It’s the roaring twenties in San
Francisco, a decade famous for hot jazz and bath tub gin.
Violet (The Guyer Girls) has grown into a beautiful woman
with children of her own. She has left her small home town
in the Pacific Northwest to pursue a successful basketball
career and with her earnings, she bought a bar and grill.
She is a ‘flapper’ in every sense of the word; working all
day and playing all night. While her teenage daughter raises
her seven year old son, Violet is out on the town with her
latest man de’jour. Dressed in her signature red dress, she
is the toast of the town and owner of a speakeasy where she
hosts the cream of San Francisco’s society, city
politicians, bishops, and Hollywood celebrities.
But there is an underbelly of corruption, grifters, the mob,
excess, and neglect in Violet’s life. Her two children are
an afterthought and she chooses her men over their well
being time and time again. Their childhood needs are always
trumped by her self-indulgent desires. The two children are
possessions that she can put down or pick up again on a
whim, showing them off to her current beau or friends and
then forgotten. And when they get in her way, she gets rid
of them.
Monty is a struggling, unknown
artist, living in a loft in Soho. From his third floor walk
up, he watches his beautiful neighbor as she comes and goes.
Too shy and reclusive to ask her out, he paints her again
and again. Suddenly the police are at his door. His goddess,
his dream woman is dead and the police like him for the
crime. Detective Roarke sifts through the forensics, motives
and physical evidence and at first glance it seems that all
the evidence points to the strange artist who is obsessed
with the beautiful actress. But, as time passes, several
other suspects come to the attention of Detective Roarke and
the case is now not so open and shut. As the detective
emerses himself in her life, it turns out that she has more
than one secret.
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