Source: Marian Bowlan, ‘Minnie at the Movies’, from City Types: A Book of Monologues Sketching the City Woman (Chicago: T.S. Denison, 1916 – copyright date of original piece 1913), pp. 231-235
Text: Minnie at the Movies
MINNIE MURRAY, an independent and emotional follower of the film drama.
SCENE — A neighborhood nickel theater.
MINNIE MURRAY charges down the aisle and expounds:
Go on down in front, Tillie, and never mind raspin’ about where that fly usher plants yu. Well, if there ain’t that sassy bunch o’ kids with Jimmie Casey from the flat below us amonopolizin’ the front row!
(Seating herself) What’s the name o’ the reel that’s on now? Oh, ya-ah, Elmer’s Fall! Jimmie Casey, you turn right around and the very next time you holler “Archer Avenue (or name local street of corresponding type) Belle” at me when I’m leavin’ for a dance, I’ll report yu to the station.
(To Tillie.) Ain’t it funny you never see any kids in real life like the children in the movin’ pitchers? Look at them two little boys in sailor suits asingin’ hymns on their mother’s knees in the twilight. One of ’em is hung in the last act? Don’t you get fresh and stuff me, Jimmie Casey, like the way you was tryin’ last week to tell me them western injun and cowboy pitchers was taken in Evingston (name local suburban town.)
Whatyuthink Gus and me did Sunday, Tillie? We took in all the fi’cent theeayters between (two widely separated streets embracing neighborhood of Archer Avenue type.) Honest! And the next mornin’ when I shows up to work, the Boss says what’s the matter with my eyes and before I got a chanct to answer that flip bookkeeper speaks up and says, Who, Min? Oh, she’s got the movin’ pitcher squint!”
What’s the name o’ this fillum? The Drama Of The Dessert Say, I wonder if A-rabs always wears white; the laundries must work overtime. Say, Til, how’dju like to wear a veil over your jaw like that there A-rab lady? — though there is some girls of my aquaintance [sic] that does need a gag for the mouth and no mistake. Ruby Clancy, fer instance. She’s sore because I met Gus at her house and he’s been just about livin’ at our flat ever since. There’s not a mornin’ I gets to the office but what Ruby dislocates her neck alampin’ my lef’ hand. Gus is in a awful unusual business. He makes costumes for circuses and has always got his pockets full o’ samples o’ dazzling red and green. Gus says he in’t acomin’ to the nickel show no more cause he’s gettin’ knock-kneed from fallin’ over the baby carriages out front.
I gotta yawn. These pitchers they got on now — a ancient ruined city it says — are turr’ble dry. The music is good, though; that’s the Chicle Rag. But who wants to look at a pile o’ old stones? My brother’n-law works in a quarry.
Here comes that swell baritone with all the diamonds, Tillie. Don’t his vest glitter, though? I’m just crazy about the way he sings Red, Red, Roses. Ya-ah, he rolls his eyes sump’n grand in the chorus. (Flustered.) He’s lookin’ straight at us. Til. (Nudging her.) Ain’t he, huh? Whatyu gettin’ so embarrassed about?
That fellah at the snare drum works in a boiler factory daytimes. He has awful pow’rful arms; the man’ger o’ the show is crazy about him because there’s the elevated and the night freight and the river tugs has to be drowned out while the show is goin’ on. I usta know the fella that played the coronet. He was a gen’lman — give me and Ma passes twice ever’ evenin’.
That girl at the piano remin’s me o’ the new girl who’s moved into the flat acrost the hall from us. She’s turr’ble entertainin’. Til. She’s a waitress, u-huh, a waitress in a restaurant. And say, some o’ the things she can tell about the way they cook in those swell places! Her advice to everybody that’s partic’lar is: “Cut out hash, don’t think o’ stew, and for heaven’s sake never touch a chicken croquette. “No,” she sez, “far better a cheese sandwich and a egg nog at home; you know what you’re gettin.”
This one is the big fillum that they’ve got them thrillin’ blue and yellow pitchers of outside, the Horse Thief’s Revenge. That’s it. There’s the hero-een with the long braid down her back. Ain’t she sweet? The girl’s brother is plotting against the cowboy because he seen him stealin’ the horse out of the coral. The cowboy- — ain’t he handsome in a dress suit? — is goin’ for a ride up the mountain and I bechu anything the bonehead brother’ull waylay him. I seen him on his hands and feet around them rocks a minute ago. Look at the dagger, will yu! (Covers face with hands.) Did they stab him, Tillie? (Muffled.) Did they? Oh, I wisht I was home! Is they blood comin’? (Taking hands down from face.)
Part II! She’s goin’ to him — the girl’s goin’ to him. Ain’t you crazy about the way she fixes her hair? I’m goin’ to try mine that way when I get home. Look at her horse goin’ licketycut. Yu can hear the hoofbeats just as plain. Do yu think she’ll get there in time? Say, Til, do yu? She does. Gee, I’m glad.
But it ain’t all over yet. There comes that half-breed sneakin’ out from those trees. He draws a gun. Look, Til, he’s goin’ to shoot. (She covers her face with her hands.) Gosh, I swallowed my gum! And the hero knocks the gun out o’ the half-breed’s hands. Then my gum went for nothin’.
(Rising.) That last reel just took ever’thing out of me. My forehead is wringin’ wet. Ever’time I come to this nickel show I gotta be almost carried to the drug store across the street. The man there allus expects me now. I feel it so. Now, I just imagined I was that girl in The Horse Thief’s Revenge. It’s awful.
(Starting for exit.) I sez to Gus ….. at the movies…… (exit).
Comment: This is a comic monologue designed for theatrical performance. Archer Avenue runs through Chicago (the reference to the elevated train further confirms the location). The Drama of the Desert and The Horse Thief’s Revenge are imaginary film titles.
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