go to her and say: 'Lizzie MacKay is a good girl, and she's the one who's giving your son back to you.' And she would smile through her tears. She would say: 'Lizzie MacKay? I shall not forget that name.' And I who have no family, relegated by cruel fate to social banishment, I would know that a dear little old ladywas thinking of me in her great house; that an American mother had taken me to her heart." Poor Lizzie, think no more about it.
LIZZIE Has she white hair?
THE SENATOR Completely white. But her face has stayed young. And if you could see hersmile— She'll never smile again. Good-by. Tomorrow you shall tell the judge the truth.
LIZZIE Are you going?
THE SENATOR Why, yes; I am going to her house. I shall have to tell her about our conversation.
LIZZIE She knows you are here?
THE SENATOR  She begged me to come to you.
LIZZIE My God! And she's waiting? And you're going to tell her that I refused to sign. How she will hate me.
THE SENATOR [putting his hands on her shoulders]: My poor child, I wouldn't want to be in your shoes.
LIZZIE What a mess! [Addressing her bracelet] It's all your fault, you filthy thing.
THE SENATOR What?
LIZZIE Nothing. [A pause.] As things stand, it's too bad the nig-ger didn't really rape me.
THE SENATOR [touched]: My child.
LIZZIE [sadly]: It would have meant so much to you, and it would have been so little trouble for me.
THE SENATOR Thank you. [A pause.] I should so like to help you. [A pause.] Alas, the truth is the truth.
LIZZIE [sadly]: Yeah, sure.
THE SENATOR And the truth is that the Negro didn't rape you.
LIZZIE [sadly still]: Yeah, sure.
THE SENATOR Yes. [A pause.] Of course, here we have a truth of the first degree.
LIZZIE [not understanding]: Of the first degree.
THE SENATOR Yes. I mean—a common truth.
LIZZIE Common? Isn't that the truth?
THE SENATOR Yes, yes, it is the truth. It's just that—there are various kinds of truths.
LIZZIE You think the nigger raped me?
THE SENATOR No. No, he didn't rape you. From a certain point of view, he didn't rape you at all. But, you see, I am an old man, who has lived a long time, who has made many mis-takes, but for some time now I have been a little less often mistaken. And my opinion about this is utterly different from yours.
LIZZIE What opinion?
THE SENATOR How can I explain it to you? Look: suppose Uncle Sam suddenly stood before you. What would he say?
LIZZIE [frightened]: I don't suppose he would have much of any-thing to say to me.
THE SENATOR Are you a Communist?
LIZZIE Good Lord, no!
THE SENATOR Then Uncle Sam would have many things to tell you. He would say: "Lizzie, you have reached a point where you must choose between two of my boys. One of them must go. What can you do in a case like this? Well, you keep the better man. Well, then, let us try to see which is the better one. Will you?"
LIZZIE [carried away]: Yes, I want to. Oh, I am sorry, I thought it was you saying all that.
THE SENATOR I was speaking in his name. [He goes on, as before.] "Lizzie, this Negro whom you are protecting, what good is he? Somehow or other he was born, God knows where. I nourished and raised him, and how does he pay me back? What does he do for me? Nothing at all; he dawdles, he chisels, he sings, he buys pink and green suits. He is my son, and I love him as much as I do my other boys. But I ask you: does he live like a man? I would not even notice if he died."
LIZZIE My, how fine you talk.
THE SENATOR [in the same vein]: "The other one, this Thomas, has killed a Negro, and that's very bad. But I need him. He is a hundred-per-cent American, comes from one of our old-est families, has studied at Harvard, is an officer—I need officers—he employs two thousand workers in his factory—two thousand unemployed if he happened to die. He's a leader, a firmbulwark against the Communists, labor unions, and the Jews. His duty is to live, and yours is topreserve his life. That's all. Now, choose."
LIZZIE My, how well you talk!
THE SENATOR Choose! LizziE [startled]: How's that? Oh yes. [A pause.] You mixed me up, I do not know where I am. 
THE SENATOR Look at me, Lizzie. Do you have confidence in me?
LIZZIE  Yes, Senator.
THE SENATOR Do you believe that I would urge you to do any-thing wrong?
LIZZIE No, Senator.
THE SENATOR Then I urge you to sign. Here is my pen.
LIZZIE You think she'll be pleased with me?
THE SENATOR Who?
LIZZIE Your sister.
THE SENATOR She will love you, from a distance, as her very own child.
LIZZIE Perhaps she'll send me some flowers?
THE SENATOR Very likely.
LIZZIE Or her picture with an inscription.
THE SENATOR It's quite possible.
LIZZIE I'd hang it on the wall. [A pause. She walks up and down, much agitated.] What a mess! [Coming up to THE SENATOR again] What will you do to the nigger if I sign?
LIZZIE [Coming up to THE SENATOR again] What will you do to the nigger if I sign?
THE SENATOR To the nigger? Pooh! [He takes her by the shoul-ders.] If you sign, the whole town will adopt you. The whole town. All the mothers in it.
LIZZIE But —
THE SENATOR Do you suppose that a whole town could be mis-taken? A whole town, with its ministers and its priests, its doctors, its lawyers, its artists, its mayor and his aides, with all its charities? Do you think that could happen?
LIZZIE No, no, no.
THE SENATOR Give me your hand. [He forces her to sign.] So now it's done. I thank you in the name of my sister and my nephew, in the name of the seventeen thousand white in-habitants of our town, in the name of the American people, whom I represent in these parts. Give me your forehead, my child. [He kisses her on the forehead.] Come along, boys. [To uzziE] I shall see you later in the evening; we still have something to talk about. [He goes out.]
FRED [leaving]: Good-by, Lizzie.
LIZZIE Good-by. [They all go out. She stands there overwhelmed, then rushes to the door.]
LIZZIE Senator! Senator! I don't want to sign! Tear up the paper! Senator! [She comes back to the front of the stage and mechanically takes hold of the vacuum cleaner.] Uncle Sam! [She turns on the sweeper.] Something tells me I've been had—but good! [She pushes the vacuum cleaner furiously.]
CURTAIN
SCENE TWO
Same setting, twelve hours later. 
The lamps are lit, the windows are open.
In the night, a growing clamor outside. 
THE NEGRO appears at the window, straddles the window-sill, and jumps into the empty room. 
He crosses to the middle of the stage. T
he bell rings. 
He hides behind a curtain. 
LIZZIE emerges from the bathroom, crosses to the street door, and opens it.
LIZZIE Come in! [THE SENATOR enters.] Well?
THE SENATOR Thomas is in the arms of his mother. I have come to bring you their thanks.
LIZZIE Is she happy?
THE SENATOR Supremely happy.
LIZZIE Did she cry?
THE SENATOR Cry? Why should she cry? She is a woman of character.
LIZZIE But you said she would cry.
THE SENATOR That was just a manner of speaking.
LIZZIE She didn't expect this, did she? She thought I was a bad woman and that I would testify for the nigger .
THE SENATOR She put her trust in God.
LIZZIE What does she think of me?
THE SENATOR She thanks you.
LIZZIE Didn't she ask what I looked like?
THE SENATOR No.
LIZZIE She thinks I'm a good girl?
THE SENATOR She thinks you did your duty.
LIZZIE  She does?
THE SENATOR She hopes that you will continue to do it.
LIZZIE Oh yes, yes.
THE SENATOR Lizzie, look me in the eyes. [He takes her by the shoulders.] You will continue to do your duty? You aren't going to disappoint her?
LIZZIE Don't you worry. I can't go back on what I said; they'd throw me in the clink. [A pause.] What's all that shouting about?
THE SENATOR Pay no attention.
LIZZIE I can't stand it any more. [She closes the window.] Senator?
THE SENATOR My child?
LIZZIE You are sure that we haven't made a mistake, that I really did what I should?
THE SENATOR Absolutely sure.
LIZZIE I don't know where I am any more; you've mixed me up; you're too quick for me. What time is it? 
THE SENATOR Eleven o'clock.
LIZZIE Eight hours left until daylight. I know I won't be able to sleep a wink. [A pause.] It's just as hot at night here as when the sun is up. [A pause.] What about the nigger?
THE SENATOR What Negro? Oh, yes, of course, they are looking for him.
LIZZIE What will they do to him? 
[THE SENATOR shrugs his shoulders. 
The shouting outside increases. 
LIZZIE goes to the window.] 
LIZZIE What is all this shouting for? Men are running about with flashlights and dogs. Are they celebrating something? Or—Tell me what's up, Senator! Tell me what's going on!
THE SENATOR [taking a letter out of his pocket]: My sister asked me to give you this.
LIZZIE [with interest]: She's written me? 
[She tears open the en-velope, and takes from it a hundred-dollar bill, 
rummages in it to find a letter, finds none, 
crushes the envelope, and throws it on the floor. 
She takes a different tone now.] 
LIZZIE A hundred dollars. You've done very well; your son promised me five hundred. You got a bargain.
THE SENATOR My child.
LIZZIE You can thank the lady. You can tell her that I'd rather've had a porcelain vase or some nylons, something she took the trouble to pick out for me herself. But it's the in-tention that counts, isn't it? [A pause.] You've had me good.
 [They face each other. THE SENATOR moves closer to her.]
THE SENATOR I thank you, my child; we'll have a little talk—just the two of us. You're facing a moral crisis and need my help. 
LIZZIE What I particularly need is some dough, but I think we can make a deal, you and me. [A pause.] Until now I liked old men best, because they looked so respectable, but I'm beginning to wonder if they're not more crooked than the others.
THE SENATOR [gaily]: Crooked! I wish my colleagues could hear you. What wonderful frankness! There is something in you that your deplorable circumstances have not spoiled! [He pats her.] Yes indeed. Something. [She submits to him, passive but scornful.] I'll be back, don't bother to see me out. 
[He goes out. LIZZIE is immobile, as if paralyzed. 
She picks up the bill, crumples it, throws it on the floor, falls into a chair, and bursts into sobs. 
Outside, the yelling is closer and more intense. 
Pistol-shots in the distance. 
THE NEGRO emerges from his hidingplace.
He plants himself in front of her. 
She raises her head and gives a startled cry.]
LIZZIE Ah! [A pause. She rises.] I knew you'd show up. I just knew it. How did you get in?
THE NEGRO Through the window.
LIZZIE  What do you want?
THE NEGRO Hide me.
LIZZIE I told you, no.
THE NEGRO You hear them out there, ma'am?
LIZZIE Yes.
THE NEGRO That's the beginning of the hunt.
LIZZIE What hunt?
THE NEGRO The nigger hunt.
LIZZIE Oh! [A long pause.] Are you sure no one saw you come in?
THE NEGRO Yes, I'm sure.
LIZZIE What will they do to you if they get you?
THE NEGRO Gasoline.
LIZZIE What?
THE NEGRO Gasoline. [He makes an expressive gesture.] They'll set me on fire.
LIZZIE I see. [She goes to the window and draws the curtain.] Sit down. [THE NEGRO falls into a chair.] You just had to come here! Won't I ever get out of this? [She approaches him almost threateningly.] I hate trouble, don't you understand! [Tapping her foot.] I hate it! I hate it! I hate it!
THE NEGRO They think I harmed you, ma'am.
LIZZIE So what?
THE NEGRO So they won't look for me here.
LIZZIE Do you know why they are after you?
THE NEGRO Because they suppose I wronged you, ma'am.
LIZZIE Do you know who told them that?
THE NEGRO No.
LIZZIE I did. [A long silence. THE NEGRO looks at her.] What do you think of that?
THE NEGRO Why did you do that, ma'am? Oh, why did you do that?
LIZZIE That's what I keep asking myself.
THE NEGRO They won't have any pity; they'll whip me across the eyes, they'll pour their cans of gas over me. Oh, why did you do it? I didn't harm you.
LIZZIE Oh yes, you did too. You can't imagine how much you've harmed me. [A pause.] Don't you want to choke me? 
THE NEGRO Lots of times they force people to say things they don't mean.
LIZZIE Yes, lots of times. And when they can't force them, they mix them up with their sweet talk. [A pause.] Well? No? You're not going to choke me? You're a good guy. [A pause.] I'll hide you until tomorrow night. [He makes a move.] Don't touch me; I don't like niggers. 
[Shouts and pistol-shots out-side.] 
LIZZIE They're getting closer. 
[She goes to the window, draws the curtains, and looks out into the street.] 
LIZZIE We're cooked.
THE NEGRO What are they doing?
LIZZIE They've put guards at both ends of the block, and they are searching all the houses. You just had to come here. Someone must have seen you come down the street. [She looks out again.] This is it. It's our turn. They are coming up here.
THE NEGRO How many?
LIZZIE Five or six. The others are waiting outside. [She turns toward him again.] Don't shake so. Good God, don't shake so! [A pause. To her bracelet] It's all your fault! You pig of a snake! [She tears it from her arm, throws it on the floor, and tramples on it.] Trash! [To THE NEGRO] You just had to come here. [THE NEGRO rises, as if about to leave.] Stay put. If you go out you're done for.
THE NEGRO What about the roof?
LIZZIE With this moon? You can go on up if you feel like being a target. [A pause.] Wait a second. They have two floors to search before ours. I told you not to shake so. 
[A long silence.She walks up and down. 
THE NEGRO, completely overcome, stays in the chair.] 
LIZZIE Do you have a gun?
THE NEGRO Oh, no!
LIZZIE All right. [She rummages in a drawer and brings out a revolver.]
THE NEGRO What's that for, ma'am?
LIZZIE I am going to open the door and ask them to come in. For twenty-five years I have had to take their crap about old mothers with white hair, about war heroes, about Uncle Sam. But now I've caught on. They won't get away with it altogether. I'll open the door and say to them: "He's inside. He's here, but he's done nothing: I was forced to sign a false statement. I swear by Christ that he did nothing."
THE NEGRO They won't believe you.
LIZZIE Maybe not. Maybe they won't believe me; but then you'll cover them with the gun, and if they still come after you, you can shoot.
THE NEGRO Others will come.
LIZZIE Shoot them too! And if you see the Senator's son, try not to miss him; he's the one who cooked this whole thing up. We're cornered, aren't we? Anyhow, this is our last chance 'cause if they find you here with me I won't be worth a plugged nickel. So we might as well kick off in company. [She offers him the revolver.] Take it! I tell you to take it!
THE NEGRO I can't, ma'am.
LIZZIE Why not?
THE NEGRO I can't shoot white folks.
LIZZIE Really! That would bother them, wouldn't it?
THE NEGRO They're white folks, ma'am.
LIZZIE So what? Maybe they got a right to bleed you like a pig just because they're white?
THE NEGRO But they're white folks.
LIZZIE What a laugh! You know, you're like me; you're just as big a sucker as I am. Still, when they all get together - 
THE NEGRO Why don't you shoot, ma'am?
LIZZIE I told you that I'm a sucker. [There are steps on the stair-way.] Here they come. [A sharp laugh.] We're sure sitting pretty. [A pause.] Get in the toilet and don't budge. Hold your breath. 
THE NEGRO obeys. LIZZIE waits. 
The bell rings. She crosses herself picks up the bracelet, and goes to open the door. 
There are men with guns.]
FIRST MAN We're looking for the nigger.
LIZZIE What nigger?
FIRST MAN The one that raped the woman in the train and cut the Senator's nephew with a razor. 
LIZZIE Well, by God, you won't find him here! [A pause.] Don't you recognize me?
SECOND MAN Yes, yes. I saw you get off the train the day before yesterday.
LIZZIE That's right. Because I'm the one who was raped, you understand? 
[Exclamations. They look at her with fascination, desire, and a kind of horror. They draw back a little.] 
LIZZIE If he messes around here, he'll get a little of this. 
[She flourishes the revolver. They laugh.]
FIRST MAN Don't you want to see him lynched?
LIZZIE Come for me when you get him.
FIRST MAN That won't be long, sugar; we know he's hiding in this block.
LIZZIE Good luck. 
[They go out. She shuts the door and puts the revolver on the table.] 
LIZZIE You can come out. 
[THE NEGRO emerges, kneels, and kisses the hem of her skirt.] 
LIZZIE I told you not to touch me. [She looks him over.] Just the same, you must be a queer character, to have a whole town after you.
THE NEGRO THE NEGRO: I didn't do anything, ma'am, you know I didn't do anything.
LIZZIE They say a nigger's always done something.
THE NEGRO Never did anything. Never, never.
LIZZIE [wiping her brow with her hand]: I don't know what's right any more. [A pause.] Just the same, a whole city can't be completely wrong. [A pause.] Oh, shit! I don't understand anything any more.
THE NEGRO That's how it goes, ma'am. That's how it always goes with white folks.
LIZZIE You too? You feel guilty?
THE NEGRO Yes, ma'am.
LIZZIE But you didn't do anything?
THE NEGRO No, ma'am.
LIZZIE What have they got anyhow, that everybody's on their side all the time?
THE NEGRO They're white folks.
LIZZIE I'm white too. 
[A pause. Sound of steps outside.] 
LIZZIE They're coming down again.
[Instinctively she steps closer to him. 
He trembles, but puts his arms around her shoulders.
The sound of steps is fainter. Silence. She suddenly frees herself from his em-brace.] 
LIZZIE Well, look at us, now! Aren't we alone in the world? Like two orphans. 
[The bell rings. They make no answer. The bell rings again.] 
LIZZIE Get in the toilet. 
[There is a rapping on the front door. 
THE NEGRO hides.
LIZZIE goes to open the door. 
Enter FRED.]
LIZZIE Are you crazy? Why come to my door? No, you can't come in, you've given me enough trouble. Get out, get out, you bastard, get out! Get the hell out of here! 
[He pushes her aside, closes the door, and takes her by the shoulder. A long pause.] 
Well?
FRED You are the Devil!
LIZZIE And so you try to break down my door just to tell me that? What a mess! Where have you been? [A pause.] Answer me.
FRED They caught a nigger. It wasn't the right one. But they lynched him just the same.
LIZZIE So?
FRED I was with them.
LIZZIE [whistles]: I see. [A pause.] It begins to look as if seeing a nigger lynched does something to you. 
FRED I want you.
LIZZIE What?
FRED You are the Devil. You've bewitched me. I was with them, I had my revolver in my hand, and the nigger was swinging from a branch. I looked at him, and I thought: "I want her." It's not natural.
LIZZIE Let go of me! I tell you let go of me.
FRED What have you done to me, what have you got, you witch? I looked at the nigger and I saw you. I saw you swaying above the flames. I fired.
LIZZIE You filthy bastard! Let me go, let me go. You're a murderer!
FRED What have you done to me? You stick to me like the teeth in my gums. I see your belly, your dirty whorish belly, I feel your heat in my hands, your smell in my nostrils. I came running here, and I didn't even know whether I wanted to kill you or rape you. Now I know. [He releases her abruptly.] I am not going to damn my soul to hell for a whore. [He comes up to her again.] Was it true what you told me this morning?
LIZZIE What?
FRED That I gave you a thrill?
LIZZIE Let me alone.
FRED Swear that it's true. Swear it! 
[He twists her wrist. 
There is a noise of someone moving in the bathroom.] 
FRED What's that? [He listens.] Someone's in there.
LIZZIE You're out of your mind. There's nobody.
FRED FRED: Yes, in the toilet. [He goes toward the bathroom]
LIZZIE You can't go in.
FRED You see, there is someone.
LIZZIE It's today's customer. A guy who pays. There. Are you satisfied?
FRED A customer? No more customers for you. Never any more. You belong to me. [A pause.] I must see what he looks like. [He shouts.] Come out of there!
LIZZIE [shouting]: Don't come out. It's a trap.
FRED You filthy little whore! 
[He shoves her out of the way, goes toward the door, and opens it. 
THE NEGRO comes out.] 
FRED So that's your customer?
LIZZIE I hid him because they wanted to hurt him. Don't shoot; you know very well that he's innocent. 
[FRED draws his re-volver. 
THE NEGRO gets set, pushes FRED Out of the way, and dashes out. 
FRED runs after him. 
LIZZIE runs to the door, through which the two men have disappeared, and begins to shout.]
LIZZIE He's innocent! He's innocent! 
[Two pistol-shots. She comes back into the room, her face hard. 
She goes to the table and takes the gun. 
FRED comes back.
She turns toward him, her back to the audience, holding her gun behind her back. 
FRED puts his gun on the table.] 
LIZZIE So you got him? 
[FRED doesn't answer.] 
LIZZIE Well, now it's your turn. [She covers him with the revolver.]
FRED Lizzie! I have a mother!
LIZZIE Shut your face! They pulled that on me before.
FRED [approaching her slowly]: The first Clarke cleared a whole forest, just by himself; he killed seventeen Indians with his bare hands before dying in an ambush; his son practically built this town; he was friends with George Washington, and died at Yorktown, for American independence; my great-grandfather was chief of the Vigilantes in San Fran-cisco, he saved the lives of twenty-two persons in the great fire; my grandfather came back to settle down here, he dug the Mississippi Canal, and was elected Governor. My father is a Senator. I shall be senator after him. I am the last one to carry the family name. We have made this country, and its history is ours. There have been Clarkes in Alaska, in the Philippines, in New Mexico. Can you dare to shoot all of America?
LIZZIE You come closer, and I'll let you have it.
FRED Go ahead! Shoot! You see, you can't. A girl like you can't shoot a man like me. Who are you? What do you do in this world? Do you even know who your grandfather was? I have a right to live; there are things to be done, and I am expected to do them. Give me the revolver. [She gives him the revolver, he puts it in his pocket.] About the nigger, he was running too fast. I missed him [A pause. He puts his arm around her.] I'll put you in a beautiful house, with a garden, on the hill across the river. You'll walk in the gar-den, but I forbid you to go out; I am very jealous. I'll come to see you after dark, three times a week—on Tuesday, Thursday, and for the weekend. You'll have nigger servants, and more money than you ever dreamed of; but you will have to put up with all my whims, and I'll have plenty! [She yields a bit to his embrace.] Is it true that I gave you a thrill? Answer me. Is it true?
LIZZIE [wearily]: Yes, it's true.
FRED [patting her on the cheek]: Then everything is back to normal again. [A pause.] My name is Fred.
CURTAIN
ABOUT THE AUTHOR
JEAN-PAUL SARTRE was born in Paris in 1905. After being graduated from the Ecole Normale Superieure in 1929 with a doctorate in philosophy, he taught for a while at Le Havre, Lyon, and Paris. Taken prisoner in 1940, he was released after nine months, and returned to Paris and teaching. His first play, The Flies, was produced in Paris during the German Occupa-tion. His second play, No Exit, was the first to be performed in Paris after the liberation. In addition to plays, his works include important philosophical works and novels. In 1964 Sartre declined the Nobel Prize for Literature. He died in 1980.