Original subtitles

("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)