12 Angry Men, Lecture notes of Business

Download 12 Angry Men and more Lecture notes Business in PDF only on Docsity! 1. NOTE: The notes on characters are extremely brief, since it is felt that what they are and who they are will he revealed in their dialogue and actions during the course of the film. FOREMAN: 35 years old. Assistant high school football coach. A small, petty man who is at first vary of, and then impressed with the authority he has. Handles himself quite formally. Not overly bright, but dogged. Juror #2: 38 years old. Bank clerk. A meek, hesitant man who finds it difficult to maintain any opinions of his own. Easily swayed and usually adopts the opinion of the last person to idiom he has spoken. Juror #3: 40 years old. Head of messenger service. A very strong, very forceful, extremely opinionated man within whom can be detected a streak of sadism. A humorless man who is intolerant of opinions other than his own, and accustomed to forcing his wishes and views upon others. Juror #4: 50 years old. Stockbroker. A man of wealth and position. A practiced speaker who presents himself well at all times. Seems to feel a little bit above the rest of the Jurors. His only concern is with the facts in this case and he is appalled with the behavior of the others. Constantly preening himself, combing his hair, cleaning his nails, etc. Juror #5: 25 years old. Mechanic. A naive, very frightened young man who takes his obligations in this case very seriously but who finds it difficult to speak up when his elders have the floor. Juror #6: 33 years old. Housepainter. An honest, but dull- witted man who comes upon his decisions slowly and carefully. A man who finds it difficult to create positive opinions, but who must listen to and digest and accept these opinions offered by others which appeal to him moat. Juror #7: 42 years old. Salesman. A loud, flashy, glad-handed sales man type who has more important things to do than to sit on a Jury. He is quick to show temper, quick to form opinions on things about which he knows nothing. He is a bully, and, of course, a coward. Juror #8: 42 years old. Architect. A quiet, thoughtful, gentle man. A man who sees many sides to every question and constantly seeks the truth. A man of strength tempered with compassion. Above all, a man who wants Justice to be done, and will fight to see that it is. 2. Juror #9: 70 years old. Retired. A mild, gentle old man, long since defeated by life, and now merely waiting to die. A man who recognizes himself for what he is, and mourns the days when it would have been possible to be courageous without shielding himself behind his many years. From the way he take pills whenever he is excited, it is obvious that he has a heart condition. Juror #10: 46 years old. Garage owner. An angry, bitter man. A man who antagonizes almost at sight. A bigot who places no values on any human life save his own. A man who has been no where and is going nowhere and knows it deep within him. He has a bad cold and continually blows his nose, sniffs a ben- zedrine inhaler, etc. Juror #11: 48 years old. Watchmaker. A refugee from Europe who has come to this country in 1941. A man who speaks with an accent and who is ashamed, humble, almost subservient to the people around him, but a man who will honestly seek Justice because he has suffered through so much injustice. Juror #12: 30 years old. Advertising man. A slick, bright advertising man who thinks of human beings in terms of percentages, graphs and polls, and has no real understanding of people. A superficial snob, but trying to be a good fellow. Throughout the film he doodles on a scratch pad. AND THE JUDGE THE COURT CLERK THE GUARD THE two alternate JURORS ADD ( IF DESIRED ) THE COURT STENOGRAPHER FADE IN: EXT. LONG SHOT - N. Y. - COURT OF GENERAL SESSIONS - DAY1 1 A large, imposing tallying, gray, impressive as a background for the comings and goings of a number of ordinary people on an ordinary day. Camera holds on steps and building front from a distance and then dollies in slowly. DISSOLVE TO: 5. The judge pauses for a moment. There is a stillness in the room. CLOSE UP JUDGE - ENTIRE JURY IN BACKGROUND The judge's profile fills the left side of the frame. In right background, we see the jury box. JUDGE I don’t envy you your job. You are faced with a grave responsibility. Thank you, gentlemen. There is a pause. The judge turns away from the jury and nods in another direction. CLOSE UP THE FACE OF THE COURT CLERK CLERK The alternate jurors are excused. MEDIUM SHOT - THE JURY AU of their heads turn to camera right. Self-consciously the two alternates rise and move awkwardly out of the jury box. When they are gone, we hear the clerk. CLERK The Jury will retire. The members of the Jury look hesitantly at each other, each reluctant to be the first to stand. Finally #3 stands up. Then the others begin to rise and file slowly off left until the Jury box is empty. MEDIUM SHOT - THE JURY They file through a long corridor, than through one door, then another. They are silent, serious. All we hear is the sound of their footsteps. Credits are superimposed over this scene. As credits end: DISSOLVE TO: MEDIUM SHOT - THE JURY ROOM The room is empty, silent save for the sounds of traffic twelve floors below. In center of room is a large scarred table and twelve chairs. There are four other chairs against the opposite the windows. Along one wall are three windows through which wee can see the New York skyline. On the opposite wall is an electric clock and an electric fan. At 6. one end of the Jury room is a coat rack, on either side of which is a door, one lettered "men" and the other lettered "women". Against the fourth wall is an old-fashioned water cooler. There are pencils, pads, ashtrays on the table. Nothing else. The room is drab, bare, in need of a painting. Camera holds on room then dollies in toward the door as we hear footsteps outside. The doer is opened by a uniformed guard. On the door are lettered the words "Jury Room". The guard stands against the door, holding it open, as the members of the jury file into the room. He holds a dip-board and pencil, and we can see his lips moving, counting the jurymen as they enter. Four or five of the jurymen light cigarettes immediately. They move into the room. Juror #2 goes to the water fountain. Juror #9, the old man, enters hastily and goes toward the men's room. Juror #7 enters the room last. The guard steps into the room and closes the door. Again he begins to count the jurors. Camera slowly pans with #7 as he walks across the room toward the windows. The foreman has seated himself at the head of the table. #11 and #4 also sit at the table. #11 begins to make notes in a little pad. #4 reads the newspaper. The others move awkwardly about the room. They are all at ease, do not really know each other to talk to, wish they were anywhere but here. There is no conversation for a moment. #7 reaches the window. Camera is on him and #6 who looks out at the skyline. #7 offers a stick of gum to him. He shakes his head. #7 offers the gum to #8 who also locks out window. #8 smiles. #8 No thanks. #7 (to #6) Y'know something'? I phoned up for the weather this morning. This is the hottest day of the year. #6 nods and continues to look out window. #7 You'd think they’d at least air condition the place. I almost dropped dead in court. He reaches over and opens the window wider. MEDIUM SHOT - CENTERED ON GUARD 7. He has finished counting them. GUARD Okay, gentlemen. Everybody's here. If there's anything you went I’m right outside. Just knock. He exits, closing the door as camera dollies back to include Juror #5, the youngest Juryman, who watches the door. We hear the lock click. #5 half grins, self-consciously. #5 I never knew they locked the door. #10 Sure they lock the door. What'd you think? #5 I don't know. It just never occurred to me. #10 gives him the look of a professional know-it-all, and then turns and takes off his jacket. He walks across room to coat rack, camera dollying with him. He passes the Foreman who stands at the head of the table tearing up little slips of paper for ballots, and he stops. #10 Hey, what's that for? FOREMAN Well, I figured we might want to vote by ballots. #10 (grinning) Great idea! Maybe we can get him elected senator. #10 laughs until he begins to cough. He moves off to the coat The Foreman looks at his watch and compares it with the clock. The 3rd Juror takes a cup of water from the water- cooler, moves to the 2nd Juror and looks around the room as he sips the water. #3 (to the #2) How'd you like it? #2 (mildly) 10. Yeah! And what about the business with the knife- I mean asking grown- up people to believe that kind of bushwash. #8 turns during these lines to look at #7. MEDIUM SHOT - #7 AND #10 #10 sits in a chair not at table, #7 stands over him mopping his brow #10 Well look, you've gotta expect that. You know what you’re dealing with. #7 Yeah, I suppose. #10 blows his nose vigorously. #7 What’s the matter, you got a cold? #10 And how. These hot weather colds can kill you. (he tilts his head back slightly) I can hardly touch my nose. Know what I mean? #7 nods sympathetically. #7 I just got over one. There is an awkward pause. #7 looks at his watch. Then he looks up at Foreman, who is standing at head of table. #7 What d’ya say, Mr. Foreman? MEDIUM SHOT - #7, #10, FOREMAN, #3, #4, FROM ANOTHER ANGLE Foreman big in foreground, standing at head of table. #7, #10 in background. #3, #4 seated at left at table. Foreman looks around at the wall clock. #3 leans over to scan #4’s newspaper. #3 Anything exciting going on? #4 looks up at him. 11. #3 (smiling) I didn't get a chance to look at the papers today. #4 I was just wondering how the market closed. #3 (pleasantly) I wouldn't knew. Say, are you on the exchange or something. #4 I'm a broker. #3 Well that's very interesting. Listen, maybe you can answer a question for me. I have an uncle who’s been playing around with some Canadian stuff... The foreman turns around, and, as if it is an effort, calls out loudly to the others. FOREMAN All right, gentlemen. Let’s take seats. There is a slow movement towards the table. #3 shrugs at #4 and turns to the Foreman. #7 This better be fast. I get tickets to a ball game tonight. Yanks- Cleveland. We got this new kid, Modjelewski, or whatever his name is, going. He’s a bull, this kid! He shoots his hand forward and out to indicate the path of a curve ball. #7 Shhhooooom. A real jug handle. (to Foreman) Where d’ya want us to sit? CLOSE UP - FOREMAN When he gets used to this miner authority he will enjoy it. Right now he is still nervous. 12. FOREMAN Well, I was thinking we ought to sit in order, by jury numbers. (he points with each number) Two. Three. Four, and so on. If that's okay with you gentlemen. #10 What’s the difference? #4 I think it’s reasonable to sit according to number. #10 Let it be. Foreman has looked back and forth a bit anxiously at this exchange. Now he relaxes and sits down. Camera holds. Now, where Foreman’s head bad been in closeup, we see #2 in medium shot, sitting in sideline chair. He gets up and camera pans with him to his seat at the table. Camera pans down table from #2. #3, #4, #5 are seated. #6 is hanging his coat on the coat rack. #7 is draping over the chair. #6 still stares out the window. #9 is in bathroom. #10 is walking toward his seat, mopping his brow. #11, #12 are seated. #12 (to #11) What was your impression of the prosecuting attorney? #11 looks at him. #11 (German accent) I beg pardon? #12 (I thought he was really sharp. I mean the way he hammered home his points, one by one, in logical sequence. It takes a good brain to do that, I was very impressed...) MEDIUM SHOT - FOREMAN’S END OF TABLE From side, shooting towards window. #8 stares out window, thinking. 15. #9 Forgive me gentlemen. I didn't mean to keep you waiting. He begins to walk toward his seat as does #6. #7 (off) Baltimore! CLOSE UP - FOREMAN He is still standing. He locks around. This is the moment for his big speech. FOREMAN (Nervously) All right. Now you gentlemen can handle this any way you want to. I mean, I’m net going to make any rules. If we want to discuss it first and then vote, that’s one way. Or we can vote right now to see how we stand. He pauses and looks around. FOREMAN Well... that's all I have to say. MEDIUM SHOT - CENTERED ON #4 #4 I think it’s customary to take a preliminary vote. #7 (off) Yeah, let’s vote. Who knows, maybe we can all go home. LONG SHOT - CENTERED ON FOREMAN From opposite end of the table. FOREMAN It’s up to you. Just let’s remember we’ve got a first degree murder charge here. If we vote guilty we send the accused to the electric chair. That's mandatory. #4 I think we all know that. 16. #3 Come on, let’s vote. #10 Yeah. Let's see who’s where. FOREMAN Anybody doesn’t want to vote? He looks around the table. There is no answer. FOREMAN All right. This has to be a twelve- to-nothing vote either way. That's the law. Okay, are we ready? All those voting guilty raise your hands. Seven or eight hands go up immediately. Several others go up more slowly. Everyone looks around, the table as the Foreman begins to count hands. #9's hand goes up now, and all hands are raised, save #8's. FOREMAN ...nine... ten... eleven. That's eleven for guilty. Okay, Not guilty. CLOSE UP - #8 He slowly raises his hand. FOREMAN One. Right. Okay, eleven to one, guilty. Now we know where we are. #8 lowers his hand. #10 (off) Boy-oh-boy. There’s always one. #8 doesn't look in his direction. #7 So what do we do now? #8 Weil, I guess we talk. #10 Boy-oh-boy. CLOSE UP - #3 17. #3 (Leaning across to #8) Well look, do you really think he’s innocent? CLOSE UP - #8 #8 I don't know. CLOSE UP - #3 #3 (smiling) I mean let’s be reasonable. You sat right in court and heard the same things we did. The man's a dangerous killer. You could see it. CLOSE UP - #8 #8 He’s nineteen years old. CLOSE UP - #3 #3 Well, that's old enough. He knifed his own father. Four inches into the chest. MEDIUM SHOT - CENTERING ON #6 #6 (to #8) It's pretty obvious. I mean, I was convinced from the first day. CLOSE UP - #3 #3 Well, who wasn't? (to #8) I really think this is one of those open and shut things. They proved it a dozen different ways. Would you like me to list them for you? CLOSE UP - #8 #8 No. #10 20. (sharply) That’s not what we’re sitting here for. MEDIUM SHOT - CENTERED ON #9 #10 and #8 speak across #9, who turns from one to another. Camera shoots over shoulders of #'s 4 and 5. #10 All right, then you tell me. What are we sitting here for? #8 looks at him, trying to phrase the following. They wait. #8 Maybe for no reason. I don't know. Look, this boy's been kicked around all his life. You know, living in a slum, his mother dead since he was nine. He spent a year and a half in an orphanage while his father served a jail term for forgery. That's not a very good headstart. He's a wild, angry kid and that's all he's ever been. You know why he got that way? Because he was knocked on the head by somebody once a day, every day. He's had a pretty terrible nineteen years. I think maybe we owe him a few words. That's all. He looks around the table. #9 nods slowly. #10 I don’t mind telling you this, mister. We don't owe him a thing. He got a fair trial, didn't he? What d'you think that trial cost? He's lucky he got it. (turning to #11) Know what I mean? (Now looking across table at #’s 3, 4, 5) Look, we're all grown-ups in here. We heard the facts, didn't we? (to #8) Now you're not going to tell us that we're supposed to believe that kid, knowing what he is. Listen, I've lived among 'em all my life. You can't believe a word they say. You know that. (to all) 21. I mean they're born liars. There is a pause. #9 (slowly) Only an ignorant man can believe that. #10 Now listen... #9 (to #10) Do you think you were born with a monopoly on the truth? (to all) I think certain things should be pointed out to this man. CLOSE UP - #3 He is annoyed at this argument. #3 All right. It’s not Sunday. We don’t need a sermon in here. MEDIUM SHOT - #’S 8, 9, 10 #9 (to all) What he says is very dangerous... #10 (loudly) All right, that's enough! He glares at #9. #9 half rises, but then feels #8’s hand firmly on his arm, gently pulling him down. He sits down, turns away from #10 and looks briefly at #8. #8 looks calmly, firmly back, and in his look there is understanding and sympathy. #4 (off) I don't see any need for arguing like this. I think we ought to be able to behave like gentlemen. #12 Right! MEDIUM SHOT - #’S 4, 3, 2, FOREMAN 22. #4 (calmly) If we're going to discuss this case let's discuss the facts. FOREMAN I think that's a good point. We have a job to do. Let's do it. #2 rises and walks around end of table. Camera pans with him till it reaches #'11 and 12. Foreman is still on camera. #2 goes off to his jacket to get a package of cough drops, and returns during the next lines. #12 doodies steadily on his pad. #11 watches him. He draws a cereal box. FOREMAN Maybe if the gentleman who's disagreeing down there could tell us why. You know, tell us what he thinks, we could show him where he's probably mixed up. #12 looks at #11 and sees him watching his doodling. He holds up his drawing for him to see. #12 (to #11 confidentially) Rice Pops. It's one of the products I work on at the agency. "The Break- fast With The Built-In Bounce". I wrote that line. #11 smiles in spite of himself. #11 It's very catchy. FOREMAN (annoyed, to #12) If you don't mind. #12 I'm sorry. I have this habit of doodling. It keeps me thinking clearly. FOREMAN We’re trying to get someplace here. Y'know we can sit hare forever... #12 Well look, maybe this is an idea. I'm just thinking out loud, but it 25. #7 (off) I'm with you. FOREMAN All right. Next. MEDIUM SHOT - CENTERING ON #4 #'s 3 and 5 listen closely to this quiet, imposing, meticulous man. He takes off his eyeglasses, waving them as he talks. #4 It was obvious, to me anyway, that the boy's entire story was flimsy. He claimed he was at the movies during the time of the killing and yet one hour later he couldn’t remember what films he saw, or who played in them. #3 That's right. Did you hear that? (to #4) You’re absolutely right. #4 No one saw him going in or out of the theatre... CLOSE UP - #10 AND PART OF #11 #10 Listen, what about that woman across the street? If her testimony don’t prove it, nothing does. #11 That's right. She was the one who actually saw the killing. CLOSE UP - FOREMAN FOREMAN Let's go in order here. MEDIUM SHOT - CENTERED ON #10 #10 rises, handkerchief in hand. #10 Just a minute. Here's a woman... 26. He blows his nose. #10 Here's a woman who's lying in bed and can’t sleep. He begins to walk around the table, wiping tender nose and talking. Camera follows him around the table. #10 She's dying with the heat. Know what I mean? Anyway, she looks out the window and right across the street she sees the kid stick the knife into his father. The time is 12:10 on the nose. Everything fits. Look, she's known the kid all his life. His window is right opposite hers, across the el tracks, and she swore she saw him do it. #10 is now standing behind #6 and lookin across table at #8. Camera shoots over #8's shoulder. #10 wipes his nose. #8 Through the windows of a passing elevated train. #10 (through the handkerchief) Right. This el train had no passengers on it. It was just being moved downtown. The lights were out, remember? And they proved in court that at night you can look through the windows of an el train when the lights are out and see what's happening on the other side. They proved it! CLOSE UP - #8 #8 (to #10) I’d like to ask you something. You don’t believe the boy. How come you believe the woman? She's one of "them" too, isn't she? CLOSE UP - #10 He is suddenly angry. #10 27. You’re a pretty smart fellow, aren't you? He takes a step towards #8. FAST CLOSE UP - #8 Sitting calmly there. LONG SHOT - ENTIRE TABLE FROM BEHIND FOREMAN FOREMAN (nervously) Hey, let's take it easy. MEDIUM SHOT #’S 3, 5, and 10 STANDING BEHIND #7 #'s 3 and 5 have reached #10 who looks angrily at #8. #3 takes #10's arm. #10 (angrily) What’s he so wise about? I'm telling you... #3 (strongly) Come on. Sit down. He begins to lead #10 back to his seat, camera panning with them. #3 What are you letting him get you all upset for? Relax. FOREMAN (Off) Let's calm down now. I mean we're not gonna get anywhere fighting. #'s 3 and 10 reach #10's seat. #10 sits down. #3 remains standing now. Until his next lines he walks around the room, takes a drink at the fountain, etc. MEDIUM SHOT - CENTERED ON FOREMAN He is standing. FOREMAN Okay. Let’s try to keep it peaceful in here. He looks down the table. 30. rock at his teacher. At fifteen he was in reform school. He stole a car. He's been arrested for mugging. He was picked up twice for knife- fighting. He's real swift with a knife, they said. This is a very fine boy. #8 Ever since he was five years old his father beat him up regularly. He used his fists. #7 (indignantly) So would I! A kid like that. Camera dollies back now to show #3 walking over from the water fountain toward #7. He stands behind #7, talks to #8. #3 And how. It's the kids, the way they are nowadays. Listen, when I was his age I used to call my father "sir". That’s right. Sir! You ever hear a boy call his father that anymore? #8 Fathers don't seem to think it's important any more. #3 No? Have you got any kids? #8 Three. #3 Yeah, well I've got one, a boy twenty-two years old. I'll tell you about him. When he was nine he ran away from a fight. I saw him. I was so ashamed I almost threw up. So I told him right out. I’m gonna make a man outa you or I'm gonna bust you in half trying. Well, I made a man outa him all right. When he was sixteen we had a battle. He hit me in the face! He’s big, y'know. I haven't seen him in two years. Rotten kid. You work your heart out... 31. He stops. He has said more than he intended and more passionately than he intended it. He is embarrassed. He looks at #6, and then at all of them. #3 (loud) All right. Let's get on with it. He turns and walks angrily around the table to his seat, camera panning with him. He sits down. Camera now covers #'s 3, 4, 5. #4 looks at #3 and then across the table. #4 I think we're missing the point here. This boy, let’s say he’s a product of a filthy neighborhood and a broken home. We can't help that. We're here to decide whether he's guilty or innocent, not to go into the reasons why he grew up this way. He was born in a slum. Slums are breeding grounds for criminals. I know it. So do you. CLOSE UP - #5 He reacts to the following. #4 It's no secret. Children from slum background are potential menaces to society. Now, I think... #10 (interrupting) Brother you can say that again. The kids who crawl outa those places are real trash. I don't want any part of them, I’m telling you. Camera pans over to close up of #5. His face is angry. He tries to control himself. His voice shakes. #5 I’ve lived in a slum all my life.... CLOSE UP - #10 He knows he has said the wrong thing. #10 Oh, now wait a second... CLOSE UP - #5 32. #5 (Furious) I used to play in a back yard that was filled with garbage. Maybe it still smells on me. CLOSE UP - #10 #10 (beginning to anger) Now listen, sonny... LONG SHOT - ENTIRE TABLE OVER FOREMAN’S SHOULDER Foreman has risen. FOREMAN (#5) Now let’s be reasonable. There’s nothing personal... #5 shoots to his feet. #5 (loud) There is something personal! He looks around at the others, all looking at him. Then, suddenly he has nothing to say. He sits down, fists clenched. #3 Come on now. He didn’t mean you, feller. Let’s not be so sensitive. MEDIUM SHOT - #’S 11, 12, FOREMAN SHOOTING OVER #’S 3, 4 #11 (softly) This sensitivity I can understand. The Foreman Looks at #11, and his face shows distaste for him in spite of himself. #12 gets up and walks to the window. FOREMAN All right, let’s stop all this arguing. We're wasting time here. (pointing to #8) It's your turn. Let’s go. MEDIUM SHOT - #'S 8, 9, 10. #8 Well, I didn't expect a turn. I thought you were all supposed to be 35. it right now. CLOSE UP - FOREMAN He looks down at table. FOREMAN (softly) I don't care what you do. MEDIUM SHOT - #'S 8, 9, 10 #8 waits for a moment, and then begins. As he speaks, #12 walks into shot, stands behind #9. #8 (after a pause) All right. I haven't got anything brilliant. I only know as much as you do. According to the testimony the boy looks guilty. Maybe he is. I sat there in court for three days listening while the evidence built up. Everybody sounded so positive that I started to get a peculiar feeling about this trial. I mean, nothing is that positive. I had questions I would have liked to ask. Maybe they wouldn't have meant anything. I don't know. But I started to feel the defense counsel wasn't doing his job. He let too many things go. Little things. #10 What little things? Listen, when these guys don't ask questions, that's because they know the answers already and they figure they'll be hurt. #8 Maybe. It's also possible for a lawyer to be just plain stupid, isn't it? #6 You sound like you've met my brother-in-law. A few jurors laugh. #8 (smiling) 36. I kept putting myself in the boy's place. I would have asked for another lawyer, I think. I mean, if I wan on trial for my life I'd want my lawyer to tear the prosecution witnesses to shreds, or at least to try. Look, there was one alleged, eye-witness to this killing. Someone else claims he heard, the killing and then saw the boy running out afterward. There was a lot of circumstantial evidence, but actually those two witnesses were the entire case for the prosecution. We're dealing with a human life here. Supposing they were wrong? CLOSE UP - #12 He stands behind #8 and looks down at him. #12 What do you mean supposing they were wrong? What's the point of having witnesses at all? MEDIUM SHOT - #'S 8, 9, 12 #12 stands behind #8. #8 is turned to look up at him. #9 listens carefully. #8 Could they be wrong? #12 They sat on the stand oath. What are you trying to say? #8 They're only people. People make mistakes. Could they be wrong? #12 I... No! I don’t think so! #6 Do you know so? #12 Well now listen, nobody can know a thing like that. This isn't an exact science... CLOSE UP - #8 37. As he turns away from #12, satisfied. #8 (quietly) That's right. It isn't. LONG SHOT - ENTIRE TABLE FROM BEHIND #7 There is silence for a moment. #12 walks back to his seat. #3 gets up angrily and strides down to a position behind #5. #3 (to #8) All right. Let's try to get to the point here. What about the switch- knife they found in the father's chest? CLOSE UP - #2 #2 (nervously) Well, wait a minute. I think we oughta... There are people who haven't talked yet. Shouldn’t we... MEDIUM SHOT - #3 STANDING BEHIND #5 #3 (to #2) Look, they can talk whenever they like. Now just be quiet a second, will'ya please. FLASH CLOSE UP - #2 Wounded at being slapped down by #3, he looks down at table. MEDIUM SHOT #’S 3, 5, 6, 7 SHOOTING OVER #8'S SHOULDER #3 (to #8) Okay what about the knife? You know, the one that fine upright boy admitted buying on the night of the murder. Let's talk about that. MEDIUM SHOT #'S 7, 8, 9 - SHOOTING OVER #3'S SHOULDER #8 appears just a bit pleased at this turn of conversation. #8 All right. Let's talk about it. Let's get it in here and look at it. 40. The boy talked, with his friends for about an hour, leaving them at about 9:45. During this time they saw the switch knife. Six. Each of them identified the death-weapon in court as that same knife. Seven. The boy arrived home at about 10 o'clock. Now this is where the stories offered by the boy and the state begin to diverge slightly. CLOSE UP - #8 He listens quietly, patiently, waiting his turn. #4 He claims that he stayed home until 11:30 and then went to one of those all-night movies. He returned home at about 3:15 in the morning to find his father dead and himself arrested. MEDIUM SHOT - CENTERED ON #4 #4 Now, what happened to the switch- knife? This is the charming and imaginative little fable the boy invented. He claims that the knife fell through a hole in his pocket sometime between 11:30 and 3:15 while he was on his trip to the movies, and that he never saw it again. Now there is a tale, gentlemen. I think it’s quite clear that the boy never went to the movies that night. No one in the house saw him go out at 11:30. No one at the theatre identified him. He couldn’t even remember the names of the pictures he saw. What actually happened is this. The boy stayed home, had another fight with his father, stabbed him to death with the knife at ten minutes after twelve and fled from the house. He even remembered to wipe the knife clean of fingerprints. MEDIUM SHOT - THE DOOR It opens. The guard enters carrying a curiously designed knife with a tag hanging from it. #4 walks into the shot and 41. takes the knife from the guard. He turns and moves back to his seat as the guard exits. He stands behind his seat holding the knife. Camera is now at an angle which includes #'s 4, 5, 8, 9. #4 (leaning over to #8) Everyone connected with the case identified this knife. Now are you trying to tell me that it really fell through a hole in the boy's pocket and that someone picked it up off the street, went to the boy’s house and stabbed his father with it just to be amusing. #8 No. I'm saying that it’s possible that the boy lost the knife, and that someone else stabbed his father with a similar knife. It's possible. CLOSE UP - #4 He flicks open the blade of the knife and jams it into the table. Camera dollies hack to show knife in table. Jurors #2, 5, 10, 11, 12 get up and crowd around-to get a better look at it. #4 Tale a look at that knife, it's a very unusual knife. I’ve never seen one like it. Neither had the storekeeper who sold it to the boy. Aren’t you trying to make us accept a pretty incredible coincidence? CLOSE UP - #6 #6 I’m not trying to make anyone accept it. I'm just saying that it’s possible. CLOSE UP - #3 Standing next to #4, is suddenly infuriated at #6's calmness. He leans forward. #3 (shouting) And I'm saying it's not possible. CLOSE UP - #6 42. He stands for a moment in the silence. Then he reaches into his pocket and swiftly withdraws a knife. He holds it in front of his face, and flicks open the blade. Than he leans forward and sticks the knife into the table next to the other. BIG CLOSE UP - THE TWO ORNATELY CARVED KNIVES Stuck into the table, side by side, each exactly alike. There is an immediate burst of sound in the room. #7 What is this? #12 Where'd that come from? #6 What is it? #2 How d'you like that! MEDIUM SHOT - THE JURORS, CLUSTERED AROUND KNIVES #6 is standing away from the table, watching. #3 looks up at him. #3 (amazed) What are you trying to do? #10 (loud) Yeah! What’s going on here? Who do you think you are? CLOSE UP - #6 In the group of faces. He has taken the knife out of the table and is holding it. #6 Look at it. It's the same knife! CLOSE UP - #6 Watching them closely, a few steps back from the group. The ad lib hubbub still goes on. #4 Quiet! Let's be quiet! The noise begins to subside. 45. he busted the other kid's knife dropping it on the pavement. #8 That's what he said. #7 (off) Beloney! #9 The friend testified that the boy did break his knife. #3 Yeah. And how long before the killing? Three weeks, right? So how come our noble lad bought this knife one half hour after his father snacked him, and three and a half hours before they found it shoved up to here in the father's chest? CLOSE UP - #7 #7 (grinning) Well, he was gonna give the knife to his friend. He just wanted to use it for a minute. There is scattered laughter. MEDIUM SHOT - #8, BEHIND #9 #8 waits until the laughter dies down. #8 (to the #3) Let me ask you this. It's one of the questions I wanted to ask in court. If the boy bought the knife to use on his father, how come he showed what was going to be the murder weapon to three friends of his just a couple of hours before the killing? #3 Listen, all of this is just talk. The boy lied and you know it. #8 He may have lied. 46. (to #10) Do you think he lied? #10 Now that's a stupid question. Sure he lied. MEDIUM SHOT - #'s 8, 10, 11, SHOOTING BETWEEN #'S 4 AND 5 #8 (to #4) Do you? #4 You don't have to ask me that. You know my answer. He lied... #8 (to #5) Do you think he lied? CLOSE UP - #5 He can’t answer immediately. He looks around nervously. #5 Well... I don't know... MEDIUM SHOT - #3, STANDING #3 Now wait a second! He starts to stride around table pest #'s 4, 5, 6. #3 What are you, the kid's lawyer or something? Who do you think you are to start cross-examining us? Listen, there are still eleven of us in here who think he’s guilty. #3 is standing behind #7 now. #7 Right! What do you think you’re gonna accomplish? You’re not gonna change anybody's mind. So if you want to be stubborn and hang this jury go ahead. The kid'll be tried again and found guilty sure as he's born. MEDIUM SHOT - #8 47. Camera pans with him as he walks back to his seat. He stands behind it. #'s 3, 7, 9 are included, #3 standing behind #7's seat. #8 You're probably right. #7 So what are you gonna do about it? We can be here all night. #9 It's only one night. A boy may die. #7 glares at #9, but has no answer. #8 sits down. #7 Brother! Anybody got a deck of cards? There is silence. #3 starts a walk over to the coat rack to get some cigarettes from his jacket. Camera holds centered on #8 for a moment. The room is quiet. MEDIUM SHOT - CENTERED ON #2, SHOOTING 0VER #10 AND #11 #2 (to Foreman) I don't think he ought to joke about it. FOREMAN (annoyed) What do you want me to do? #2 would like to say something to #7, but daren't. #10 slams his hand down on the table. #10 Listen, I don't see what all this stuff about the knife has to do with anything. Somebody saw the kid stab his father. What more do we need? You guys can talk the ears right off my head. Know what I mean? I got three garages of mine going to pot while you're talking! Let's get done and get outa here! #11 The knife was very important to the district attorney. He spent one whole morning... 50. He seems to relax a bit. He starts back for his seat. MEDIUM SHOT - #'S 10, 11, 12, FOREMAN The Foreman reads off the last ballot. FOREMAN Guilty. #10 (angry) Boy! How do you like that! #7 (off) And another chap flips his wig! #10 All right, who was it? Come on, I want to know! #11 (looking at #10) Excuse me. This was a secret ballot. We agreed, on this point, no? If the gentleman wants it to remain secret... MEDIUM SHOT - CENTERED ON #3 #3 Secret? What d'ya mean, secret? There are no secrets in a jury room! I know who it was! He stands up and walks over to #5's seat, camera panning with him. #5 turns and looks at him. #3 stares down at #5. #3 Brother, you're really something. You come in here and you vote guilty like everybody else, and then this golden-voiced preacher over here starts to tear your heart cut with stories about a poor little kid who just couldn't help becoming a murderer. So you change your vote. If that isn't the most sickening... Why dontcha drop a quarter in his collection box? #5 listens to this, his face growing darker and angrier. Toward the conclusion of the speech he begins to rise to his feet, facing #3. 51. #5 Now wait a minute! But #3 turns his back on him and starts to walk away. Camera holds on #5. Then he starts out after #3. #5 (angry) Who d'ya think you are to talk like... #3 has his back to #5. #5 reaches out and takes his shoulder. #5 Who d'ya you are... #3 shakes him off angrily, and turns to face him. #4 is on his feet swiftly now, and slips in between them. He takes #5's arm. #4 (calmly) All right, let's calm down... #5 Who does he think he is? #4 leads #5 back to his seat, camera panning with him. #5 I mean, did you see him? #4 (softly) Just sit down. He's very excitable. Forget it. It doesn't matter. MEDIUM SHOT - #3 STANDING BEHIND #2 #3 Excitable! You bet I'm excitable. We're trying to put a guilty man into the chair where he belongs, and all of a sudden somebody's telling us fairy tales... and we're listening! #2 leans back. #2 (mildly) Take it easy. #3 52. What do you mean take it easy! D'you feel like seeing a proven murderer walking the streets? Why don't we give him his knife back? Make it easier for him! He indicates #5 with a wave of his hand. #3 Where does he have the right... MEDIUM SHOT - #'S 10, 11, 12, FOREMAN FOREMAN Okay, let's stop the yelling. #11 Please. I would like to say something here. I have always thought that a man was entitled to have unpopular opinions in this country. This is the reason I came here. In my own country, I am ashamed to say... #10 What do we have to listen to now, the whole history of your country? MEDIUM SHOT - #'S 5, 6, 7, 8. #7 Yeah, let's stick to the subject. He turns to #5. #7 Now I’m talking facts. What made you change your vote? MEDIUM CLOSE UP - #9, #8 #9 speaks softly. #8 watches him as if he had known all along. #9 There's nothing for him to tell you. He didn't change his vote. I did. CLOSE UP - #7 He reacts to this with obvious disgust. MEDIUM CLOSE UP - #’S 7, 9 55. Looks like we're really hung up here. I mean that thing with the old man was pretty unexpected. #11 nods and shrugs. #12 I wish I knew how we could break this up. (suddenly smiling) Y'know in advertising... I told you I worked at an agency, didn’t I? (#11 nods) Well there are some pretty strange people... not strange really... they just have peculiar ways of expressing themselves, y'know what I mean? (#11 nods again) Well, it's probably the same in your business, right? What do you do? #11 I’m a watchmaker. #12 Really? The finest watchmakers come from Europe I imagine. (#11 bows slightly) Anyway, I was telling you, in the agency, when they reach a point like this in a meeting, there's always some character ready with an idea. And it kills me, I mean it's the weirdest thing in the whole world sometimes the way they precede the idea with some kind of phrase. Like... Oh, some account exec'll say, "Here’s an idea. Let’s run it up the flagpole and see if anyone salutes it." (#12 laughs) I mean it's idiotic, but it's funny... Camera dollies past them in on #3 now as he walks over to #5 who stands at the water fountain. #5 locks up at him over a clip of water. #3 Look, I was a little excited. Well, you know how it is, I... I didn't mean to get nasty or anything. 56. #5 finishes the water and tosses the cup in the basket. #3 I'm glad you're not the kind who lets these emotional appeals influence him. #10 walks into the shot, stands next to #5, sniffing. #5 crosses away from #3 without answering. #7 steps away from the washbasin and dries his hands. The #8 crosses to washbasin. #7 (to #8) Say, are you a salesman? #8 I'm an architect. #7 You know what the soft sell is? You're pretty good at it. I'll tell ya. I got a different technique. Jokes. Drinks. Knock 'em on their asses. I made twenty-seven thousand last year selling marmalade. That's not bad. Considering marmalade. #8 bends to rinsing his face. #7 watches him for a moment. #7 What are ya getting out of it, kicks? #8 looks up at him. #7 The boy is guilty, pal. Like the nose on your face. So let's go home before we get sore throats. #8 turns off the water, and turns to #7. #7 hands him a paper towel and waits. #8 starts to dry his face, watching #7. #8 (through the towel) What's the difference whether you get it here or at the ball game? #7 looks at him narrowly, and then smiles. #7 No difference, pal. No difference at all. 57. #7 exits, letting the door slam. #8 slowly dries his face. A moment later the door opens. We hear a loud laugh from outside. #6 enters the bathroom. The door closes. #6 walks over to the sink, turns on the water. During this next exchange he lets it run over his wrists. #6 (sarcastically) Nice bunch of guys. #8 I guess they’re the same as any. #6 That loud, heavy-set guy, the one who was tellin' us about his kid... the way be was talking... boy, that was an embarrassing thing. #6 (smiling) Yeah. #8 stands watching #6 cool his wrists. #6 What a murderous day. He looks at #8 in the mirror. #6 (pointedly) You think we'll be much longer? #8 I don't know. #6 He’s guilty for sure. There's not a doubt in the whole world. We shoulda been done already. #8 doesn't answer him. #6 Listen, I don't care, ’y’know. It beats workin’. He laughs, and #8 smiles. Then #6 pointedly looks at #8. His smile vanishes. #6 You think he’s not guilty? 60. trial is guilty beyond a reasonable doubt. We're not concerned with anyone else's motives here. That's a job for the police. MEDIUM CLOSE UP - #4, #3 #4 Very true. But we can't help letting the only motive we know of creep into our thoughts, can we? And we can't help asking ourselves who else might have had a motive. Logically, these things follow. (nodding at #6) This gentleman is asking a reasonable question. Somebody killed him. If it wasn't the boy, who was it? #3 (grinning) Modjelewski. CLOSE UP - #7 #7 (mock indignance) You're talking about the man I love! The world's fastest rookie... MEDIUM CLOSE UP - #'S 3, 4 #3 (still grinning) He's got a rubber arm! We hear a few laughs off. #4 (angry) I don't see what's funny about this. If you haven’t got anything to add besides jokes I suggest you listen. #3 Okay. It's just letting off steam. I'm sorry. Go ahead. #3, as always, shows real respect for #4. The grin fades from his face. #4 (across to #8) 61. Well maybe you can answer me. Who else might have killed the father? MEDIUM SHOT - CENTERED ON #8 #8 Well I don’t know. The father wasn’t exactly a model citizen. The boy’s lawyer brought this out pretty clearly, I thought. He was in prison once. He was known to he a consistent horse better. He spent a lot of time in neighborhood bars and he’d get into fist fights sometimes after a couple of drinks. One of them was over a woman no one could seem to remember. He was a tough, cruel, primitive kind of a man who never held a job for than six month in his life. So here are a few possibilities. He could have been murdered by any one of many men he served time with in prison. By a bookmaker. By a man he’d beaten up. By a woman he’d picked up. By anyone of the characters he was known to hang out with... CLOSE UP - #10 #10 (blustering) Boy-oh-boy, that’s the biggest load ’a tripe I ever... Listen, we know the father was a bum! So what has that got to do with anything? MEDIUM-CLOSE UP - #’S 8, 9 #8 I didn't bring it up. I was asked who else might have killed him. I gave my answer. #9 (mildly, pointing across table) That gentleman over there asked a direct question. CLOSE UP - #10 #10 Everyone’s a lawyer! 62. CLOSE UP - #3 He points down at #9. #3 Listen, as long as you’ve joined the discussion, supposing you answer this question. The old man... MEDIUM SHOT - #’S 8, 9 #8 (firmly) There’s no need to be sarcastic. He looks unwaveringly at #3. MEDIUM SHOT - CENTERED ON #3 #3's face hardens. He stares at #8. #3 (controlled now) Would you please answer this question for me... (Then, sarcastically) Sir... (he pauses) The old man who lived downstairs heard the kid yell cut "I’m going to kill you". A split second later he heard a body hit the floor. Then he saw the kid run out of the house. Now what does all that meant to you? MEDIUM SHOT - CENTERED ON #9, SHOOTING OVER #3'S SHOULDER #8 is still standing. He looks down at #9. #9 doesn't have an answer, obviously. He looks up at #8, then down at table. #8 looks across at #3. #8 I was wondering how clearly the old man could have heard the boy's voice through the ceiling. #3 He didn't hear it through the ceiling. His window was open and so was the window upstairs. It was a hot night, remember? #8 65. He watches this tic-tac-toe business, suddenly angry for the first time. #5 (off, to #7) Well I don’t know if it makes a difference or not. Listen, this boy... And #8 is up an his feet, walking fast toward #12’s seat, camera panning with him. #12 has just finished making an 0 and is handing pencil to #3. #8 reaches down and snatches the paper off the table. #3 whirls around. #3 (furious) Wait a minute. #8 (hard) This isn't a game! #3 (shouting) Who do you think you are? He lunges at #8, but is caught by #’s 11 and 12. The Foreman hops into it, taking him by the arm. #8 stands calmly near him, watching. Camera dollies back, as the three jurors move #3 around the table toward his seat. Other jurors are on their feat suddenly, watching, some crowding around. #3 is furious. #12 All right, let's take it easy. FOREMAN (To #3) Come on, sit down now... #3 is urged around the table. He shakes off #'s 11 and 12. #3 I’ve got a good mind to walk around the table and belt him one! FOREMAN Now please. I don't want any fights in here. He reaches for #3's arm. #3 shakes him off. #3 66. Did you see him? The nerve! The absolute nerve! #10 All right. Forget it. It's not important. Know what I mean? #3 This isn’t a game. Who does he he is? MEDIUM SHOT - #8 Standing calmly alone, holding the paper he has snatched from #12, looking steadily at #3. CLOSE UP - #3 Glaring angrily at #8. Then, finally he alts down in his seat. FOREMAN (Off) Come on now. It's all over. Let’s take our seats. LONG SHOT - THE ENTIRE JURY FROM ABOVE Slowly moving to their seats, save #8. #8 looks at the paper in his hand, and suddenly something seems to click for him. He be gins a walk around the table toward #3's seat. Camera dollies down and on him. When he reaches #3's seat, #3 is busy fixing his tie. #8 stands behind him, looking at the paper. Then suddenly he leans over #3 and throws the paper in front of him onto the table. #3 half rises, angry again. #4 puts a hand on his arm. Ha sits down. Camera is close on him and #8. #8 Take a look at that sketch. CLOSE UP - THE SKETCH #8 (off) I wonder if anybody has an idea how long it takes an elevated train going at medium speed to pass a given point? MEDIUM SHOT - #’S 3, 4, 5, 8 #4 67. What has that got to to with anything? #8 How long? Take a guess. #4 I wouldn’t have the slightest idea. #8 (to #5) What to you think? #5 I don’t know. About ten or twelve seconds maybe. #3 What’s all this for? #8 (ignoring #3) I’d say that was a fair guess. Anyone else? MEDIUM SHOT - #'S 10, 11 #11 That sounds right to me. #10 looks at him and then across at #8, off. #10 Come on, what’s the guessing game for? MEDIUM SHOT - #’S 2, 3, 4, 8 #8 (to #2) What would you say? #2 (shrugging) Ten seconds is about right. #4 All right. Say ten seconds. What are you getting at? #8 This. A six-car el train passes a given point in tan seconds. Now say that given point is the open window 70. The old man said the boy yelled it out. That's enough for me. #8 If he heard anything at all, he still couldn't have identified the voice wit the el roaring by. #3 You're talking about a matter of seconds here. Nobody can be that accurate. #8 Well, I think that testimony which could put a human being into the electric chair should be that accurate. #5 I don't think he could have heard it. #6 Yeah. Maybe he didn't hear it. I mean, with the el noise... #3 What are you people talking about? #5 Well, it stands to reason... #3 You're crazy! Why should he lie? What's he got to gain? #9 Attention, maybe. #3 You keep coming up with these bright sayings. Why don't you send one in to a newspaper. They pay three dollars. #6 (to #3) Hey! What're ya talking to him like that for? The #3 looks at the #6 then turns disgustedly away. The #6 reaches out and turns #3 firmly around by arm. 71. #6 A guy who talks like that old man oughta really get stepped on y'know. #3 Get your hands off me! #6 You oughta have some respect, mister. If you say stuff like that to him again -- I'm gonna lay you out. (he releases the #3 and speaks to #9) Go ahead. You can say anything you want. Why do you think the old man might lie? #9 It's just that I looked at him for a very long time. The seam of his jacket was split under his arm. Did you notice it? I mean, to come into court like that. He was a very old man with a torn jacket and he walked very slowly to the stand. He was dragging his left leg and trying to hide it because he was ashamed. I think I know him better than anyone her. This is a quiet, frightened, insignificant old man who has been nothing all his life, who has never had recognition, his name in the newspapers. Nobody knows him, nobody quotes him, nobody seeks his advice after seventy-five years. That's a very sad thing, to be nothing. A man like this need to be recognized, to be listened to, to be quoted just once. This is very important. It would be so hard for him to recede into the background when there's a chance to be... #7 Now, wait a minute. Are you trying to tell us he'd lie just so that he could be important once? #9 No. He wouldn't really lie. But perhaps he'd make himself believe that he'd heard those words and recognized the boy's face. 72. #10 Well, that's the most fantastic story I've ever heard. How can you make up a think like that? What do you know about it? The #9 lowers his head, embarrassed. #4 Gentlemen, let me remind you, this case is based on a reasonable and logical progression of facts. Let's keep it there. #11 Facts may be colored by the personalities of the people who present them. #2 Anybody want a cough drop? #8 I'll take one. (#2 offers the cough drops to the #8. #8 takes one) Thanks. #12 Say what you like, I still don't see how anybody can think the boy's not guilty. #8 There's another thing I wanted to talk about for a minute. I think we've proved that the old man couldn't have heard the boy say, "I'm going to kill you," but supposing... #10 You didn't prove it at all. What are you talking about? #8 But supposing he really did hear it. This phrase, how many times has each of us used it? Probably hundreds. "I could kill you for that, darling." "If you do that once more, Junior, I'm going to kill you." "Come on, Rocky, kill him." We say it every 75. money. No glory. Not even much chance of winning. It's not a very promising situation for a young lawyer. He'd really have to believe in his client to put up a good fight. As you pointed out a minute ago, he obviously didn't. #7 Sure he didn't. Who in hell could, except God come to earth or somebody? (he looks at his watch then up at the clock) Come on already! Look at the time! #11 Pardon me, but I have made some notes here. #10 Notes yet! #11 I would like please to say something. I have been listening very closely, and it seems to me that this man -- (he indicates the #8 Juror) has some very good points to make. From what was presented at the trial the boy looks guilty, but maybe if we go deeper... #10 Come on, will ya. #11 There is a question I would like to ask. We assume that the boy committed murder. He stabbed his father in the chest and ran away. This was at ten minutes after twelve. Now, how was he caught by the police? He came home at three o'clock or so and was captured by two detective in the hallway of his house. My question is, if he really had killed his father, why would he come back three hours later? Wouldn't he be afraid of being caught? 76. #3 Look -- he came home to get his knife. It's not nice to leave knives sticking around in people's chests. #7 Yeah, especially relatives. #4 I don’t see anything funny about it. (to the 11th Juror) The boy knew that there were people who could identify the knife as the one he had just bought. He had to get it before the police did. #6 But if he knew the knife could be identified, why did he leave it there in the first place? #4 Well, I think we can assume he ran out in a state of panic after he killed his father, and then when he finally calmed down, he realized that he had left the knife there. #11 This then depends on your definition of panic. He was calm enough to see to it that there were no fingerprints on the knife. Now where did his panic start and where did it end? #3 Look, you can forget all that other stuff. He still came home to dig out his knife and get rid of it. #11 Three hours later? #3 Sure, three hours later. #11 If I were the boy and I had killed my father, I would not have come home three hours later. I would be afraid that the police would be there. I would stay away, knife or no knife. 77. #3RD Listen, you voted "guilty", didn't you? What side are you on? #11 I don't believe I have to be loyal to one side or the other. I am simply asking questions. #12 Well, this is just off the top of my head, but if I were the boy, and I'd, you know, done the stabbing and everything, I'd take a chance and go back for the knife. I'll bet he figured no one had seen him and that the body probably wasn't even discovered yet. After all, it was the middle of the night. He probably thought no one would find the boy till the next day. #11 Pardon. Here is my whole point. The woman across the street testified that a moment after she saw the killing, that is, a moment after the el train went by, she screamed and then went to telephone the police. Now, the boy must certainly have heard that scream and known that somebody saw something. I don't think he would have gone back if he had been the murderer. #4 Two points. One: in his state of panic he may not have heard the scream. Perhaps it wasn't very loud. Two: if he did hear it, he may not have connected it with his own act. Remember he lived in a neighborhood where screams were fairly commonplace. #3 Right! There's your answer. #8 Maybe. Maybe he did stab his father, didn't hear the woman's scream, did run out in a panic, did calm down three hours later and come back to try to get the knife, risking being 80. #11 Pardon. (he slowly raises his hand) I vote not guilty. #7 Oh, brother! #3 Oh, now listen? What are you talking about? I mean we're all going crazy in here or something. This kid is guilty. Why don'tcha pay attention to the facts! MEDIUM SHOT - #'S 2, 3, 4. #3 (To #4) Listen, tell him, will ya? #4 shrugs. #3 This getting to be a joke! He gets up and starts a walk down toward #7. Camera pans with him. FOREMAN (off) The vote is eight to four, favor of guilty. #3 (Over #5's shoulder toward #11) I mean everybody's heart is starting to bleed for this punk little kid like the President just declared it Love Your Underprivileged Brother week, or something. Listen I’d like you to stand up and tell me why you changed your vote. Come on, give me reasons! CLOSE UP - #11 He locks straight at #3, and speaks strongly. #11 I don’t have to defend my decision to you! I have a reasonable doubt in 81. my mind. MEDIUM SHOT - #’S 3, 5, 6, 8, 9 SHOOTING ACROSS TABLE FROM BEHIND #3 stands behind #5 who is turned, looking at him. #3 looks off at #11 angrily. #3 What reasonable doubt? That’s nothing but words! He leans over the table, pulls the switch knife out of the table, and holds it up. #3 Here, look at this! The kid you just decided isn't guilty was seen ramming this thing into his father! Well, look at it, Mr. Reasonable Doubt! #3 flicks it angrily into the table. It quivers in the wood. #9 (mildly) That’s not the knife. Don't you remember? #3 whirls and stares at him. #9 regards him steadily. #8 smiles openly. CLOSE UP - #3 Burning, but controlled. #3 Brilliant! MEDIUM SHOT - #'S 3, 5, 6, 7, 8 #3 stares at #9 for another moment and then walks around past #7 and off camera. His next lines will be taken at the window. There is a pause. #7 looks around. #7 I'm tellin' ya, this is the craziest! (to #8) I mean you're sittin' in here pulling stories outa thin air! What're we supposed to believe? (to all) I’m telling ya if this guy 82. (indicating #8) sat ringside at the Dempsey-Firpo fight, he'd be tryin' to tell us Firpo won! (to #8) Lock, what about the old man? Are we supposed to believe that he didn't get up and run to his door and see the kid tearing down the stairs fifteen seconds after the killing? He's only saying he did to be important, right? I mean what’s the point of the whole... #5 (interrupting) Hold it a second. #7 (looking at #5 and doing a Clem McCarthy) And the Baltimore rooter is heard from! And pop-ups are falling for base hits wherever we look. I tell you... #5 (interrupting) Did the old man say he ran to the door. #7 Ran. Walked. What's the difference? He got there. #6 He said he ran to the door. At least I think he did. #5 I don't remember what he said. But I don't see bow he could run. MEDIUM SHOT - #'S 4, 5, 6, 7, SHOOTING FROM BEHIND #8 #4 He said, he want from his bedroom to the front door. That's enough, isn't it? #8 Where was his bedroom again? MEDIUM SHOT - #’S 7, 6, 9, 10 85. The guard nods and exits. Foreman holds up the diagram and, looking at it, crosses back toward his seat, camera panning with him. #8 rises from his seat and walks toward Foreman's seat. During these crosses we hear the following. #4 I don't see what we're going to prove here. The man said he saw the boy running out. #8 (walking to Foreman) Well let's see if the details bear him out. As soon as the body fell to the floor, he said, he heard footsteps upstairs running toward the front door. He heard the upstairs door open and the footsteps start down the stairs. He got to his front door as soon as he could. He swore that it couldn't have been more than fifteen seconds. Now, if the killer began running immediately... Camera is now on medium shot of #8 standing next to Foreman at head of table. #12 (interrupting) Well maybe be didn’t. #8 The old man said be did! LONG SHOT - ENTIRE JURY FROM BEHIND FOREMAN AND #8. #7 (to #8) Brother, I crown you king of the hair splitters. #10 laughs at this. #6 (mildly to #7) Listen, why don't you stop making smart remarks all the time. #7 My friend, for your three dollars a day you've gotta listen to everything. 86. There is a silence for a moment. #6 has no answer, but he hasn’t liked what he heard. #10 (to #8) Well now that you've got that thing in here, what about it? #8 (to Foreman) May I? He takes the chart, and holds it up on a corner of the table so that everyone can see it. MEDIUM SHOT - #8 WITH DIAGRAM Also included in shot are #12, and #11 and Foreman. During #8's lines, #'s 2, 5, and 6 also crowd around diagram. The diagram itself is a layout of a railroad flat. A bedroom faces the el tracks. Behind it is a series of rooms off a long hall. In the front room is an X marking the spot where the body was found. At the back of the apartment we see the entrance into the apartment hall from the building hall. We see a flight of stairs in the building hall. Each roam is labeled, and the dimensions of each room are shown. #8 This is the apartment in which the killing took place. The old man’s apartment is directly beneath it, and exactly the same. (pointing) Here are the el tracks. The bedroom. Another bedroom. Living room. Bath- room. Kitchen. And this is the hall. Here’s the front door to the apartment. And here are the stairs. (pointing to front bedroom) Now, the old man was in bed in this room. He says ha got up, went out into the hall, down the hall to the front door, opened it and looked out just in time to see the boy racing down the stairs. Am I right so far? CLOSE UP - #3 He stands at his chair, watching. #3 That’s the story, for the nineteenth time. 87. MEDIUM SHOT - #8 #8 (ignoring this) Fifteen seconds after he heard the body fall. #11 Correct. #8 His bed was at the window, It's -- (looking closely at diagram) 12 feet from his bed to the bedroom door. The length of the hall is 43 feet 6 inches. Now, he had to get up out of bed, walk 12 feet, open the bedroom door, walk 43 feet and open the front door... all in 15 seconds. Do you think he could have done it? #10, standing behind #8, barks out. #10 Sure he coulda done it! #11 (to #10) He can only walk very slowly. They had to help him into the witness chair. MEDIUM SHOT - #3, #4 #3 You make it sound like a long walk. It's not! MEDIUM SHOT #8 He looks in #3's direction, and then, laying down the diagram begins a walk around to the other side of the table, camera panning with him. As he walks, #9, who had been standing near #8, answers #3. #9 For an old man who had a stroke it's a long walk. #8 has walked directly to the empty chairs of #2 and #3. He takes one in each hand now, and swings them out into the middle of the floor, placing them side by side. #3 strides into the shot. 90. Look, this is absolutely insane. What’s the idea of wasting everybody's time here. #8 (interrupting his counting) Sixteen. He stops pacing, turns to #10. #8 According to you it’ll only take 15 seconds. We can spare that. He resumes his pacing, counting to himself. He reaches the wall. Everyone watches silently. He turns and paces back, counting off the rest of the 43 steps. #8 (aloud) Thirty-nine, forty, forty-one, forty-two, forty-three. Okay, pass me another chair please. #2 hands him a chair. He places it down. #8 This is the door to the outside hall and stairway. It was chain-locked according to testimony. #5 Right. #8 now walks over to the two chairs he placed side by side, camera dollying in close on him. He sits down. #8 Who’s got a watch with a second hand? #2 I have. #8 When you want me to start, stamp your foot. That’ll be the body falling. Time me from there. He lies down on the two chairs. #7 Anyone for charades? 91. #3 (exasperated) I’ve never seen anything like this in whole life! #8 Okay. I’m ready. He lies down on the chairs. They all watch carefully. #2 stares at his watch, waiting. There is a tense silence. #2 (apologetically) I want to wait till the second hand reaches sixty. They wait silent, tense. Suddenly #2 stamps his foot. #8 rises to a sitting position, swings his legs to the floor. Ha stands up. #2 keeps his eyes on the watch. #8 begins to hobble, dragging one leg, toward the chair which serves as the bedroom door. He reaches it, pretends to open it. He turns now and begins to hobble along the simulated 43 foot hallway. #10 Come on. Speed it up. He walked twice as fast as that! #8 continues to walk. #11 This is, I think, even more quickly that the old man walked in the courtroom. #8 (Still hobbling) If you think I should go faster, I will. He speeds up his pace slightly, reaches the wall and turns. He heads for the second chair, the chair simulating the door to the outer hallway. #3 Come on, willya! Let's get this kid stuff over with! They watch as #8 reaches the last chair. Camera is now on medium close up of him. He pretends to open an imaginary chain lock, and then opens the imaginary door, #8 Stop! 92. #2 Right. #8 What's the time? Camera is on #8 in foreground, and #2 in background, surrounded by four or five of the jurors. #2 Fifteen... Twenty... Thirty... Thirty-three seconds exactly. #6 Thirty-three seconds! The other jurors around #2 ad lib their surprise. #8 I think this is what happened. The old man bad heard the fight between the boy and his father a few hours earlier. Then, while lying in bed he heard a body hit the floor in the boy’s apartment, and he heard the woman scream from across the street. He got up, tried to get to the door, heard someone racing down the stairs, and assumed it was the boy. #6 I think that's possible. CLOSE UP - #3 Standing, furious. #3 (shouting) Assumed? Now listen to me, you people! I’ve seen all kinds of dishonesty in my day... but this little display takes the cake! MEDIUM SHOT - #8 IN FOREGROUND, #3 IN BACKGROUND #'S 2, 4, 5, 6 ALSO IN SHOT #3 You come in here with your heart bleeding all over the floor about slum kids and injustice, and you make up some wild stories, and all of a sudden you start getting through to some of these old ladies 95. moment. Then we hear the sound of the door being opened. Some of the jurors turn their heads in that direction. MEDIUM SHOT - GUARD IN THE DOORWAY GUARD Is there anything wrong, gentlemen? I heard some noise. MEDIUM SHOT - FOREMAN AND OTHERS144 144 FOREMAN No. There’s nothing wrong. He walks toward the door, picking up the diagram of the apartment on the way. He reaches the door. Camera holds on shot of Foreman and guard. The Guard takes the plan, looks carefully around the room then exits. There is a pause. The others look at the #3. #3 Well, what are you staring at? The others, embarrassed, turn away. Some of them take their seats. #12 Well, -- I suppose someone has to -- start it off again. #2 It's getting late. (to the Foreman) What do they do, take us out to restaurant for supper? FOREMAN How do I know? #2 I wonder if they let us go home in case we can’t finish tonight. I've got a boy with mumps. (he smiles self- consciously, gesturing with his hands around his jaws to indicate a swelling) He’s out to here. The wife says he looks like Mussolini. 96. Camera holds on him as he subsides into embarrassed silence. No one laughs. MEDIUM SHOT - #’S 2, 3, 4, 5, 6, 7 Sitting silently, each trying to think of some way to break cut of his own personal embarrassment. The room begins to darken perceptibly now. No one notices it. MEDIUM SHOT - #’S 8, 9, 10, 11, 12, FOREMAN And now #11 clears his throat slightly and leans forward. Camera closes in on him as he talks. #11 Pardon. This fighting. This is not why we are here, to fight. We have a responsibility. This, I have always thought, is a remarkable thing about democracy. That we are, uh, what is the word? (A pause) Notified. That we are notified by mail to come down to this place and decide on the guilt or innocence of a man we have never heard of before. We have nothing to gain or lose by our verdict. This is one of the reasons why we are strong. We should not make it a personal thing. Now fearing perhaps that he has forced his views on others a bit too passionately, #11 sits back, somewhat embarrassed. #11 (humbly) Thank you. Again there is a silence. Camera is on #11, #12, and Foreman. #12 (brightly) Um, if no one else has an idea I may have a cutie here. I mean I haven't put much thought into it. Anyway, lemme throw it out on the stoop and see if the cat licks it up. FOREMAN See if the cat licks it up? #12 (insisting) 97. Yeah! Now, if the boy arrived henna... The Foreman laughs and then #12 realizes that he has fallen into the trap he set for himself earlier. He stops in mid- sentence. #11 joins in the laughter. The edge is off the tension now, but #12 shuts up tight and begins to doodle furiously. MEDIUM SHOT - #'S 4, 5, 6, 7 #5 (Looking at window) Look at how dark it’s getting. We’re gonna have a storm. There is a pause. #5 Boy it's hot. He yanks open his tie and fans himself with some papers. Then idly, he turns to #4. #4 still sits there in tie and jacket, seemingly not bothered by the heat at all. #5 looks at him. #5 (grinning) Don't you sweat? #4 (coldly) No, I don’t. #5, surprised at #4's coldness, turns away. There is a pause. #6 looks around a bit nervously. #6 Uh, listen, I was wondering if maybe we shouldn't take another vote. #7 Great idea. Maybe we can follow this one up with dancing and refreshments. #6 Mr. Foreman? MEDIUM SHOT - #'S 10, 11, 12, FOREMAN FOREMAN It's all right with me. Anyone doesn't want to vote?