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Corrine
SYKES
Robbery
Same day
For 17 years filmmaker Tina
Morton has been living with a ghost.
It started when her mother told
her the story of Corrine Sykes, a black maid working for a prominent
white family in West Oak Lane in the 1940s.
During that time, young black
girls would stand on the corner waiting for well-heeled housewives to
test their expertise at making beds, washing windows and scrubbing
floors. Mrs. Freda Wodlinger hired Corrine, a shy, petite girl from
North Philadelphia.
On Dec. 7, 1944, Mrs. Wodlinger
was murdered, "apparently in a terrific struggle to protect her
jewelry and cash from a robber who hacked her unmercifully with a
heavy kitchen knife before fleeing," the Inquirer reported at
the time.
If Corrine had one vice, it was
stealing. She was a known shoplifter--and quite good at it, blacks
would whisper from their front porches and church pews. But never
murder.
Corrine, 20, was too little and
the knife wounds were too deep, they'd say. Yes, she signed a
confession, but everybody knew Corrine couldn't read.
Even with the best defense
lawyer, none of the extenuating circumstances seemed to matter. On
Dec. 7, 1946--exactly two years to the day after the murder--Corrine,
without fuss or fight, was taken to the electric chair. She was the
first black woman executed in Pennsylvania.
Filmmaker Morton, formerly an
X-ray technician, began poring over transcripts and newspaper articles
about the case nearly two decades ago. At Temple University's Urban
Archives she stumbled on a picture of Corrine and was mesmerized by
her wide, piercing eyes.
"The woman haunted me," says
Morton, who later hung the picture on her living room wall. "It was
like she was pleading to me, like her eyes were calling out for help."
Last week Morton screened
Severed Souls, her 27-minute documentary that chronicles the black
community's version of the murder. Years after Corrine's death, rumors
spread that Mrs. Wodlinger's husband made a deathbed confession: He
had killed his wife.
Some say news of the confession
was printed in the paper, but no one, including Morton, can find the
article.
The story is still a tangle of
unanswered questions: Who really killed Mrs. Wodlinger? What part did
Corrine's wily boyfriend play? Why did the black community remain
silent? Why was Corrine executed so swiftly? And was there really
a printed deathbed confession by Mrs. Wodlinger's husband?
Morton says those questions may
never be answered, but she realizes now that Corrine had a greater
story to tell.
"I see Corrine as changing my
whole life," says Morton, now a graduate film student at Temple
University. "We cannot be mute about injustice--it's all around us. We
have to speak up and not let these types of stories die. My purpose now is to tell these stories."