Summary
Midnight’s asphalt cathedral frames a triptych of urban parables: in the first panel, a woman teeters between two grooms like a frayed tight-rope walker until a gentleman-thief in patent-leather gloves rewires her destiny; in the second, phosphorescent marquees along Broadway bleed into a shell-game where grifters mis-cast their mark, only to discover the pigeon is a hawk; in the final vignette, a tenement father, locked inside the iron sarcophagus of his own body, watches through glass-bright eyes as filial blood pools on cracked linoleum—his silence the loudest scream in the city. Same faces recur—Sothern’s chameleonic jawline, Taylor’s mercury glance—yet each tale re-etches their masks, turning the metropolis itself into an omniscient, sleepless protagonist that rearranges mortal sins into a glittering mosaic of mercy, mirage, and memory.
Synopsis
Three short stories with the same cast in each: "Out of the Night," in which a woman is saved from a bigamous dilemma by a burglar; "The Great White Way," in which a couple of con men pull their con on the wrong man; and "A Tragedy of the East Side," in which a man who cannot speak or move is the only witness to his son's murder.
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