All language subtitles for The.Alfred.Hitchcock.Hour.S02E07.Starring.the.Defense.1080p.PCOK.WEBRip.AAC.2.0.H.265.-EDGE2020_track3_[eng]

("Alfred Hitchcock" theme music)

- Good evening.

I have just made my first catch.

This.

No license, no pedigree,

just running loose in the
streets and attacking people.

The highway seemed to be filled
with them,

all equally vicious.

Incidentally, getting this
position proved to be quite
easy.

I was the only applicant

who didn't mind going
out in the noonday sun.

Oh, there was one other, a dog,

but he didn't look a bit well.

For those of you who are
wondering,

this is the Alfred Hitchcock
Hour.

Tonight's tale concerns a man

who was once a motion picture
actor,

but who decided to take
up honest work instead,

and became a lawyer.

It begins as soon as our sponsor

makes his opening statement to
the jury.

(slow suspenseful music)

(dramatic orchestral music)
(gunshots firing)

(knocking)

- Mr. Crawford?

Mr. Crawford?

Um, Mr. Crawford?

- Hmm, hmm?

- Uh, Mr. Brody's been
here 10 minutes already.

You forget that he was coming
over?

- Okay, I'll be right out.

- Sam!

Oh, what are you doing in here?

Why didn't you come in and wake
me up?

- You're an old man.

You need your rest.

- Hmm, look who's talking.

- Besides, I'd rather look at
Jean Harlow

any day than your ugly face.

What a woman, mm-mm.

Did you ever make a
picture with her, Miles?

- No, I never made a picture
with her.

- How 'bout this one, the
redhead with the big eyes?

Now, what's her name?

Now, don't tell me.

- It's been so long ago, I've
forgotten.

- I remember.

She was in that picture
with Douglas Fairbanks,

the one about the Indian
fighter.

- Hey Jenny, turn up
the thermostat, will ya?

It's cold as Juneau, Alaska in
here.

- I have just the cure
for cold weather, Miles.

A little trip to the Golden
West.

- Still harping about that?

- Well, why not?

Lawyers get a vacation too,
right?

Two glorious weeks in sunny
California.

- On account of one, huh?

I mean, Hollywood.

- Why not?

Maybe if some bigshot movie
producer sees you again,

you could make a comeback.

- Sam, I'm a lawyer not a movie
actor.

Those days are far behind me.

I'd forgotten about it long
ago, now why can't you?

- Okay, okay, let's play cards.

Oh, I can't get a decent card.

(Miles chuckles)

Don't tell me.

(door slams)

Is that a car door slamming?

- Sounds like it.

- I thought you said Tod

went to some kind of dance
tonight.

- Well, he did.

It's only 10 o'clock.

Pretty early for a dance to be
over.

- Maybe he had a fight with his
girl.

Want to find out?

The cards will wait.

- The cards will wait, all
right.

Gin.

- Oh.

(door slams shut)

- Tod?

What's this, a new leaf?

When did you start getting
in before midnight?

- I wanted to come home
early, do you mind?

- You feeling all right?

- I feel great, just great.

- Wait a minute, Tod!

Tod!

- What's up?

Is the kid all right?

- Sure, he's all right
like a tiger is all right

after he takes a chunk out of
you.

if you know my son by now.

Well, you wanted to play cards?

Come on, let's play cards.

- Miles, am I crazy or is
somebody bleeding around here?

Want me to come with you?

(knocking)

(water splashing)

- What happened?

How'd you hurt yourself?

- It's just a scratch.

A little car accident, nothing
serious.

- Here, let me see it.

- It's not serious I said!

- What's the matter with you?

You never hear of infection?

You cut a finger, you could lose
an arm.

- I tell you, it's nothing!

- Well, how did it happen?

Did you hit someone?

- The car's all right.

- I'm not talking about the car!

I, I just want to know what
happened,

what kind of an accident it was.

- All right, it wasn't an
accident!

It was a fight.

- Miles?

Miles, you better come down.

- What is it?

- A car pulled up in the
driveway, a police car.

- Police?

A fight, huh?

Tod, what did you do?

- Nothing, I said.

- Tod, if you expect me to talk
to--

(doorbell ringing)

Hello Pete, come on in.

- Good evening, Mr. Crawford.

Is your son home?

- Yes, now what's wrong?

- Well, there was a little
trouble on the highway,

on Route 4.

Well, maybe more than a little.

We'd like Tod to come with us,

Mr. Crawford, for questioning.

- Well, what did he do?

You can't just drag him out of
here without any explanation.

Do you have a warrant?

- Yes sir, we have warrant.

Your son got into a trouble
with a boy named Jules Herman.

They got into a fight on Route
4.

The boy got cut up pretty bad.

- Tod?

(door slams shut)

- You'll have to come with us,
Tod.

You better take some overnight
stuff.

Your father can bring anything
else you need in the morning.

- Wait, wait, I'm coming with
you.

- You better hold off 'til
morning, Mr. Crawford.

Nothing much is gonna happen
tonight.

- I'm coming with you.

Now, don't worry.

I'll have you out on bail
first thing in the morning.

- Mr. Crawford, look,
don't count too much on it,

about bail and all that.

- What do you mean?

- Well, this boy, Jules Herman,
he's dead.

(dramatic music)

(suspenseful music)

- Well, here's the number.

Edwin. C. Rutherford, 219
Grand Street, phone 555-2468.

Now call him the first
thing in the morning, Miles.

- I'll call him, I'll call him.

- If we can get Rutherford
to take the case,

half the battle is won.

There isn't a better criminal
man in New York state.

Are you listening to me?

- It's my fault, Sam.

- Stop blaming yourself for
everything.

- It's my fault the way Tod
turned out.

What could I do?

What could I have done
differently?

It's just the way things were.

It's that movie business
you're so crazy about.

You think it's all fun and
games?

In 1942 I did 12 pictures.

The following year I did one.

The parts got fewer,

and the fewer they got,
the smaller they got.

- You want some more coffee?

- Tod wasn't even three years
old when I quit pictures.

Now, how could I take care of a
kid

and build a new career for
myself

working in the daytime
and studying at night?

His mother and I were divorced
the year Tod was born,

until my sister took care of
him.

- So your sister raised Tod?

- I went to see him whenever I
could,

well, it wasn't very often.

I took him back when he was 10

and my law practice was
established.

We had a hard time getting
used to each other.

It could be, maybe it was too
late then.

- It's too late now.

It's almost three o'clock.

Now, you ought to be
in bed and so should I.

- But that'll count in
his favor, won't it, Sam?

The kind of childhood he had?

- I don't know.

I don't know if juries
understand things like that.

- Well, they've got to
be made to understand.

They've got to be told the
kind of rotten father I am.

- You let Ed Rutherford tell
them.

Now, you call him first
thing tomorrow morning.

- I'll see you to the door.

(moody instrumental music)

- Hello?

Oh, hello!

- Hello.

Is this Mr. Rutherford's office?

- Sure it is, didn't you
see the name on the door?

- Would you please tell Mr.
Rutherford

that Mr. Crawford is here to see
him?

- Sure.

Hello?

Hello?

Daddy!

Somebody's here to see you.

- Mr. Crawford?
- Yes.

- Come on in.

Now you little girl, I told
you to stop that yelling.

- Yes, Daddy.

- She's a great kid,
but a lousy secretary.

Have a seat.

You've got a kid too?

- That's right, a kid in
trouble.

- Yes, I've been reading
some of the details.

Let's see, the newspaper
stories,

and the police version,
and the report you sent me.

It's a rough business.

- Yes, it's rough all right,

that's why he needs all
the help he can get.

- You understand the charge
will be first degree murder?

- They can't make that stick,
they can't.

There's no premeditation.

It was just an argument,
a drunken argument.

- You seem pretty sure.

- [Miles] I am sure, I know my
own son.

- Do you?

Kids and parents are funny, you
know?

They think they know each other

and then all of a sudden
they're strangers,

and it's tougher than ever

when there's no mother in the
picture.

- But I know Tod.

We've never really been
close, but I know him.

He's spoiled, willfully
responsible,

but he's not a murderer.

- You're looking at this like a
parent.

Have you tried looking
at it like a lawyer?

- Of course I have, I
know enough criminal law

to know the difference
between manslaughter and--

- Oh, so you've decided
it was only manslaughter?

- Tod never meant to kill that
boy.

It was, it was self-defense.

- Ah, you want to change the
plea, do you?

Not manslaughter, self-defense.

- I don't know what the plea
should be, that's your job.

- Well look, any plea will do
as long as it isn't murder.

- My son is not a killer.

- Your son killed, are you
telling me there's a difference?

- Yes, now if you can't
see that difference,

then Sam Brody's wrong.

You're not the man I'm looking
for.

I don't see how you could help
if you have no faith in Tod.

- Well, you're right.

I don't have faith in
Tod, I don't know Tod.

- In that case--

- I have faith in the law, I
know the law.

Sit down.

You're right, of course.

There is a difference

between a killer and someone who
kills.

It's the difference between
impulse and premeditation,

and that's the great
intangible in this case.

- Well, it's not intangible to
me.

I know that Tod never
meant to hurt that boy.

- Well obviously, the District
Attorney thinks he did,

and the defense must prove
otherwise,

but the big question is, how?

- There must be some way.

- Well, what facts do you have?

What evidence can you show?

Is there a single witness on
Tod's side?

Don't you see the problem?

- Well, I'll just have
to tell them about Tod,

about the kind of boy he is,

that he couldn't have meant to
kill.

- I'm talking about proof!

- Well, proof isn't everything.

There's such a thing as
faith, I've got that.

I know I could convince them.

- You can't substitute
theatrics for evidence.

- Now, why couldn't I tell them?

- What?

- Why shouldn't I tell them
about Tod?

- You mean as a witness?

- No, as his attorney.

- But you're not a criminal
lawyer.

- But I'm a lawyer, I'm
admitted to the Bar.

There's nothing in the rules

about defending a member
of your own family.

- Well, you can't be serious
about this.

You're not equipped!

- You could prepare the case,
we could prepare it together.

You know what a jury is,

it's just 12 people who'll
have to be convinced.

12 people that you have
to make feel for you.

Now, I think I could do
that, Mr. Rutherford.

I think I could make them feel.

- Why because you're the boy's
father?

- Not just that.

No, not just that.

You see, many years ago I
was an actor for movies.

- Wait a minute, Miles Crawford.

- Well, it was a long time ago.

Matter of fact, I played quite
a number of criminal lawyers.

(Ed chuckles)

- Surely, you don't
think that qualifies you.

- No, but you see, my job
was to make people feel.

It's not just facts now

that are going to help Tod, you
know that.

Sometimes facts don't
always add up to the truth.

- Mr. Crawford, the charge in
this case

is first degree murder.

Do you know what the penalty
can be in this state?

- I'd listen to everything
you had to say about the case.

You'd be in complete charge,

all I want is to be the voice
of the defense, don't you see?

- I don't know, whether--

- There've been other
defense teams like this!

One man to prepare the case,

the other to deliver it in
court.

(Ed sighs)

- I, I don't...

- There's another reason why
I think I can do it better.

You're not convinced of
Tod's innocence, I am.

- Well, what about Tod?

What about your son?

He has something to say about
it.

How do you know he'd
want you to defend him?

And the least you can do is ask
him.

- Yes, you're right, of course.

I have to ask him.

(men chattering)

Tod, how are they treating you?

It's gonna be all right.

I've been talking with Ed
Rutherford.

Now, he's the best criminal
lawyer around.

- When's this arraignment
they tell me about?

- Gotta be sometime next week,

that's when we enter our
plea for manslaughter.

Now, you understand the
difference, don't you?

Tod, I'd like to ask you a
question.

It's very important.

- What?

- How would you feel if I
acted as your defense counsel?

Now, I don't mean I'd be alone.

Ed Rutherford would be
doing most of the real work.

I'd just be the front man.

How would you feel about that?

Well, I won't do it unless you
say so.

You've got the right to say no.

- Why?

- What do you mean why?

- How come you're so worried
about me all of a sudden?

- Well, I have always been
worried about you, Tod.

Maybe I never knew that, maybe
I never knew how to tell you.

Look, I know I'm not the
best father in the world,

or the best lawyer, but who
knows?

You put the two of them together
in court, then who knows?

Okay, I understand.

I'll ask Ed Rutherford to take
complete charge of the case.

- I didn't say I didn't want
you.

It doesn't really matter.

One way or the other, I'm in for
it.

But if you think it's a good
idea,

you go ahead.

(bright instrumental music)

- We now take a brief recess.

I must caution you, however,

not to discuss this case
until after the trial.

We shall reconvene in a moment.

(suspenseful music)

- It is our intention to prove

premeditation on the
part of the defendant.

He had a calculated desire

to take the life of young Jules
Herman.

The prosecution will
provide eyewitness testimony

concerning the events of that
night,

and other witnesses who
will establish the animosity

which led to the act of murder.

If the members of the jury
will listen to these witnesses,

they will reach one and
only one conclusion,

that a deliberate and
cold-blooded
murder has been committed

and waits to be avenged.

- Mr. Crawford, do you wish to
make your opening statement?

- No, Your Honor,

the defense will hold
its opening statement

to the jury until the
conclusion of the people's case.

- Very well.

Mr. Hanley, will you call

your first witness for the
prosection?

- Yes sir.

The prosecution calls Rudolph
Trask.

Rudolph Trask to the witness
stand.

- Miles, remember,

if he deviates from his
testimony at the hearing,

nail him during your
cross-examination.

- Mr. Trask, will you tell us
your version

of what happened on the
night of September 24th?

- Well, we went to a dance.

- We?

- Jules Herman, Tod Crawford,
and me.

We were going to this dance
given by the Civic Club,

at the high school gym.

Well, we got there and we
didn't like it, so we left.

- Was it too tame?

- No sir, it just wasn't for us,

so we cut out, all three of us.

- [Hanley] What did you do then?

- Well, we went for a drive.

- Didn't you make one stop
first?

- Yes sir, we stopped and
bought a bottle of whiskey.

- Was this the first time

you'd ever done this sort of
thing?

You and those other boys?

- No sir, it wasn't the first
time.

Anyway, we decided that we'd go

and visit these girls we know

that live on the other side of
town.

- And you were all drinking?
- Yes sir.

Well, Juley didn't want Tod to
drink

on account of Tod was driving.

Well, Tod got sore at this,
then they started arguing.

Something about a girl and well
then,

somebody suggested that we, uh,

that we stop the car
and settle the argument.

I didn't know Juley meant
it to be a knife contest

until he showed his knife,
so Tod took out his knife.

- Tod always carried a knife?

- Yes sir, most of the time.

- [Hanley] Go on, Mr. Trask.

- Well, that's all there was.

They started to fight and I
saw Juley fall on the ground.

Tod jumped in the car and drove
away.

When I saw that Juley was dead,

I went to the road, flagged down
a car,

they went for the cops.

I mean, for the police.

- Had there been any
trouble between Jules Herman

and Tod Crawford prior to
the night of the slaying?

- Yes sir.

- Would you speak up, please?

- Yes sir.

- What sort of trouble?

Had they fought before?

- Well, not with knives.

They had a couple of fistfights.

- How serious were these fights?

Anybody ever injured?

- Tod broke Juley's wrist once.

- Was the incident ever
reported to the police?

- Well, no sir.

I mean, what for?

- That's all, Mr. Trask.

Your witness.

- Rudy, how long did my,

did Tod Crawford know Jules
Herman?

- Around eight, 10 months.

- How often did they see each
other?

- Maybe two, three times a week.

- Then they were really
friends, weren't they?

Not enemies.

- Objection.

I believe that's calling for a
conclusion.

- It seems like a reasonable
enough question, overruled.

- Well Rudy, they were friends
then?

- Yes sir, I guess you could say

they were friends, all right.

- Now, this fistfight in which
Juley's wrist was broken,

now did they plan to have that
fight?

- No sir, it just happened.

- All of a sudden, right out of
the blue?

- Yes sir, well, Juley jumped on
Tod.

- You say Juley jumped Tod?

Then Juley instigated the fight.

- Well, yes sir, but Tod called
Juley--

- Nevermind what he called him,

Jules Herman made the
first aggressive move.

- Yes sir.

- And wasn't that true on
the night of September 24th?

You were a witness to the fight,
Rudy.

Didn't Jules Herman
instigate that as well?

Didn't he strike the first blow?

Didn't he slash Tod's arm?

Wasn't that the first wound
inflicted?

You were watching the fight,
weren't you?

Or weren't you interested?

- Well, sure I was watching it.

Tod was cut first, all right,

but that doesn't mean that Tod
had to--

- That's all, Rudy.

(spectators chattering)

- You may step down.

- [Hanley] Your name is Barbara
Riordan?

- Yes, but they call me Babs.

- [Hanley] You know the
defendant, Tod Crawford?

- Yes.

- And you knew Jules Herman?

- I knew them both, all right.

- Did you ever hear or see

Tod Crawford and Jules Herman
argue?

- Yes.

- Did you ever see them actually
fight?

- Oh, I certainly did.

They fought all the time, over
anything.

Sometimes me.

- Yet they were together
constantly, weren't they?

Didn't you find that strange?

- People are sometimes friends

even though they hate each
other.

- Do you think they hated each
other?

- I know they did.

- [Hanley] How can you be so
sure?

- Well, it wasn't just on
account of the quarrels.

It was what Tod once told me.

He said that he would kill Juley
some day.

How do you like that?

- You mean he actually
threatened Jules Herman's life?

- Oh, more than once.

- Tell the jury about it.

- Well, that's the truth.

He told me that if Juley
didn't stay away from me,

that he'd cut his throat.

- [Hanley] No more questions,
Your Honor.

- It's not your fault, I know
that.

There's just nobody on
our side, that's all.

- Well, it's not just a
question of witnesses, Tod.

There are other factors.

- Yeah, I know.

Premeditation, what was on my
mind,

whether I wanted to kill Juley
or not.

Only, how do you know a
thing like that for sure?

- The jury has got to know.

They've got to know
that you didn't mean it.

It was a thing of the
moment, a crazy impulse.

Now, that girl today.

We've got to prove what her lie
is.

- Why don't you let her alone?

She had a crush on Juley,
that's why she's so sore at me.

- So that's means that's
what we've got to show,

that she's nothing but
a vindictive little--

- Don't, don't.

- Don't you understand
the importance of it?

She says you threatened to kill
Juley,

now we've got to prove that she
lied.

- No!

I did threaten to kill Juley.

- What?

- Babs was telling the truth.

- What are you saying?

You're trying to tell me

that you're nothing but
a cold-blooded killer?

- I just said those things.

I didn't really mean them.

- You threatened a boy's life
and then you kill that boy.

Now, how do you think that's
going to sound to a jury?

You know what they can do to
you, Tod?

You're 21 years old, you're old
enough.

- I'm sorry, Dad, but it's the
truth.

I thought that's what you wanted
to hear.

(somber instrumental music)

- Of course, of course
that's what I wanted to hear.

(bright instrumental music)

Now, what were you and Jules
Herman

quarreling about on the
night of September 24th?

- About Babs Riordan.

- And whose idea was it

to get out of the car and fight
it out?

- It was Juley's idea, I think.

- But you didn't know he meant
knives?

- No, I didn't know that.

- You thought it would be
just another fistfight?

- Something like that.

- But did you hate Jules Herman?

- No, I didn't hate him.

- You're always quarreling
though, why was that?

- I don't know.

We just seemed to get
on each other's nerves,

but we made up again every time.

Things were better before we met
her.

- You mean Babs Riordan?

- Yes.

- Were you in love with this
girl?

- I don't know, a little maybe.

- Did you ever tell her

that you wanted to kill Jules
Herman?

- I might've said something
like that as a joke.

- You know, she told this court

that you threatened Jules
Herman's life.

Now, why do you think she said
that?

- She liked Juley.

She hates me for what happened.

She wants to get even.

- That will be all, Your Honor.

- Mr. Hanley, do you
wish to cross-examine?

- Yes, Your Honor.

Did you ever have thoughts
of killing your friend Jules?

- No.

- Was killing him in your mind
on the night of the slaying?

- I don't know what I was
thinking.

- Just answer the question, yes
or no.

Were you thinking of murder?

Your Honor, I ask you
to instruct the witness

to answer my question.

- I don't know what I was
thinking!

I guess I wanted to kill him,
all right.

I was glad when I did it.

(spectators chattering)

I was only sorry later.

- Thank you.

No more questions, Your Honor.

(spectators chattering)
(gavel thudding)

- You may step down.

Are there any further
witnesses for the defense?

- Miles?

Miles?

No, Your Honor.

There are no further
witnesses, the defense rests.

- Very well, this court is then
adjourned

until two o'clock this
afternoon at which time

we'll hear the concluding
remarks to the jury.

(spectators chattering)

- It'll be all right, son.

You'll see.

I'll make them feel for you.

You'll see if I don't.

- Mr. Crawford, are you
ready for your summation?

- Yes, Your Honor.

Ladies and gentlemen of the
jury,

a boy is dead and men who call
themselves

the caretakers of human justice

are crying out for vengeance.

You see them sitting there
before you,

demanding life for life,

all in the name of that
blindfolded goddess

who stands outside this
courtroom.

Now, when you leave this room,

it will be your responsibility
to say yes or no

to their angry demands
for the total penalty.

Before you decide, I
would like you to think

about just one more thing.

Is there really a perfect
justice?

Complete, impartial,

blind to prejudice or special
interests?

If there is, I say thank God!

Thank God that we imperfect
human beings

have been given such a great
gift.

Such blessed forgiveness for our
sins

that we are able to mete out

perfect justice to other
sinners.

If you have never sinned,

not even outside the
law's power to punish,

then what I have to say is not
for you.

If you're blameless,
you never made an error,

never harmed anyone, never
hurt or injured a fellow man,

then you have the right to
choose

the way and manner of
this boy's punishment.

If you wish to close the
account book on Tod Crawford,

to say that with one moment of
violence,

one movement of his hand,
one flicker of an eye,

one confused, bewildered
second of his existence,

he forfeited his right to live,

to breathe, to regret, to
change,

to make reparation for
sins past and present.

This is your privilege, but
be sure of that privilege.

Be sure of your right to it.

Have you ever said a hurtful
word in anger for your wife?

Your husband?

Your child?

And then were sorry, no harm
done with.

A kiss, a gentle phrase,
and all is well again.

Have you ever flung a
stone, shouted a curse,

smashed a dish, slapped
a cheek, struck a child?

Spoken a lie, or broken a
promise?

What was your punishment?

Regret, self-torture,
recriminations,

and yet the book was never
closed on your mistake, was it?

The key was never turned in the
lock

with never a chance to
say, I regret, I'm sorry,

I will live to be a
better husband or wife,

or father.

This boy did more than
break a dish or a promise.

He took a life, in one single
moment,

blind with the rage of living

in a world he could not
understand!

He took a life, but neither did
he,

no more than the angry
word, the shouted curse,

the dish smashed, or the cheek
slapped,

premeditated to kill in
the sight of witnesses,

in the sight of God,

under the watchful eyes
of a vengeful lord.

You may close Tod Crawford's
account book,

the law gives you that right.

He's 21 years old.

Perhaps he's even old enough

to face a justice more divine
than ours, but remember this.

Before that divine justice,

Tod Crawford must make this
statement,

"My last act on earth was to
kill

"a man who was my friend.

"I was given no time to
do any more with my life."

(spectators applauding)

(gavel hammering)

- This court will not
permit demonstrations.

- Your Honor, in view of
the prejudicial response

to Mr. Crawford's speech,

I would like to reserve closing
argument

of the prosecution until
tomorrow.

- Very well, Mr. Hanley.

This court is then adjourned

until tomorrow morning at 10
o'clock.

(crowd chattering)

- Miles, that was terrific.

I didn't think it was possible.

I'd have never believed it.

Oh, here comes Hanley.

- That was a good speech, Mr.
Crawford.

You're a talented man.

- Thank you.

- I've always been a fan of
yours.

- Yes, come forward.

- Ed.
- Huh?

- What do you suppose that's all
about?

- I don't know, we'll
find out soon enough.

- Mr. Hanley, the
prosection has just given me

some information concerning
the conduct of this trial.

Now, in order that this issue
may be clarified at once,

this court shall be recessed for
one hour.

Mr. Crawford, Mr. Rutherford,
Mr. Hanley, Mr. Williams,

will convene in my chambers
immediately.

The court is adjourned.

(spectators chattering)

All right, let's get this over
with.

- Get the lights so we
can start the camera.

- Now, just a moment, Your
Honor.

I think the defense has the
right

to view this material before
you--

- You'll view it, Mr.
Rutherford,
as soon as you sit down.

- Can you get the lights,
please?

Gentlemen, you're watching the
final reel

of a motion picture
called "We the Guilty."

- But it's my picture.

- Mr. Collins.

Are you ready to address the
jury?

- Yes, Your Honor, I'm ready.

Ladies and gentlemen of the
jury,

a boy is dead,

and men who call themselves
the caretakers of human justice

are crying out for revenge.

You see them sitting there
before you,

demanding life for life.

All in the name of that
blindfolded goddess

who stands outside this
courtroom.

Now, when you leave this room,

it will be your responsibility
to say yes or no

to their angry demands
for the total penalty.

Before you decide, I
would like you to think

about just one more thing.

Is there really a perfect
justice?

Complete, impartial, blind to
prejudice or special interest?

If there is, I say thank God!

Thank God that we imperfect
human beings

have been given such a great
blessing,

such generous forgiveness for
our sins,

that we are able to mete out

perfect justice to other
sinners.

If you have never sinned, not
even outside the law's power.

Stop it, stop it!

- That's all, I've seen enough.

- This film was made almost 30
years ago.

I remembered it.

I was fortunate enough to locate
a print

at a warehouse in Long Island
City.

A fine performance, Mr.
Crawford.

Only you should've kept it

in front of a movie camera, not
a jury.

- Your Honor, it's true.

The speech wasn't mine,

it was written for me many years
ago.

I used it because it made sense
to me then as it still does.

I used it because I,

I couldn't think of anything
else to do.

It's true, I've deceived you.

I've made you all feel foolish,

I've made even more of a fool
myself.

I admit that, I take the blame,

but don't make Tod suffer for
it.

Don't punish him when I'm the
one who should be punished.

Wait, wait, just one moment.

- But we have a trial
to finish, Mr. Crawford.

- If I could just say one
more thing, Your Honor.

- Go ahead.

- Your Honor, you were good
enough

to permit the prosecution
to show this film.

Will you allow it to be
shown to its conclusion?

- Your Honor, I haven't intended

to turn your chambers into--

- There's just one more scene,
Your Honor.

The last scene, just a few more
minutes.

- Show the rest of the picture.

(projector whirring)

- Ladies and gentlemen of the
jury,

have you reached your verdict?

- Yes, we have, Your Honor.

- The defendant will
rise and face the jury.

How do you find, guilty or not
guilty?

- We the jury find the defendant

guilty of murder as charged.

(suspenseful music)

- I'm sorry, Frankie.

We've had no word from the
governor.

(somber instrumental music)

- Now son, are you prepared
to make peace with your God?

- Yes, Father.

- The Lord is my shepherd,
I shall not want.

He maketh me to lie
down in green pastures.

He leadeth me beside the still
waters.

He restoreth my soul.

He leadeth me in the
paths of righteousness

for his name's sake.

Yea, though I walk through the
valley of the shadow of death

I shall fear no evil for thou
art with me.

Thy rod and thy staff they
comfort me.

(dramatic music)

- No, no, no!

Oh no, oh, I don't want to die!

I don't want to die!

No, I don't want to die!

No, no!

I don't want to die!

Ah, I don't want to die!

I don't want to die!

No!

(dramatic music)

- Gentlemen, if you'll excuse
me.

- Your Honor, I'm sorry I'd
hoped that...

- Tod Alexander Crawford,

you have been found guilty
of murder in the first degree

by a jury of your fellow
citizens.

According to the laws
prescribed by this state,

as amended July 1963,

I am empowered to sentence you

to either death or imprisonment
for life.

I therefore sentence you to
a term of life imprisonment

in the state penitentiary,
such sentence to begin at once.

However, in view of the
circumstances,

the immaturity of the defendant,

his previous standing in good
repute,

I recommend that this case

be brought before the
parole board for review

at the earliest possible time.

I recommend that the parole
board

exercise its discretion at
that time with a view towards

making this defendant a useful
citizen in the community.

(bright instrumental music)

- That concludes tonight's
story.

For those of you who are anxious
for more,

we can offer you scenes
from our next attraction.

By the way, I have made my
second arrest.

I picked this one up for
drunkenness.

I must take him in and book him,

but I shall return next week.

Buck, in you go.

Buck, in you go.

(macabre orchestral music)

(dramatic orchestral music)