ANATOMY OF A MURDER

Screenplay

by

Wendell Ma yes

From the novel by Robert Traver

FINAL

February 25, 1959

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0 FADE IN:

l EXT. OPEN HIGHWAY - NIGHT

A dusty, four-year-old car speeds along in the shadows of overhanging

trees, moonlight splashing through to the pavement.

2 INT .. MOVING CAR - NIGHT

The driver is PAUL BIEGLER. His fingers tap time against the
steering wheel to MUSIC from the radio. In the glow from the
dashboard we see a pleasant looking man in his early forties -- wry,
humorous mouth, lean jaws, friendly eyes. He wears an old hunting
jacket, shirt open at the throat. Several angling lures are hooked
into the felt of battered hat,. his
3 EXT. ___
0.:PJ.!:N HIGHWAY - NIGHT
The car approaches. PAN it by as it hurrie·s toward the distant lights
of a small town. On the shoulder of the road a modest spotlighted
sign reads:

THE C OF C WELCOMES YOU TO

IRON CITY, MICH.
WE'RE A LIVELY TOWN

4 EXT. MA1N STREET OF IRON CITY - FULL SHOT - NIGHT

The sidewalks are rolled up. A single auto is parked in front of a

bar identified by a blue neon sign -- TRIPOLI BAR. A traffic light
.at an intersection futilely changes color -- kept company only by a
lonesome night marshal standing on the corner. From down the
street co!ll8s Paul's car.

. oooa·.•.
-,
•.OF T.RIPOLI<
. '. ..
·:- •... . : ,. ,• ..BAR···•
' '
. NIGHT
.
,• ...

The white-aproned BARTENDER leans against the door jamb, watching

the approaching car. Inside the bar, a man and woman are hunched
over a table -- and at the bar stands a solitary drinker -- an elderly
man, hat cocked on the back of his head, interest absorbed by a bottle
oil the bar. This is PARNELL. Paul's car rolls past the bar. Paul
waves, calls out, 11Hi, Toivo. 11 The bartender answers Paul with a
wave ..

TOIVO
{over his shoulder)
Hey, Mr. McCarthy, your pal just

• drove into town •

1···
I

2.'
I
I 6 INT. TRIPOLI BAR • NIGHT
Toivo turns from the door., comes behind the bar. Parnell pours
10 himself another drink from the bottle on the bar.

PARNELL
Just one more, Toivo,

Parnell is an erect, not quite· drunk gentleman in his sixties. His hat
was once an expensive velvet Homburg. His jacket is good tweed but
worn and baggy. He wears a Tattersall vest of brilliant colors which
seems wonderfully right on Parnell -- a reflection of a young heart
and love of life. As Parnell tosses the drink off, Toivo watches him
with a gentle compassion. Parnell now fumbles in his various pockets
for some money.

PARNELL
(continues)
Toivo, I'm afraid I'm going to have to
pay my bar bill tomorrow.
TOIVO . __. ___ _
1
You re good with me, Mr. McCarthy-.---• --

PARNELL
Thank you, Toivo.

He straightens his old Homburg hat, smooths out the Tattersall vest
and heads for the door.
0
PARNELL
(continues)
Good night, Toivo.

TOIVO
Good night, Mr. McCarthy.

7 EXT. PAUL'S HOME AND OFFICE - NIGHT

_Qn .the main s.treet -- the ligh1:s of the business district in the distance.
Paulis car approaches the' old, two-stotied house_._ swings into the
driveway. In CLOSE SHOT the headlights catch his shingle fastened
to a support post on the front porch. It reads: PAUL BIEGLER -
~TTY. AT LAW. The headlights go out. Paul climbs from the car,
bringing with him a collapsed fly rod, a knapsack and a trout basket.
In the darkness he comes up the steps, fumbles into the mail box for
the door key, opens the door, flips the light switch inside.

8 , INT. HALLWAY - PAUL'S HO.ME AND OFFICE - NIGHT

Lighted by a shaded bulb hanging from the ceiling, the sparsely
furnished foyer - - an umbrella stand by the door and· a limp,
artificial potted plant. A flight of stairs rises to the second floor.

(CONTINUED)
 3.
8 CONTINUED:

0 The hallway runs past the stairs to the rear of the house. In the
f. g. a piece of white note paper is speared on one of the points of a
deer's antlers, which, attached to the wall, serve as a hat rack.
In the b. g. Paul has entered, closed the door behind him with a
practiced kick. He comes to the antlers, cocks his head sideways
to read the note. His lips move a little as he reads.

9 INT. PAUL'S PRIVATE OFFICE - NIGHT

A darkened interior. At an angle we look through an open door which

leads into the dark outer office. In the outer office another open door
leads into the lighted haUway. Paul is seen in the hallway reading
the note on the antlers. Not disturbing the note, he enters the outer
office, passes through into the private office. He turns on a standing
lamp. illuminated, this office is quite a large room -- was once. a
dining room. The walls are lined with law books. There is a
cluttered, roll-top desk and swivel desk chair. Grouped about the
desk are several other assorted chairs. Against one wall is an
ancient black leather couch and on a small safe in a corner a portable
record player with a well-stocked album rack. Near the safe is an old
upright piano against the wall, the panel missing, revealing its
musical works. · The round dining table, left over from times past,
is stacked with law books and legal journals. Paul deposits his
fishing gear on the table,· lifts a brown paper sack from his coat ,
pocket, stands it on the table. The sack contains the shape of a
0 bottle. He opens a closet door, and on the inside 0£ the door is fixed
a canvas panel on which are fastened myriad trout lures. Paul
removes the lures from his hat, hooks them into the canvas. The
la~t is a brightly colored Royal Coachman. He affectionately blows
on its pretty feathers before fastening it to the panel. Now he tosses
his hat into the closet, closes the door, gets his trout basket,
brushes through a swinging door into the kitchen. ·

10 INT. KITCHEN - NIGHT

_A,s.he.en~ers, he-lights th~. room •. There .a,re no b'llilt-in modern.

:cabihets>here. . Tiiis· kitchen~ like -the r.est of the house, belon·gs to
another period. There is an antique kitchen cabinet; a sink with.
wooden drainboard and brass fixtures, a sanded kitchen table and a
kerosene stove of early vintage. · Alone m·modern splendor is a big,
upright freezer. Paul takes a half-dozen trout from his basket,
plops them on the table. He removes his hunting jacket, takes a
knife from a drawer, sets about cleaning the fish. Now he remembers
the note on the antlers. V/iping his hands on a towel, he goes through
another door in the kitchen which leads into the hallway.

11 INT. HALLWAY - NIGHT

• Paul comes from the back of the hallway to the antlers,

· the note and goes again into the outer office.
picks of£
 4.

12 INT. PAUL'S PRIVATE OFFICE - NIGHT

0 He enters 'from the outer officei takes the telephone,

the note, dials the operator. The operator responds,
glances at
her voice
remote, mechanical.

PAUL
(into phone )
Operator, I want 489 in Thunder Bay.
(reading note)
I want to speak to a Mrs. Manion.
M-A-N-I-0-N Manion. This is
Paul Biegler speaking. Iron City 700.

13 EXT. THUNDER BAY TOURIST PARK - NIGHT

On the outside of a small, darkened hut a dimly illuminated sign

reads: - THUNDER BAY PARK - OFFICE. Beyond and scattered
along a narrow road are the shapes of darkened house trailers --
autos parked beside them. At the end of the r.oad a wide lake
shimmers in the moo~light. In the hut.a telephone TINKLES faintly.
-A light goes on in- the hut and through the window we see an elderly
man come from a back room wearing his bathrobe. This is Mr.
LEMON, the park caretaker and deputy sheriff. He answers the phone
on the wall -- listens -- replies -- leaves the phone dangling, comes
outside the hut -- flashlight in hand -- hurries away to disappear
among the trailers.

14 ANOTHER PART OF TOURIST PARK - NIGHT

Lemon comes through trees, flashlight beam leading the way,

approaching_ a trailer in the f. g. The trailer has a striped awning
· over the front door, a couple of canvas chairs outside the stoop.
Light shines through the broad picture window on the front end of
the trailer. The CAMERA LOOKS through the picture window into
the living room of the trailer. A folding table is littered with cheap
magazines, a half empty bottle of whiskey, _and ~everal glasses. A
p~~ J>~~·-ll_~g,
___ A?~,tb,e,. ~cl .-.
f?~c.k ,of-~-~ _c~,~ ~c:l;.,an ,ari?r of#icf!;r Is r:~ci::P
· ·ja:i:ket a,r-ehooked·-to ·a.nail in the vva.11~ · Awoman-'s'~·egligee hangs ·
from a corner of an open closet door, and on the floor, below the
negligee, are a pair of blue-puffed bed slippers. Beyond the living
room is the passage way which alsQ serves as a kitchen. At the end
of the passage way we glimpse an unmade bed. The effect is not of
squalor -- but rather of sensual carelessness. Mr. Lemon has
reached the trailer and we hear him rap on the door several times.
Now the door opens and Lemon thrusts his head into the trailer.
He calls, "Mrs. Manion?" Satisfied she is not there ~e closes the
door.

-- 15 INT. PAUL'S PRIVATE

Paul with the phone, waiting
glances out the window.
OFFICE - NIGHT
for the call to come through. He
 s.
16 EXT. PAUL'S HOUSE - NIGHT
0 Parnell is crossing the street toward Paul's house. He passes
under a street lamp, teeters a little on the curb as he steps up.

17 INT. PAUL'S PRlV ATE OFFICE - NIGHT

Paul, seeing Parnell, grins and lowers the blind. The operator's
muffled voice brings him to attention.

PAUL
(into phcne)
Hello ? - - yes - - well. do they know
when she'll be there? •••• I see •••••
alright, leave a message for her to
call this number. Thanks.

He hangs up, thoughtfully folds the note and puts it in his shirt
pocket. returns to the kitchen, leaving the door open. From the
front of the house comes the sound of a door opening and closing
and Parnell comes from the outer office into Paul's private office.

PAUL
(in the kitchen}
\Vhat do you say there, counselor?

PARNELL·
(sees the brown paper bag)
What's in the brown paper bag?

PAUL
It could be a cabbage head.

PARNELL
But it wouldn't be.

PAUL
You're a suspicious man.

PARNELL
True. I'm everlastingly suspicious
of and/or fascinated by the contents
of brown paper bags. Shall I sneak
a peek?

PAUL
You do that -- and uncork whatever
you find.

Parnell peers into the paper bag. Paul enters with two glasses
and a pitcher of water. ·

- Shall I pour?
PARNELL

(CONTINUED)
 6.
17 CONTINUED:
(J PAUL
Your privilege.

PARNELL
(pouring)
My pleasure, sir.

They drink. Paul goes to the piano, sits and begins to fool around
with some passages of jazz. Parnell sizes up the contents of the
bottle, which is half-empty. ·

PARNELL
You fought this soldier by yourself.
You've been drinking alone. I don't
like that, Polly.

PAUL
Drop the stone, counselor. You
1 ive in a glass house.

PARNELL
My windows were busted a long time
ago so I can say as I please.
When a man starts drinking alone
he digs a hole :for himself. Me
I'm almost through to China.

PAUL
Want an Italian cigar?

PARN...:LL
No thanks. Those stink weeds are
another sign of your decadence.

Paul lights a cigar and returns to his play with the piano keys.
Parnell pours himself another dr~k.

PARNELL
{tossing the drink off)
Polly, it's a fact. Since Mitch
Lodwick beat you out of the office
of prosecuting attorney you haven't
been worth salt for peanuts •. Not
that I don't understand how you
feel. Man gets beat for an office
he I s held a long time, he feels
his community has deserted him --
the finger of scorn is pointed ••.•

PAUL

- None but the lonely heart

my anguish.
shall know

(CONTINUED)
 7.
17 CONTINUED: (Z)
0 PARNELL
It 1s been a full year since you were
skinned at the polls. How long are
you going to skulk like this?

PAUL
What the hell are you talking about?

PARNELL
Man, you 1re an honest-to-God lawyer.
You ought to make like one -- be here
-- ready for clients -- not fishing or
playing that rootity toot jazz --

PAUL
Go ahead,. Parn. Have another drink.
Don 1t stand on ceremony.

PARNELL
If it means keeping our friendship I
guess I can take another wee drop.

He pours a shot and downs it.

. PAUL
I'm making a living. I run some
abstracts -- divorce Jane Doe from
John Doe once in a while -- or threaten
a few dead beats -- and in the evening
I drink rye whiskey and read law with
Parnell Emmett McCarthy -- one of
the world 1s great men.
1
There s a little silence.

'PARNELL
That was a kind word, Polly.
' .• ' ' ' :(a'..paus_~)· ' . ·•.·'
. Yo-ii kifow .... I ·fuight' have been. Tha.t 1s--
orie reason I hate to see your talent
pushed aside by lesser men. I look
at you and see myself -- thirty years
ago -- with the same love for the
smell of the old brown books in a
dusty office. ·
(he takes-a
book from
a shelf)
Now here 1s a rose, a lily, a sweet
lupine -- the United States Supreme
Cour.t Reports ! ·

Parnell takes out his specs, sits at the table.

(CONTINUED)
 a.
17 CONTINUED: (3)

0 (continues)
PARNELL
Well, what shall we read this evening?
How about a little Chief Justice Holmes
-- maybe a few dissenting opinions.

The phone RINGS.

PAUL
Restrain Chief Justice Holmes for a
minute. I think I have a client -- at
least I've been waiting for a call.
(into phone)
Hello? ••• Yes, this is Biegler
speaking. • • Hello? • • • Mrs. Manion?

Parnell snaps his specs off his nose -- moves in close to Paul.

PAUL
(continues;
into phone)
I tried to reach you a while ago ••• did
you get my message?

PARNELL
(whispering)
G Who is that? What was that name?

PAUL
(seeing Parnell's
excitement)
Just a minute -- this seems to be a
bad connection -- hold on,. will you,
please?
(he covers
mouthpiece)
A woman i:iamed Manion - - Maida took
a message from her •
.PARNELL
In Thunder Bay?

PAUL
Yes.

PARNELL
She wants you to represent her husband.
Say ye·s.

PAUL

-
I don 1t even know what it's about.

PARNELL
Pretend you know and say yes.

(CONTINUED)
 9.
17 CONTINUED: (4)

0 Paul, doubtful but trusting Parnell, opens the mouthpiece of the phone.

PAUL
Hello? -- Yes, that 1 s better. I can
hear you now,

18 INT. PHONE BOOTH - THUNDER BAY AMUSEMENT ARCADE -

NIGHT

LAURA MANION is on the phone. Her face is obscured by dark

glasses. She wears a trench coat -- the collar turned up a little.
On the directory shelf sits a small, fuzzy dog watching his mistress
as she talks. Outside the booth is a busy gaming arcade -- pinball
machines, grab cages -- populated by tourists in Bermuda shorts --
and soldiers and their girl friends -- and outside the open front of
the arcade lies the lake.
--- LAURA
(into phone)
••• I waited for you to call all
afternoon.

PAUL 1S VOICE
{filtered)
••• I'm sorry. I only just got home
1\____) a while ago --

LAURA
{into phone)
••• You 1ve read about my husband --

The little dog BARKS at a passing soldier.

LAURA
(continues)
-- Please, Muff, please --
(she quiets the dog)
••• Mr. Biegler?. -- Yoti 1:ve read
- about my husband? -- ·

19 INT. PAUL'S PRIVATE OFFICE - NIGHT

Paul on the phone, Parnell hanging over him.

PAUL
{lying)
Well --- yes -- I have -- a little •••

(CONTINUED)

-
 10.

19 CONTINUED:
(~
~) LAURA'S VOICE
(filtered) ·
Will you defend him?

PAUL
I don't know, I'd have to know more
about it.

LAURA'S VOICE
(filtered)
Will you talk to him •••
(the dog barks - filtered)
Muff, please .:,_ Mr. Biegler, he's
in the county jail - -

20 INT. PHONE BOOTH THUNDER BAY ARCADE - NIGHT

LAURA
(into phone)
Could you see him in the morning?
He's anxious to see you. You've
been so highly recommended. •••

2.1 INT. PAUL'S PRIVATE OFFICE - NIGH'!'

C
PAUL
(into phone - surprised)
I have? By who?

LAURA'S VOICE
{filtered)
I don't know -- someone told my
husband about you -- Vvill you
see him?
PAUL
Yes_, I suppose I can. I'll see
him in' the· morning.

22 INT. PHONE BOOTH .THUNDER BAY AMUSEMENT ARCADE - NIGH'l

LAURA
(into phone)
Would you want me there, too,
Mr. Biegler?

PAUL'S VOICE
(filtered)

- If you like, Mrs •. Manion -- say

ten o'clock.
(CONTINUED)
 11.
22 CONTINUED:

LAURA
(almost whispered
relief)
Thank you -- thank you so much.

She hangs up -- sags against the phone -- turns her face away, takes
off the dark glasses, dabs at her eyes with a handkerchief. Mufi puts
his paws on her arm, tries to lick her cheek.

23 INT. PAUL'S PRIVATE OFFICE - NIGHT

Parnell, excited, is pouring himself the last drink from the bottle.

PARNELL
A man named Barney Quill raped Mrs.
Manion. Her husband -- he 1s a
lieutenant in the army -- there's a
temporary base in Thunder Bay,
gunnery or something like that --
the Lieutenant goes to Quill 1 s place
and plugs Mr. Quill about five times
which causes Mr. ·Quill to promptly
die of lead poisoning.

PAUL
(going into the
kitchen)
When did this happen?

PARNELL
(following Paul)
Couple of nights ago. If you hadn't
been floating around in a rowboat
in some God.forsaken backwater
you 1d know about it, .

DISSOLVE TO:

24 EXT. PAUL'S HOME - MORNING

A car, same age.as Paul's machine, rambles to.a halt in front of the
house. MAIDA - Paul's secretary - has arrived for work. She's
middle-aged, seems rather dour, but her mouth has a suspiciously
comic twist -- and if she appears to be cynical, a closer look at her.
eyes will give away her good heart. She wears, everlastingly, a small
flowered hat -- the badge of respectability among middle-aged, middle
western American women. At the stoop she picks up the bottle of
milk and casts about among the bushes for the morning paper --
mumbling as she searches, "Where'd he throw it this time?" She can't

-
find the paper, goes on in the house, collecting the mail en route.
 12..

25 INT. OUTER OFFICE - DAY

The outer office, seen in daylight, is Maida's office. Here are

filing c~binets, her desk and typewriter and a beat-up sofa for
waiting clients. She drops the mail on her desk, passes into Paul's
private office.

26 INT. PAUL'S P~IVATE OFFICE - DAY

The window shades are drawn' -- the lamp still burns. Parnell is
stretched out on the couch, hat over his face -- a couple of beer
bottles on the floor beside him. Maida opens the blinds, turns out
the lamp, glowers at Parnell and pushes through the swinging door
into the kitchen.

27 INT. KITCHEN - DAY

Paul is at the table - - dressed, shaved, and nervously drinking

coffee as--he reads the newspaper. __ _____

PAUL
Morning, Maida.

MAIDA
Oh, there it is.

PAUL
What?

MAIDA
The newspaper. I thought maybe
they didn't bring it. We haven't
paid the bill.
I
She uncaps the milk bottle, pours a little into Paul s coffee as she
looks over his shoulder to see what he is reading.

. ·MAIDA
You get my note?-·.

PAUL
Yes. We might be in the case.
l'm reading up on it now before
I talk to Lieutenant Manion.

She puts some bread in the toaster.

MAIDA
Doesn't he ever go home?

PAUL
Parnell? Well, we were up late
last night.

(CONTINUED)
 13.
27 CONTINUED:

0 MAIDA
(flatly}
Is that a fact?

PAUL
l think you'd better cancel any
appointments for the day.

MAIDA
What appointments ? People think
you've migrated to the woods.

Maida opens the big freezer, looks inside with disapproval.

MAIDA
If that freezer gets many more
fish it'll swim up-stream and
spawn -- all by itself.
'
She closes the freezer and goes to stand by the toaster -- waiting.- --
The machine pops a piece of toast into the air. She catches it
matter-of-factly - - puts it on a plate, takes it to the table, places
it at Paul I s elbow.

MAIDA
d Could I have your attention
minute?
for a

PAUL
(still in the paper)
Um-hm.

MAIDA
I've been going over your checkbook •
.I can't pay me my salary. Nhat did
you do with the fee from the 'Nilly's
divorce? Help salt a uranium mine
or somet~g?· .

PAUL
I bou,ght a few necessities.

MAIDA
Like a new outboard motor? Wish I
could be classed as a necessity.

Paul drains the coffee cup -- takes his hat from the corner of a
chair -- starts for the door into the hallway.

MAIDA

- Don't you want your toast?

(CONTINUED)
 14.,

27 CONTINUED: (Z)

0 PAUL
(turning preoccupied)
I'll - I'll call you -- uh -- let
you know how things go.

He exits. Maida follows hir.n into the hallway and calls after him.

MAIDA
Don't let him pay you with
Purple Hearts. Professional
soldiers never have a dime. I
know. I was married to one.

DISSOLVE TO:

28 EXT. IRON CLIFFS COUNTY COURTHOUSE AND JAIL - DAY

The CAMERA OPENS on Laura Manion I s small, fuzzy dog, lying on

the sidewalk. PAN up the leash to his mistress. LAURA MANION
is dressed in high heels, tight ankle length capri pants and a thin
clinging jersey sweater. Her hair is smoothly brushed but careless.·
Her eyes are still concealed behind dark glasses. She is leaning
idly against the fender of her parked car. On the lawn about the
three..;storied, domed Courthouse the usual old men, forever found
loitering on .the Courthouse lawns, are silently watching Laura.
The sensuous woman is not in the least embarrassed by their open-
mouthed attention. Beyond the Courthouse and separated from it by
an alley is the county jail. Its barred windows overlook the sidewalk
and street where Laura is waiting. Paul I s car rolls up, nudges into
the curb. Paul gets out, sees Laura and the audience she has
gathered. After taking it all in for a moment he goes to where she
is waiting.

PAUL
I beg your pardon, are you
Mrs. Manion?

LAURA
Hi.

PAUL
I'm Paul Biegler.

LAURA
I'm Laura.

Her lips seem to always wear a tremulous, childish smile which

could be apologetic or inviting or a· secret pleasure at the effect
she has on men, and is probably all of these. Muff barks at Paul.

- (CONTINUED)
 15~

28 CONTINUED:

0 LAURA
(continues_;
scooping the dog
into her arms)
This is Muff.

Paul, a little embarrassed at the attention they are getting from the
old men on the courthouse lawn, takes Laura's arm and they move
toward the jail.

PAUL
Shall we walk to the jail?

The CAMERA STAYS with them as they go.

LAURA
You 1re tall.

PAUL
(slightly
-- ·-- ·---- • disconcerted)
fhope I havenrt-Rept you waiting long.

LAURA
1 had company.

PAUL
Yes, I noticed.

She chuckles -- an appealing, throaty laugh.

29 INT. COUNTY JAIL - DAY

There is a small reception area which contains a desk and a couple of
straight-backed chairs. Behind the desk is a barred steel door through
which we can see a flight of iron steps leading upward to the cell
floors. Another opening leads to the jailer's living quarters and another
door,, .labeled SHERIFF;·.- goes offdnto a/larger office. The main door
op~na _.;.· caushlg a buzzer to.-
SOUND louciiY ,omewhere off in the ...
jailer's quarters -- and Paul and Laura enter. SULO, the jailer,
answering the buzzer, hurries into the office. Sulo is a stooped, slow
moving man with an open, good face. He speaks with a Finnish accent.

PAUL
Hello, Sulo.

SULO
(happily shaking
Paul rs hand)
Hello, Polly. It's good to see you,

- Polly. I guess you're coming ior

the soldier boy.

(CONTINUED)
 16.
29 CONTINUED:

0 PAUL
Think that it would be alright if
I talk to him in the Sheriff's office ?

SULO
Oh shu, Polly. You go in the
Sheriff's office. I bring the
soldier-boy down.

PAUL
Thanks, Sulo.

5'ulo unlocks the barred door, goes up the stairs as Laura and Paul
go into the Sheriff's office.

30 INT. SHERIFF'S OFFICE - DAY

A room off the turnkey's station. A desk, several chairs, filing

cabinets, a padlocked wall cage in which hang numerous and assorted
guns. A bulletin board is on one wall with many federal ''wanted"
circulars. One large circular has 10 photographs and is headlined
"TEN MOST 'WANTED MEN." Along one side of the room a straight
white line has been painted on the floor, running from wall to wall.
On one wall at the end of the white line is a chart for testing vision.
The barred windows of the room look out into the street and over the
Courthouse lawn. Paul and Laura enter.

PAUL
Would you mind taking off your
glasses, Mrs. Manion?

A moment -- then she takes off the dark glasses. The swelling has
gone from the flesh about her eyes but dark bruises remain.

PAUL
Barne;r Quill do that to you?
.LAURA
More than that. You should see.
All over.

She smiles -- seems to be waiting for some reaction from Paul.

PAUL
Put them back on if it's more
comfortable for you.

Still smiling s_he slips the glasses back on -- a curiously

coquettish movement -- as if she were dropping a veil over her

-
face.

(CONTINUED)
 17.
30 CONTINUED:

PAUL
Do you plan to stay for the trial,
Mrs. Manion?

LAURA
Are you serious?

PAUL
Well, you're a key witness. I'd
like to know if you'll be around.

LAURA
Why wouldn't I?

PAUL
I don't know. Are you with your
husband or against him?

LAURA
Why, with him -- of course I'm
with him. You're awfully blunt,
aren't you?

PAUL
The only way I could know was to
· ask.
\,~i
In the reception office the steel door rattles and clangs shut.: Sulo
enters the Sheriff's office with Lieutenant Frederick Manion. Manion
is about 28, \vi th a smooth, handsome, cold face. He is neatly
clothed in tailored U. s. Army Officers fatigues. He stands stiffly --
almost Prussian.

SULO
This is Polly Biegler. This is
the bucko, Polly.
. . ~.E\.UI., .·· .
(extending his hand)
Lieutenant Manion.

Manion takes the hand briefly. drops it.

MANION
Hello there, I've been waiting
for you. ·

PAUL
Thanks, Sulo. Would you close
the door behind you?

-
t
Sulo exits, softly closing the door.
(CONTINUED)
 18.
30 CONTINUED: (2.)

0 Dummy.
MANION

PAUL
Sulo keeps good jail -- as good
as a jail can be kept.

MANION
Hello, Laura.

LAURA
Hi.

Until now Manion has ignored Laura's presence. This does not go
unnoticed by PauL

PAUL
Mrs. Manion, could you meet me
at my office about 2. o'clock? ·
Ten-forty-two Main Street.

LAURA
Of course.

Paul opens the door for her. Laura rises and hesitates
then goes to Manion, kissing him on the cheek.

LAURA
Anything I can get you, hon?

MANION
I'm alright, hon.

Laura smiles at Paul and goes. Paul closes the door. Almost
immediately Manion moves away, wandering about the room.

MANION
(looking at the white
.. , ·.. line on tlie·,floor) ·.·
I could walk it. I could walk it
with a quart of red eye in my
belly.

Manion fastens his attention on the vision chart. He paces away from
the chart to the opposite side of the room, reads it glibly. swiftly.

:MANION
P-L-U-T-0-D-I -L-P-L-O-W• T-R-S-V 1
K-X-Z~-E~-U.

-
PAUL
One thing, we can't claim your
shooting Barney Quill was a case
of mistaken identity.

(CONTINUED)
 19.
30 CONTINUED: (3)

0 Manion is not amused. He moves on to the bulletin

big circular about the 10 most wanted.
board, reads the

PAUL
Where 1re you from, Lieutenant?

MANION
Originally Pennsylvania. Where are
_you from?

PAUL
Here. All my life.

MANION
The big ten. We 1ve got the 10 best
dressed dames, the 10 top tunes, the
10 top teams and now the 10 most
wanted.

PAUL
Don 1t knock it. It 1s the American dream.
Those boys made the grade.
Manion sits in a chair, takes out a carved ivory cigarette holder and
a package of cigarettes from his pocket~ fits a cigarette into the
\
holder and lights it with a gold pocket lighter.
\_____,I
PAUL
(continues)
Where 1d you get the holder ?

MANION
Korea. !t 1s hand carv~d, Ming Dynasty,
400 years old.

PAUL
Clever people, the Chinese - smoking
cigarettes in the sixteenth c.entury.

MANION
(not blinking
an ey~)
They did, you know. You were the
D. A. around here, weren't you?

PAUL
For ten years.

MANION
What's your experience as a defense
lawyer?

PAUL
Not very much.

(CONTINUED)
 20.
30 CONTINUED: (4)

MANION
0 How do I know you can handle my case?

PAUL
I guess you don't know. Shall we talk
about it?

MANION
I suppose so.

PAUL
Don 1t be so bored, Lieutenant. It I s
possible no lawyer can handle your
case -- if you mean get you off scot-
free.

MANION
(a flickerof
the eyelids, ·- -----·-·--
nothing else)
I want a lawyer to defend me, Mr.
Biegler -- not throw me to the wolves.

PAUL
I'm giving you my first reaction to
what I know about your case.

MANION
You 1re forgetting that Barney Quill
raped my wife. I've got the unwritten
law on my side.

PAUL
(annoyed)
Lieutenant Manion, the unwritten law
is a myth. There is no such thing as
the unwritten law and anyone who
commits a murder on the theory that
it does exist has just pought himself.
bed:.and:boar~Jn the State Penitentiar.y ·
.,; maybe for life. With that .in mind,
perhaps we can proceed with a few
questions and answers which may be
some help to your defense, but
probably won 1t.

In the silence the two men measure each other. Paul calmly waiting,
Manion coldly considering. Paul takes out an Italian cigar.

PAUL
(continues)

-
May I borrow your lighter?

Manion tosses the gold lighter. Paul lights his cigar, studies the
lighter.
(CONTINUED)
 30 CONTINUED: (5) ·

PAUL
(continues)
Nice,.

Sharply he tosses the lighter back to Manion. Manion puts the lighter
away.

MANION
Okay.

PAUL
How old are you?

MANION
Thirty-one.

PAUL
How long have you been in the service?

MANION
Since 150.

PAUL
Have you seen action?

MANION
Plenty.

PAUL
Decorations?

MANION
Plenty. Anybody who doesn 1t cut and
run gets those -- like K•rations.

PAUL
How long were you in Korea?

. . .. , . 1v1ANION .·
i got··there in. time for• the big bug-out
from the Yalu River. ·

PAUL
Bug-out?

MANION,
Retreat.

PAUL
How old is your wife?

- About my age.
MANION

(CONTINUED).
 22.
30 CONTINUED: (6)

PAUL
(), Is this your first marriage?

MANION
No.

PAUL
You're not on the witness stand. You
don't have to answer yes or no. Just
give me the matrimonial run down.

MANION
Is this necessary?

PAUL
I'll be the judge of that.

MANION
-------- My first wife divorced me -- charged
cruelty, eating crackers in bed .•• the
usual stuff. Truth was, she found
another guy while I was in Korea.
I met Laura four years ago in Georgia.
We were married after her divorce.

PAUL
Did you know her husband?

MANION
He was in my outfit down there.

PAUL
You mean you were buddies?

Manion draws on his cigarette and contemptuously looks away.

PAUL
(continues)
I witJ:idraw the que.stion. 11:r:n.a little
·•·.old~/fashJo.ned~ , W:~r~\ijfo~l"e~y '
. children by or from any of the
marriages?

MANION
No.

PAUL
Any present prospects?

MANION
Not unless Barney Quill started something.

(CONTINUED)
 2.3.
30 CONTlNUED: (7)

PAUL
What kind of a gun did you. use on
Quill?

MANION
War souvenir. Luger. The police
have it now.

PAUL
I guess you read the newspapers?
The stories about your case?

MANION
Some of them.

PAUL
Are they substantially correct?

MANION
Yes.

PAUL
You didn't see Barney Quill rape
or beat your wife ?

MANION .
No. When she came to the trailer
she told me what had happened.

PAUL
How long then before you went
to Quill's place and killed
. ?
h un.

MANION
I don't know exactly. Maybe an
hour.

PAu:t.··
That long, huh? The newspapers
say your wife volunteered to
take a lie-detector test. Do you
know anything about this ?

MANION
Just what she's told me and what
I've read.

PAUL
Do you know how the lie-'detector
test turned out?

(CONTINUED)
 2.4~
30 CONTINUED: (8)

0 :MANION
They didn't tell her.

Sulo opens the door, looks in.

PAUL
Yes, Sulo?

SULO
Polly, we got lunch served for
the ja.il. Would you like to
ea.t with us, Polly?

PAUL
Is your sister still cooking for
the jail?

SULC
Oh, shu. She cooks.

PAUL
Give her my co~pliments, Sulo.
I won I t be able to take lunch
here today, I've a luncheon da.te
downtown.

0 MANION
Nice going, Mr. Biegler.

SULC
(to Manion)
Come on, bucko.

PAUL
I'll be back after lunch.

MANION
(at the door) .
; ; .'
Sor.ry if l offended youa. while
ago.

PAUL
No, you're not.
Manion smiles a small· cool smile ai,.d follows Sulo.

DISSOLVE TO:

-
 25.
31 EXT. LAKE FRONT LUNOH STAND - DAY
(] On the lake front of Iron City Paul and Parnell are at a sidewalk
counter, a plate of hard boiled eggs between them, each with a
bottle of beer. Here on the lake front are the great iron-ore loading
docks with the lake ships anchored alongside. The traffic on the
sidewalk consists of worlanen and sailors from the ships.

PARNELL
Pass the salt.

Paul slides the salt along the counter to Parnell. Parnell salts
his hard boiled egg.

PARNELL
Did you give the Lieutenant the
well-known lecture?

PAUL
If you mean did I coach him into
a phony story, no.

PARNELL
Maybe you're too pure, Paul.
·Too pure for the natural.
impurities of the law. Could be
you owe the Lieutenant a chance
to find a defense. Could also
be you might guide him a little,
show him the way and let him
decide if he wants to take it.
You want some salt?

PAUL
(salting an egg)
.Azlyway, I'm not the right lawyer
for this man. He I s insolent and
he Is hostile •

. ·. ·•..... P~LL
You-don. 1t have to love him, just
defend him. \Vhat' s the matter,
don't you need a fee ?
(a. pause)
You know something, Polly, I
think you 're a little bit afraid.

PAUL
A little bit afraid of what?

PARNELL
Afraid you might get licked.

- Paul sets about shelling another egg. A little time passes.

(CONTINUED)
 2.6.
31 CONTINUED:

() PAUL
There's only one thing more
devious than a Philadelphia
lawyer and that's an Irish
lawyer. Pass the salt.

Parnell hands over the salt shaker, smugly sets his teeth into the
white meat of the hard boiled egg.

DISSOLVE TO:

32. INT. SHERIFF'S OFFICE - DAY

Paul is waiting as Sulo ushers Manion in and closes the door. Paul
has a wrapped package. under his arm. Manion glances coldly at
Paul, passes him and sits at the Sheriff's desk.

MANION
(in pass-ing}-
Hello there. •

PAUL
(with a smile)
I usually answer· to the name
o:£Paul.

MANION
Are we going to have some more
jokes?

PAUL
Not unless you want to be the
comic. Oh, here. Here're some
cigarettes.

He extends the wrapped package. Manion hesitates a moment,

then rather awkwardly accepts the paclm.ge.

MANION
Thanks.

PAUL
Peace?

MANION
Sure.

(CONTINUED)

-
 27.
32 CONTINUED:

PAUL
Lieutenant, there are four ways I
can defend murder. Number one:
it wasn't murder - it was suicide or
accidental. Number two: you didn't
do it. Number three: you were
legally justified - like self-defense
or protec"tion of your home. Number
four: the killing was excusable.

MANION
Where do I fit into this rosy picture?

PAUL
! 111 tell you where you don 1t fit. You
don't fit in any of the first three.

MANION
Why wouldn't I be legally justified
in killing the man who raped my wife?

PAUL
The time element. If you had caught
him in the act the shooting might have
been justified. But you didn 1t catch
him and you had time to bring in the
police. You didn •t do that either,
You're guilty of murder, premeditated
and with vengeance. First degree
murder in any court of law.

MANION
Are you telling me to plead guilty?

PAUL
When I advise you to cop out you 111
know it.

· ..MANJON

PAUL
Plead guilty and ask for mercy.

MANION
If you 1re not telling me to cop out,
what are you telling me to do?

PAUL
I'm not telling you to do anything.
I want you to understand the letter

- of the law.

(CONTINUED)
 28.
32 CONTINUED: (2)

:MANION
{a pause)
Go on.

PAUL
Go on to what?

MANION
To whatever it is you're getting at.

PAUL
(with a tough
little grin)
You're very bright, Lieutenant.
Now let's see how really bright
you can be.

Manion has been impressed and is now a little frightened. Tiny

.. . beads of sweat are on hi s forehead and his upper· lip .

MANION
I'm working at it.

PAUL
Now because your wife was raped
we 1ll have a favorable climate in
the courtroom. You'll have sympathy
with you -- if all the facts are true.
AU you 111 need is a legal peg which
will let the jury hang up their sympathy
in your behalf. Do you follow me ?
Manion nods.

PAUL
(continues)
What 1 s your legal excuse, Lieutenant
..Manion-. your 1~ga.l'_.:exctise for ..killing
-Barneyoili111 ·.· · · •-·. · · · ··.

MANION
Not justification.

PAUL
No, pot justification.

MANION
Excuse- - - just an excuse.

- {CONTINUED)
 Z9.

32. CONTINUED: (3)

Manion, hands trembling a little, takes out his ivory holder and a
cigarette. He becomes annoyed at his shaking hands, angrily tosses
the holder and the cigarette on the Sheriff's desk. He rises, moves
away nervously.

MANION
What excuses are there?

PAUL
How should I know? You're the one
who plugged Quill.

With his thumb Manion wipes the perspiration from his upper lip.
Almost unaware of his physical movement, he balances on the
white line on the floor, walking it carefully, as if it were a rail.
His jaw is knotted, his mind desperately churning his problem.
He goes to the. window and stares out, lips moving a little, talking
to himself. Paul is leaning against the wall, poker-faced, eyes
hooded, watching Manion. ·

MANION
(whispering}
I must've been mad.

PAUL
What?

MANION
I said I was mad.
PAUL
A bad temper is no excuse.

MANION
I mean -- I mean, I must've been
crazy.
(a long pause) •
Am .I _getting warmer?
, ,... . . .

Paul puts on his hat, goes to the door and opens it.

PAUL
(calling)
Okay, Sulo.

MANION
(turning to Paul)
Paul.? Am I getting warmer?

·PAUL

-
(at the door)
I'll tell you that _after I've talked to
your wife. In the meantime see if
you can remember
you were.
just how crazy
-
DISSOLVE TO:
 30.

33 INT. MAIDA 1S OFFICE - DAY

As Paul enters, Maida is banging efficiently on her typewriter,

0 the respectable flowered hat on her head.
is closed but MUSIC filters through.
Paul's office door
Maida, without breaking
the typewriter's rhythm, jerks her head toward Paul's office
door.

MAIDA
Mrs. Manion 1s been waiting a long
time. She I s gone through your albums
from Dixieland to Brubeck.

PAUL
What do you think of her?

MAIDA
(thinking a moment)
Soft--easy--the kind men like to
abuse - .. and do. Did you get some
money?

PAUL
(considering what
Maida has said
about Laura)
What? Oh, no. I haven 1t decided to
take the case yet.
(he starts for his
door and stops)
You surprise me sometimes.

MAIDA
(going back to
her work)
Why? I've been around.

Paul smiles his appreciation of Maida and enters his office •

.34 INT. PAUL'S PRIVATE .OFFICE .. DAY

Paul enters, closing the door behind him. His record player is
working at some lively MUSIC. Laura, wearing her dark glasses
and with the little dog cuddled against her side, is stretched out
on the old couch.

LAURA
Hi.

PAUL
Hi.

- He goes to the record player, shuts it off.

(CONTINUED)
 31.
34 CONTINUED:

0 PAUL
I hope you don 1t mind, but I think
we 1d better talk. ·

Laura. sits up on the couch, one leg curled under.

LAURA
You're a funny kind of a lawyer.
The music, I mean.

PAUL
Aren't lawyers supposed to like
music?

LAURA
Well, not that kind of music.

PAUL
I guess that settle.s it··t-'h;-:;;e~n~
..:;;;
..:-1Tt.m;,-----,----..,..._---------
a funny kind of a lawyer.

He goes to his desk and searches through drawers and cubbyholes

for a possible cigarette. - ·

PAUL
(continues; as
he searches)
Where 1s your home, Mrs. Manion?
That is, where did you go to school ....
live ·- when you were growing up?

LAURA
No pla.ce in particular. We sort of
moved around. My father was a
boomer. You know, a construction
.boomer? Building dams mostly.
You can ca.11me Laura.

·.. ··PAUL
(still searching)
Are your people alive, Laura?

LAURA
No.

PAUL
l have some cigarettes in here
somewhere.

LAURA

-
(opening her purse}
Do you want a cigarette ?

{CONTINUED}
 32.
34 CONTINUED: (2)

PAUL
0 No. I was going to offer you one.

LAURA
(putting a cigarette
in her mouth)
Well, you could light it for me.

PAUL
Certainly.

H~ fumbles in his pockets for a match, can't seem to find one.

LAURA
( extending a
gold lighter)
Here.

He strikes the lighter, lights her cigarette and then examines the
golden object.

PAUL
It 1s exactly like your husband 1s.

LAURA
(taking the lighter)
Yes, he gave me this one because I
liked the one he had. He's like that.
He gives me presents all the time.

PAUL
You have a happy marriage ?

LAURA
(a little beat •
a little diversion
with her purse )
Yes.

. PAUL
What' went wrong with.your first
· marriage? ·

LAURA
Well, what went wrong is when I
went for Manny.

PAUL
That 1s honest enough.

LAURA
But it was more than just that.

- (MORE)

(CONTINUED)
 33.
34 CONTINUED: (3)

LAURA (cont 1d)

Like I told you, I grew up on the move
and Jack -- that was my first husband
-- Jack didn 1t like to move. He
wouldn 1t even take a transfer when he
had the chance. I was really bored.
Manny likes to go. We 1re always
going, whenever we get a chance.
We 1ve been all over. I'm thirsty.

PAUL
Water, or would a beer do?

LAURA
I think a beer would do fine.

Paul goes into the kitchen, cpens the icebox, returns with a bottle
of beer and a glass. She sits cross-legged -- Indian fashion --
------,------,----- ...
0..,n"t"""h~e"""·
....
c....
o""'u
....
c.-1..-h.- - ---

LAURA
(continuing)
Aren't you having one?

PAUL
No, not now.

d LAURA
Could Muff have a little? In that
ashtray maybe .. He loves beer.

Paul looks askance but pours some beer into an ashtray, puts it on
the floor. The dog leaps down and hungrily laps up the beer.

LAURA
(continues; watching
the dog)
He I s sweet, isn 1t he? He 1ll go to
sleep -·now •
. ·. •.,'

Paul -~tudies Laura as sh~ ·watches the dog,· wondering if she is

truly ingenuous. He hands her a glass of beer. Laura. sips the
beer. With her full, soft lips against the rim of the glass, she
smiles at Paul.

LAURA
(continuing)
You married?

PAUL
· No.

- (CONTINUED)
 33-A ..

34 CONTINUED: (4)

LAURA
That 1s nice. What do you do with
this big house i£ you aren tt married?

PAUL
It 1 s the family home. I 1m the last
of the family.

LAURA
I bet it has lots 9f bedrooms.

PAUL
A few. How about it? Are you ready?

She rolls beer glass against her cheek·- lips lifted in that
disconcerting smile.

PAUL
{continues)
I mean are you ready to tell me the
story?

(CONTINUED)

,-__../ '
\ ..

-
 34 CONTINUED: (4)
f\, LAURA·
I'-...._../
I know what you mean.

PAUL
Suppose you tell me everything you
told the State Police -- plus everything
you didn 1t tell the State Police ..

There is a moment's wait. Laura's smile goes away but then

returns.

LAURA
Where shall I begin?

PAUL
What time did you go to Quill's bar?

LAURA
Right after dinner -- about eight-
thirty, I guess. Manny was late
getting home from the firing range.
We had dinner, then he lay down and
went to sleep. I hadn 1t been out of .
the trailer almost all day, so I took
Muff and a flashlight and walked over
to the bar. I bought a drink and
I
('-/1
, played the pinball machine.

PAUL
Many people in the bar?

LAURA
Not many. Barney came over and
challenged me to a game. For
drinks. You know.

PAUL
Ho~ well did you know Barney?

LAURA
Well, he owned this bar where
Manny and I went sometimes. That's
all.

PAUL
Had he ever made a pass at you?

LAURA
No, nothing like that at all.

PAUL

e. Was he drinking heavily that night?

(CONTINUED)
 35.

34 CONTINUED: (5)

0 LAURA
He didn 1t seem to be, at least not
while we were playing pinball.

PAUL
Were you with him all the time you
were there?

LAURA
No, there were other people playing
too.

PAUL
What time did you leave the bar?

LAURA
About eleven. I left by the side
door and Muff was carrying the
flashlight ... He carries the ..fl.ashlight
in his mouth. He's so cute, running
along ahead with the light shining.

PAUL
(glancing at the
now sleeping dog)
·,, Was he sober?
'C LAURA
Muff? Of course he was sober. Oh,
you 1re joking, aren 1t you?

PAUL
(flatly)
Yes I'm joking. Go ahead.

LAURA
Barney came from somewhere, not
from the door .I left :l)y, iand.s.µci .
· ,h_-,\~as g9mg:'~yA~Y::~a:::Jiia:)c9µld.•.
·.··
drive me home~· ae.said'thei bears
had been prowling around that night
and I oughtn 1t to walk home. Bears
come out of the woods sometimes to
scavenge.

PAUL
Harmless enough, aren't they?

LAURA
Yes. I guess I wouldn't have been

-
afraid in the daylight, but ••• you know,
the dark isn 1t the same.

(CONTINUED)
 36.
34 CONTINUED: (6)

PAUL
0 I know. So you got in Barney 1s car.

LAURA
I got in and he drove straight to the
trailer park.
•
PAUL
He made overtures?

LAURA
No, nothing. When we got to the
trailer park the auto gate was
closed. Mr. Lemon always locks
the gate around eleven or a little
after. I thanked Barney and started
to get out of the car, but he said
there wasn 1t any need for me to
walk, that he could drive me into
the park on another road. I didn 1t
know there was another road, but
he drove on even before I could say
yes or no.

PAUL
Were you alarmed?

LAURA
No. 11m not usually afraid of men.
And anyway, he hadn 1t touched me
or even said anything out of the
way.

PAUL
Don 1t women sort of instinctively
know when a man 1s on the make?

LAURA
· Yes, but that 1s only usual. witjl me·•
with men,.I mean - almost all inen. •
Ever since I was a kid. You, for
instance. You 1re interested. But
1
there isn t any reason to be afraid
of you and it was like that with
Barney.

PAUL
Mrs. Manion, believe me, I'm not
in the least •••

LAURA

- Call me Laura.

(CONTINUED)
 34 CONTINUED: (7)

PAUL
Laura, 11m only interested in helping
your husband -- nothing else.

LAURA
Oh, 1 don 1t mean you 1d try anything.
I just mean, it 1 s the way you look at
me.

PAUL
It would be pretty difficult not to look
at you.

LAURA
Oh, you mean the way I dress? You
don 1t like it?

PAUL
I love it, honey, dearly love it.
Now let 1 s keep moving. How were
you dressed that night?

LAURA
A sweater, like this, and a skirt.

PAUL
And the re st?

LAURA
Underneath? I had on a slip, panties
and a bra.

PAUL
No girdle?

LAURA
.No, I don 1t need a girdle. Do you
think.I need a girdle?

PAUL
l 1m not your couturier, Laura. I'm
concerned with facts which might
be of use to me -- or to the prosecuting
attorney.·

·LAURA
Well, I don 1t wear one.

PAUL
(gently, exasperated)

- . Please go on with what happened.

(CONTINUED)
 38.

34 CONTINUED: (8)
,,...---..._
___

LJ. LAURA
Well, he turned off the highway into
a lane in the woods and stopped the
car and turned off the lights. He
grabbed me and said, 1111m going to
rape you. " Just like that.

PAUL
He used those words?
.LAURA
Exactly those words. Mufi began to
bark and he threw him out the window.
I could hear Muff whining outside the
car -- all through it. Barney began
to try to get at me, and I fought him
as best I could. He was terribly strong.

PAUL
_p_idyou cry out? Did you scream?
•
LAURA
It didn 1t seem any use there in the
woods. He began to shout names at
me - like, •army slut• and some other
names - and then he drew back and
hit me with his fist. He hit me again
and I didn 1t fight any more. I think
I was only half conscious, but I know
that he tore my panties off - and did
what he wanted.

PAUL
The newspaper said a doctor examined
you and didn't think you 1d been raped.

LAURA
I don 1t care what the doctor thought •
a ~oman doesn't, mistake these things.
PAUL.
All right. Go ahead.

LAURA
(telling it calmly)
I don 1t know exactly what happened
then. I must've fainted, because the
next thing I remember the car was
moving.: Barney was driving very
fast, and he was breathing hard,
almost gasping. An ugly, awful sound.

- {MORE)

(CONTINUED)
 39.

34 CONTINUED: (9)
/'\- LAURA (cont 1d)
{ I
'--..,,,-)
We were on the main road to the trailer
park and he swung in by the gate and
stopped. I opened the door and Muff
jumped out first, with the lighted
flashlight in his mouth.

PAUL
Wait a minute. I thought you said he
had thrown Muff out of the car in the
woods.

LAURA
He did. But Muff was in the car when
we got to the gate. He must have let
Muff back in. I don't remember.

PAUL
Go on. You opened the door and Mufi
j~ped out fir st.

LAURA
Before I could get out Barney grabbed
me and said he was going to tear all
my clothes off and attack me again.
I got away and ran. I could see Muff
at an opening in the fence. He was
scooting back and forth with the
flashlight. Barney caught me from
behind and I fell to the ground. He
fell on top of me and started to beat
me again with his fists.. I thought
he was going to kill me. I screamed
and somehow I got on my feet again
and ran toward the fence. I went
through the opening in the fence and
followed Muff. who was running along
ahead with the flashlight. I kept
.. folle>wing. the. Jight and he led me to .·
our trailer. .. ' . ,·

PAUL
You didn 1t see Barney again?

LAURA
I never laid eyes on him again --
dead or alive.

PAUL
I guess that I s enough for now,
Laura.

- (CONTINUED)
 40,

34 CONTINUED: (10)

<J I've got lots of time

LAURA
-- all you want.

PAUL
Where can I reach you?

LAURA
11m still in Thunder Bay but I'll drive
down again in the morning.

PAUL
Fine.

He goes to the door to open it. Laura picks up Muff but remains
on the couch stroking the dog.

PAUL
(continues)
Was there something else?

LAURA
(after a moment)
No.

She comes reluctantly to the door as Paul opens it.

0 PAUL
Tomorrow.

Laura goes into Maida 1 s office. Paul, from his office, watches
her with circumspection.

LAURA
(stops at Maida 1 s desk)
Thanks for letting me play the
records •

.· . MAIDA
:You1re very Welcome~

LAURA
Thanks a .lot. 'Bye.

She goes on into the hallway as Parnell is entering. He lets her

pass, looks after her and comes into Maida 1 s office. Paul
has gone to his closet, _gets out his fishing hat, selects some
lures, pins them on the hat.

PARNELL
(to Maida)

- Who was that?

The lady in the case.

MAIDA

(CONTINUED)
 41.
34 CONTINUED: {11)

Parnell whistles his surprise, comes into Pauits office and in

dismay watches Paul gathering the fishing gear. Maida, at her
desk, listens to their conversation.

PARNELL
I guess you're not going to take the
case, huh?

PAUL
I don 1t know. Depends on what Manion
has to tell me tomorrow. He I s
thinking things out.

PARNELL
(pleased)
Oh -- well --

PAUL
If I take it I want you in it.

PARNELL
Me? -- in a big murder case? Why,
boy, the sight of this whiskey drinking
old man at the counsel table would
ruin you.

PAUL
I need you.

PARNELL
You mean that?

MAIDA
Why else would he say it'?

PARNELL
Be glad to work with you outside
the· courtroom, but not in the
!' courtroom, Polly.

PAUL
Suit yourself about that. But either
way, I'll have to be able to depend
on you. Will you lay off the booze?
• PARNELL
(crestfallen)
Oh. I don 1t know about that, Polly. --
I don 1t know.

MAIDA

-
Why don 1t you know?

(CONTINUED)
 34 CONTINUED: ( 12)
i\ PARNELL
\J
Do you think I could -- lay off the
booze?

MAIDA
Ever tried it?

Parnell• s silence is in the negative.

MAIDA
(continues)
Try it.

PARNELL
(a long pause)
I've never been in a big murder case --
not once in all my life.

PAUL
Up to you, Parn.

Paul, with his fishing gear passes Parnell, goes into the outer
office, turns back.

-
PAUL
(continues)
I '
\.___,.,I Be around tonight?

PARNELL
(preoccupied with the
idea of a big murder case)
Yeah -- yeah, I'll be around.

Paul exits. Parnell goes into Maida 1s office, slowly sits in a

chair.

PARNELL
{continues)
You know, Mai~ ·darling, I might
manage it •. · I. might manage to be
a real lawyer again -- for a little
while anyway.

FADE OUT.

FADE IN:

3-5 INT. SHERIFF'S OFFICE - DAY

- Manion, brows knitted,

an Italian cigar, quietly
is working
listens.
at his defense. Paul, smoking

( CONTINUED)
 43.
35 CONTINUED:

I,,......,.._ lvIANION
\..__) ••• I blacked out. I mean, after we
talked yesterday, I went back over the
whole thing in my mind. You see, I
hadn 1t done that before -- I was trying
to forget about it. But when I tried
remembering it, there were some pieces
missing. I remember going to the bar
with a gun, I remember Quill 1s face
behind the bar - - but I don 1t seem to
r.emember anything else, not even
going home.

PAUL
Don 1t you remember firing your gun?
Five shots are a lot of noise to forget.

MANION
I remember hearing shuts but they--- __:._-____ _
didn't seem to be connected with me --
.like they were far away, like somebody
else was doing the shooting.

Manion mops his face with a handkerchief, nervously fits a

cigarette into his holder. Paul waits for a moment or two.

PAUL .
Lieutenant Manion, I'll take your case.

MANION
(in great relief)
Thanks. Thanks, Mr. Biegler.

PAUL
Now there I s the matter of a fee.
Three thousand. That I s reasonable
1
enough, isn t it?

MANION
Sure -- sure, more than reasonable.

-PAUL
When can you pay?

:MANION
lt 1ll have to be later. Right now I'm
broke.

PAUL
You 1re what?

- (CONTINUED)
 44.

35 CONTINUED: (2)

MANION
Broke - - busted - - flat. I haven 1t
got three bucks, much less three
thousand.

PAUL
Well, can you raise it?

MANION
No. Not until I get out of jail, but
payday is next week. I can give you
a hundred fifty on account. I£ you get
me off I'll give you a promissory note
£or the rest.

PAUL
Suppose you 1re convicted?

MANION
That's a calculated risk, isn 1t it?
£or both of us.

PAUL
Suppose I don't go along with you unless
you pay me half of the· fee?

MANION
(an amused glint)
I'd have to take a lawyer the Court
would appoint. I've got my defense
now, haven't I? -- Insanity?

PAUL
You know, I think I'll just stay with
you, to make damned sure you get off.

MANION
You won 1t lose anything by it.

PAUL
All right. It's a deal. 1111 take the
one-fifty and a promissory note when
and if you're cleared.

MANION
Thanks. · Where do we start? You'll have
to tell me. Remember, I've been
kind of nuts and I'm just recovering
my wits ..

{CONTINUED)

-
 44A

35 CONTINUED: (2.A)

PAUL .
Your wits will do nicely, Lieutenant.
We're going to need a psychiatrist and
since neither of us has much money,
do you think the army would stir
one up for you?

(CONTINUED)

-·-·----

:
j.

-
 45.

35 CONTINUED: (3)

MANION
I know a colonel in the Pentagon.
I'll write a letter.

PAUL
You do that. Okay, I 1ll get back to
you.

Paul goes to the doo~.

MANION
What will you do now?

PAUL
See your wife again, for one thing.

MANION
(an odd pause)
Why? Didn 1t you see her yesterday?

The curious_ change in Manion rs attitude registers with Paul.

PAUL·
That 1s right, I did. She 1s a pretty
woman • your wife.

MANION
\,_) (trying to be
casual)
A man gets used to the way his wife
looks.

PAUL
Yeah, I guess he does.
(opens the door)
Okay, Sulo.
(to M.a.nion)
See you.

. Paul ~xits. ~o~ st~~s ve~.y· stil.~;1 his face drawn, into its.- cold ·~sk. ·

36 EXT. JAIL - DAY

Paul comes from the jail, pauses, thinking it over, puzzling with the
disturbing scene he 1s ·had with Manion. He moves on through the
alleyway between the jail and courthouse, enters the rear door of the
courthouse.

37 INT. CORRIDOR - COURTHOUSE - DAY

- Paul appears around the corner of the marble alleyway,

to a door which is labeled,
•• enters the office.
OFFICE OF PROSECUTING
comes along
ATTORNEY
 I 46.
38 INT. lvUTCH LODWICK 1S OFFICE - DAY

n·
'-..../
A couple of secretaries are at work at their typewriters.
to Mitch's private office is open and MITCH is at his desk.
Paul enters the outer office, Mitch spies him.
The door
As

MITCH
{booming)
Come on in, Polly! Come on in!

Paul pushes through the office gate and goes into Mitch's private
office. The office is quite handsomely decorated with prints of
modern artists, new, modernistic furniture and vertical venetian
blinds.

MITCH
, (continues)
You haven't been in here since you
vacated, have you Polly? Don't
recognize the old place, huh? My
wife did it for me - - . she I s a gra~uate
decorator. Smart girl, very smart
girl. Look at this, real genuine Van
Gogh prints -- and here, here, try
this chair. It sort of does things.

He pushes Paul into a large contour chair. The moment Paul sits
the back drops down, the footrest leaps up and the chair begins to
massage. Paul endures the operation with slightly alarmed
patience; lying helplessly, shaking uncomfortably.

MITCH
(continues)
Great, isn't it? Good for the nerves
they say.

PAUL
(jiggling) '
How do you shut it off?

Mitch presses a button. The chair stops wiggling, snaps Paul

into an uprig¥· position; the footrest drops an.d.-his feet hit the
floor. · · ·

MITCH
There we are. Feel better?

PAUL
(getting out of the chair)
I feel all shook up. Mitch, I just
stopped by to tell you I 1ve got both
feet in the Manion case.

-
MITCH
You 1re going to cop out, aren 1t you?

(CONTINUED)
 47.

38 CONTINUED:

PAUL
No.
('\
'-....-)
.MITCH
That 1s a mistake, Polly. It's open
and shut.

. PAUL
Maybe. We 1ll see ..

MITCH
Judge Maitland is still in the hospital.
Maybe you 1d like to agree to a
continuance until he gets back. I£
we go with the case now, we 1ll have
to_ try before some grab-bag judge
they 1ll send in. Me, I'd rather have
Maitland.

PAUL
So would I -- but that would also mean
my client would have to lie in jail
for another two or three months before
the trial. Now if you drop the charge
down to manslaughter so I can get him
out on bail, we'll agree to a continuance.

MITCH
You wouldn 1t do that if you were D. A.
You wouldn't drop a charge from life
down to a fifteen year maximum penalty.

PAUL
I might ••• since a. big fat lie-detector
test on his wife gave the truth :to the
rape story. He 1ll have the jury with
him.

MITCH
(into the trap)
How did you know •• .

He stops suddenly. Paul grins.

MITCH
(continues)
Bit, didn 1t I? Well, anyway, the
result of a lie-detector test isn't
admis sable evidence -- you can 1t
use it.

PAUL
No, but it carries moral weight.

(CONTINUED)
 48.

38 CONTINUED: (2)

MITCH
What are you going to use for a
defense - old box tops?

PAUL
I'll think of something.
(he turns
at the door)
I wouldn 1t sit in that chair much,
Mitch -- it could shake a man 1 s
brain loose.

He exits.

39 EXT. COURTHOUSE - DAY

Paul comes from the courthouse down the steps and is greeted by
Laura 1s dog. Muff comes romping across the lawn to meet him --
Laura not far behind. Laura is dressed in tight Western slacks
and boots. Her blouse is Nc:1.vajowitji tl_ie -~~ces open, revealing
___
the push of her ample bosom. With open-m.outli'e.d .atten~;_~, the
eternal loiterers are following Laura 1s progress across the lawn.
Muff bounds into Paul I s arms.

·LAURA
(arriving)
He remembers you, Paul -- he likes
you.

PAUL
He likes the beer in my icebox.
(conscious again
of the attention
they 1re getting)
What's the occasion today•• a buffalo
hunt?

LAURA
(childishly :tµr.ning
foi- ·ihspection) · . .
'I
I got them in Arizona when we were
; .
stationed there. ·Aren 1t they smart •-
I think they 1re very smart.

PAUL
(avoiding)
We can sit in my car•• over here.

Carrying the dog, he leads Laura across the lawn to the parking
area by the jail.

- {CONTINUED)
 49.
39 CONTINUED:

He opens the door for her and goes around to sit under the wheel.
On the driver I s side of Paul rs car is the handle to a spotlight
which is just outside the windshield. The spotlight is backed up
.by a rear-view mirror. As the scene proceeds, Paul casually
turns the handle, moving the mirror until it is trained upon the
jail. In the mirror, Paul can see Manion's cell window -- and
Manion is there watching.

PAUL
Couple of things have occurred to me.
The undergarments which Barney
tore off -- who has them now? -- the
police?

LAURA
You mean my panties?

PAUL
All right, your panties.

LAURA
I haven't seen them since. We gave
the torn skirt and sweater to the
police and I went with the police up
that lane into the woods but we
couldn't find anything except my
glasses.

PAUL
Your glasses? You don't mean you
were wearing glasses all through that.
LAURA.
They were in a case in my hand. I
use them to read or play pinball --
things like that. I guess I tried to
get out of the car and dropped them.

. PAUL
mow.
··---. _ _.......-_ ......

•.·Y9µ!ll be i:nteres.i~~l_'to your .. ·

li~detector test came out in your
favor.

LAURA
Of course it did. I could've told
you it would.

PAUL
You weren 1t worried about it?

LAURA

-
{laying her hand on
his arm)
No, why should I be?

(CONTINUED)
 so.
39 CONTINUED: (2)

PAUL
Would you like to have something to
worry about?

LAURA
Silly.

PAUL
Like your husband watching us from
his cell window.

Laura jerks her hand away from his arm as if it had been burned. She
almost cowers in the corner. Shaken, she takes off her dark glasses
and covers her eyes for a moment with her hand.

PAUL
(continues)
All right. Let I s· have it. ·

LAURA
.. (murmuring)
Did he.say something to you?

PAUL
Just enough. Are you afraid of him?

LAURA
(murmuring)
Yes.

PAUL
Is that the reason you vol,.mteered
for a lie-detector test •· for him?

LAURA
Yes.

PAUL
I 1ll tell him how the test turned out.

LAURA
{putting on her
dark glasses)
You 1r~ very kind, you really are,
Pau;t,.
PAUL
Does he have reason to be jealous?

LAURA
Even before we were married he
was jealous.

- (MORE)

(CONTINUED)
 51.

39 CONTINUED: (3)

LAURA (cont 1d)

1
I should ve known how it would be.
But it's funny -- he likes to show
me off, likes me to dress the way
1 dress, but then he's furious if
a man pays attention to me. I've
tried to leave him, but I can't --
he begs and I give in.

PAUL
I£ you think I've forgotten my question,
I haven't. ·

LAURA
(regaining her smile)
I have.

PAUL
I'l'. ask it again. Does he have any
reason to be jealous?

LAURA
(she seems to be
measuring Paul
from behind the
dark glasses)
,------'\
\ __,/ No. Not once -- not ever.

The SHOT GOES OUT on Paul 1s probing, calculating gaze.

FADE OUT.

FADE IN:

40 EXT. OPEN HIGHWAY - DAY

. Paul's dusty car speeds ali:mg the lovely, wild lake shore •.
,j;

41 INT. PAUL'S CAR - DAY

Maida is 'in the back seat. Paul is driving, with Parnell slumped
beside him. Parnell is pale and perspiring, touching his brow
now and then with a handkerchief which he holds wadded in his
palm. In his other hand he holds a half empty bottle of red soda
pop.

PAUL
The one thing that can bust this

- case open is Manion 1 s jealousy.

( CONTINUED)
 41 CONTINUED:

PARNELL
Let's thank our little apples we have
Lodwick on the other side. He 1ll
never tumble to it.

PAUL
Maybe.
(glances at Parnell)
I shouldn't have asked you to lay off
the booze.

PARNELL
I'll do it if it ldlls me.

PAUL
You look like it might.

Parnell takes a swig of the soda, makes a face.

PAUL
(continues)
At least let me get you a beer instead
of that strawberry pop.

PARNELL
Strawberry pop reminds me of a better
day in my life. Strawberry pop in a
bucket of ice with a picnic basket by
the lake and my pretty Nora still alive.
No, no beer. I'll stick with this.

MAIDA
Will someone tell me why I was
commandeered for this junket to
Thunder Bay?

PAUL
You're going to get a manicure in the
beauty parlor and gather all the gossip
you .can about
.
the _deceased
' .· . . '~.Barney
.·
' .
Quill.
.

MAIDA
Why?

PAUL
We 1ve got to sell the jury on Mrs.
Manion 1s rape story. A lot of it
will depend on what kind of man
Quill was. That's what we 1re going
to find out, if we can.·

They drive on.

- DISSOLVE TO:
 53.

42 EXT. STREET IN THUNDER BAY - DAY

A winding, rambling street on the lake shore -- busy now, but in the
o· winter most of it will be shuttered.
MUSIC blares from the bingo parlor·•
Thunder Bay is that kind of place.
a sporting store with its
fishing tackle on the sidewalk engages the rapt attention of vacationing
fishermen -- testing rods, tinkering with reels. Children in bathing
suits run across the street without regard for traffic -- the traffic
pokes along -- plump matrons in shorts at the hot dog stands -- an
occasional slim, blossoming girl in a bathing suit•• men in white
ducks and sun visors -- soldiers off duty. Most of the movement is
to and from the lake where rowboats drift about in the sun, fishermen
cast from the piers and swimmers dive from the floats. Paul's car
comes slowly on the street, draws up to the curb by a sign which
advertises•- BRIG1TTE 1S BEAUTY SHOPPE. The car door opens
and Maida steps to the sidewalk.

PAUL
Meet me for lunch at Barney 1s inn •••
down at the end of the street.

MAIDA
Right.

She closes the rear door, moves away toward the beauty shop and
enters. The front car door opens and Parnell bumbles out.

PAUL
Where are you going?

PARNELL
I'm going to tool around the taverns
in search of truth.

PAUL
Maybe you 1d better stay with me.

PARNELL
Trust me, lad• trust me. I 1ll arrive
at the inn loaded with nothing more
than strawbe~ry pop.
He closes the car door, adjusts his· hat at a rakish angle and strolls
down the street. Paul drives away.

43 EXT. THUNDER BAY INN - DAY

A large, three-story frame structure with a fresh coat of white paint,
screened-in verandas, its lawn shaded by elderly trees. It is a
well-kept relic from the turn of the century when Thunder Bay was a
more graceful resort. Outside the hotel are parked numerous cars
and tourists come and go from the main entrance.

- (CONTINUED)
 54.

43 CONTINUED:
11
An unlighted neon-sign identifies THE THUNDER BAY INN"
and in smaller script advertises, "Breakfast, Lunch and Dinner,"
11
and in block letters, Cocktails. " The bar room has a separate
.entrance and is labeled by an unlighted neon· sign as the "BAR. 11
Its door is closed and the windows shuttered with venetian blinds.
Paul drives up and finds a parking space near the entrance to the
bar. He gets out of the car and scans the front of the hotel before
going to the door of the bar room. On the closed door a sign reads,
"OPEN 5 p. m. 11 Paul pushes the door, finds it unlocked, enters.

44 INT. THE INN - BAR - DAY

Like all bars concerned with evening business, the afternoon
atmosphere is cool, pleasant and restful. It is darkened, except
£or back-bar lights and sunlight filtering from around the closed
venetian blinds. It is at the moment completely deserted. A
bartender has been at work, preparing the bar for its evening
business. A collection of empty bottles are on one end of the bar,
the glassware is covered by white cloths and a can of bar polish
is on the bar with a polishing rag. At one end of the bar are a
couple of pinball machines -- near the door. Chairs are stacked
on the tables and in the booths. Behind the bar one section of
the bar mirror is devoted to a display of gold and silver loving
cups and a collection of enlarged snapshots, mainly showing a
broad-chested, curly haired man of about fifty. Some of the
pictures include other people, but always the curly haired man
is prominent -- holding a prize angling catch -- with a :ci.0.e in
his hand and a dead buck on the fender of his car -- with a target
pistol raised and posed -- and several other pictures of the same
man. probably made when he was in his twenties, wearing boxing
gloves and in fighting pose. One of the most recent snapshots
presents the man stripped to the waist, posed with a double-bitted·
axe above a neatly severed log. Beyond the bar a short flight
of steps leads up to a closed door above which a sign reads:
"TO LOBBY." -

Paul, upon entering the room from the outside, pauses until his
eyes become accustomed to the darkness, glances a,bou.t; .flips
~e:cp~unger ..o~ ..one of.,th~ pinl:>allmac~es;. m,oyi3s':on·to ti:i~..bar,.
His attention is attractea •by the display of photographs arid loving
cups. He moves around behind the bar, picks up a gold cup,
reads its inscription, replaces it, examines another. His attention
goes to the snapshots and he puts on his glasses for a finer study
of the pictures~ From his POV the CAMERA CLOSES. IN and
MOVES from picture to picture. Now in turning to come from
behind the bar, he notices a narrow shelf built up under one end
of the bar. He stoops, looks into the ~helf, finds it empty •
.Puzzling with the contraption he tentatively slips his hand into
the narrow space and suddenly withdraws the hand, finge·r and
thumb cocked to represent a pistol. He looks down the length of

-
the bar and sees two more shelves of like character, one in the
center by the space reserved for waiter's service and the other
at the far end. ·

{CONTINUED)
 55.
44 CONTINUED:

He starts to move along back of the bar toward these other shelves,
but the lobby door opens. There in the doorway is a small, dark,
hard-faced man with black, inscrutable eyes. This is PAQUETTE.

PAQUETTE
All right? You like it-back there
all right?

PAUL
I was looking at these pictures. This
was Barney Quill, wasn 1t it?

PAQUETTE
That's right -- Barney Quill.

PAUL
1
My name s Paul Biegler, I'm --
----,-----,----~------- ----- PAQUETTE
I know who yo-u ·are. I've seen you
around Iron City.

PAUL
You didn 1t tell me your name, did you?

PAQUETTE
,----I)
\ Paquette.
\..J
Paquette takes up the polish and the rag, goes to work on the bar
surface. Paul moves around and sits on a stool.

PAQUETTE
(continues)
We don 1t open until five o'clock.

PAUL
I can wait. I haven't got the shakes
yet. You were on the job that night,
wer,~n't you -- the night Barney was
·killed? .. . · ,, : . .. : .· . , .

PAQUETTE
Like the newspaper said, I was
present.

PAUL
You're the one who stopped Lieutenant
Manion outside, aren 1t you?

PAQUETTE
That 1 s right. He pointed the gun at

-
me and said, 1 You want some too,
Buster? 1
\, \
(CONTINUED)
\
 56.
44 CONTINUED: (2)

PAUL
() And you said 'no
isn 1t Buster.
I
because your name

PAQUETTE
There wasn 1t anything funny about it,
Mr. Biegler.

PAUL
Sorry. I'm afflicted with sense of a
humor. Where were you when Barney
was killed, Mr. Paquette?

Paquette doesn't answer, industriously works at his polishing job.

PAUL
(continues)
I've a feeling you don 1t want to talk
about that night, Mr. Paquette.

PAQUETTE
Isn 1t that funny? I have the same
feeling. ·

PAUL
You'll have to talk to me in Court.
Why not now?

PAQUETTE
Because I don't have to now. Reason
enough. Okay?

PAUL
(looking at the
photographs)
Barney was kind of a rough character,
wasn 1t he? -- ex-prize fighter,
muscle man, fancy with guns.

-PAQUETTE .
He paid his debts ~- he ran a clean
place. Me, I liked him.

PAUL·
Are you running the place now?

PAQUETTE
I just work here. Mary's running
things.

PAUL

-
Barney's wife?

(CONTINUED)
 57.

44 CONTINUED: (3)

'\', PAQUETTE
\__,J ' He didn't have a wife. Mary was ....
his manager. ·

PAUL
I see. I wonder who 1ll inherit the
place.

PAQUETTE
Mary, I guess.

PAUL
Mary again, huh?

PAQUETTE
What 1 s the matter with that?

PAUL
You mean, what's the matter with
Mary? I don 1t know what's the matter
with Mary. Mary what?

PAQUETTE
Pilant -- Mary Pilant.

45 INT. BRlGITTE'S BEAUTY SHOPPE - DAY

The usual beauty shop scene. Women under the driers -- getting
their hair combed -- their faces done. In the f. g. a MANICURIST
bends forward to confide in her customer.

MANICURIST
(indicating a closed
booth toward the
back of the shop)
She's in there -- getting dressed.
It 1 s not for me to say ~she is.
· Bu~ all:I know;is •••. ·

The curtains over the booth are swept .back and a d~rk-haired,
very lovely girl comes out. She is dressed in a simple summer
dress. She 1s in her twenties -- a fresh, pleasant face; slender,
handsome figure •. There is strength and pride in her clear eyes.
She comes toward the front of the shop, passing the manicurist
stand and from another angle we see that Maida is the manicurist's
customer. When MARY has passed by:

MANICURIST
(continues)
That 1s her -- that 1 s Mary Pilant.

- And you are

We don 1:t talk about our customers
here but if we did, which we don't •••

sure Maida is about to get all the di'rt.

 58.

46 EXT. A THUNDER BAY BEER GARDEN - DAY

A small beer garden on the lake front. The place is crowded with
soldiers, most o:£them in fatigues. The soldiers serve themselves,
carrying the beer from ins~de the tavern. An awning is spread over
the area, The CAMERA MOVES IN on one of these outdoor tables
· where Parnell is sitting with a group of soldiers, a bottle of soda pop
in his hand. A lean, tough SERGEANT is talking:

SERGEANT
••• it 1s all right see, for him to take
a Army wife and beat her up -- but
just let one of our guys make a little
pass at that babe he I s got at the hotel
and he tells the guy to get out and stay
out. Quill got what was coming to
him. That 1 s the way we feel about it.

PARNELL
Do you know Lieutenant Manion Is wife?

_ SERGEANT
Sure. Know the Lieutenant, too. He I s
a good officer. She 1s all right, too --
. friendly •- a good kid.

A CORPORAL at the table makes a nasty little chuckle.

SERGEANT
d (continues;
quick and hard)
What do you know about it? Knock
it off.

CORPORAL
I didn 1t mean anything. She I s a dish.
1
What s the matter with that?

SERGEANT
You want this lawyer to get wrong
ideas? What chances has the
i. 1+e~en¥t got, ?vir.•· M,cCarthy·?

PARNELL
Pretty good, I 1d say - with a couple .
· of character witnesses like you. }

SERGEANT·
I'd like to help him - I sure would
but we 1re moving out - Berlin.

PARNELL
Oh. Tell me - who 1s this 1babe 1

-
at the hotel?

(CONTINUED)
 59.
46 CONTINUED:

SERGEANT
() Name 1s Mary Pilant. She was Quill 1s
\.__/
private property.

47 INT. THUNDER BAY INN - LOBBY - DAY

An atmosphere of uncontrived horniness, unpretentious, clearly

attractive to the small income ~acationer seeking a home away
from home. The lobby is thriving and a group of guests are gathered
by the closed door to the dining room, waiting for the lunch hour
to arrive. Paul is among them. The double dining room doors are
swung open by a waitress and guests file into the dining room -- a
spacious, cool place which includes part of the screened veranda
and overlooks the lake. Paul hesitates in the doorway.

48 INT. DINING ROOM • DAY

Mary Pilant, acting as hostess, seats a group of tourists, goes to

Paul, approaching him from the side. He does not see her ~til she
speaks.

MARY
Would you like a table, sir ?

PAUL
Yes please •••
(he is struck by
the lovely face)
••• Yes, I would.

MARY
Will you be alone?

PAUL
I 1ll be joined by two others.

She leads the way across the room to the veranda, Paul following and
in bi's retiring wa.y obviously attracted.t.o this girl.'· At the table on the
veranda she draws a chalr back for Paul.

PAUL
(continues; sitting,
fumbling with his hat)
Thanks.

MARY
May I take your hat?

PAUL

-
Well, yes, if you will --

(CONTINUED)
 60.
48 CONTINUED:

Mary takes the hat and offers the menu, smiles and leaves. His
eyes follow her as she goes to the hat rack and deposits his hat.
She turns back, smiles, gestures to where she has placed the hat.
Paul nods his thanks. A waitress comes from through the swinging
door of the kitchen, speaks to Mary and nods toward the kitchen.
She goes through the swinging door and the CAMERA MOVES IN
on the door. Moments pass. The swinging door is pushed open,
just a crack, and Mary's face is half seen looking out into the
dining room toward Paul. Behind Mary is Paquette, nodding and
whispering, seeming to say, "That's him. 11 Mary lets the door
close over her face. Maida enters, spies Paul, wends her way
through the tables to the veranda. Paul rises, pulls a chair back
for Maida.

PAUL
Howwas the manicure?

MAIDA
Ask me any question about anybody.
I've got all the dope.

PAUL
Can you tell me about a woman named
Mary Pilant?

MAIDA
~ Easy. Mary Pilant may or may not
have been the mistress of the late
B. Quill. The manicurists are in favor
of the mistress theory and the hair
stylists are agin it. But all agree some
kind of hanky-panky was going on here.
(she sees Mary
approaching the table)
To be continued.

MARY
(extending a men~)
.A.menu?·

MAIDA
Thank you.

Mary moves on. Maida, glancing after her, turns back to Paul,
sees that he too, is watching after Mary.

MAIDA
(continues)

Pretty, huh?

PAUL
Very pretty. Go ahead.

(CONTINUED)
 61.
48 CONTINUED: (Z)

MAIDA
(J There is one story which says that
Barney 1s wild night with Mrs. Manion
was somehow triggered by Mary
Pilant -- seems she had been stepping
out with a soldier and Barney blew
his stack, got tanked up and exploded.

PAUL
Who is this Pilant •• local?

MAIDA
No, a Canadian. Ba1·ney brought her in
to dress up this place and she stayed to
manage for him. I'd say she I s done
all right.
PAUL
Better than all right•- she 1s in for
the estate •
- -.•·-· ·-·--- ··- - MAIDA :
She doesn 1t look like a bad sort, does
she? Looks sweet.

PAUL
(glancing about)
Where?

Iv1AIDA
What do you mean where? The pretty
one with the menus.

Paul stares at Maida almost shocked. Astonished, he looks t~ward the

door where Mary is standing. Mary is watching his table. Their eyes
meet and she turns away to greet Parnell who has at this moment
arrived at the dining room entrance. Parnell gestures toward Paul's
table-and Mary leads the way to the table.

-... : _F>AUL
.. . '(rising) . ·•·. . .
Miss Pilant, may I introduce myself.
I'm Paul Biegler, attorney for
Lieutenant Manion. T·his is Mrs.
Rutledge, and Mr. McCarthy, my
associates.
(a general
acknowledgment)
Could you sit with us for a minute ?

MARY

-
(glancing at the empty
dining room door)
Yes, I can take a minute.

(CONTINUED}
 62.
48 CONTINUED: (3)
~
L ) Parnell draws a. chair out for Mary and then seats himself.

PAUL
I'd like to ask a few things, if you
don 1t mind'?

MARY
What sort of things, Mr. Biegler?

PAUL
Like what kind of a man your employer
was -- Mr, Quill.

MARY
A very nice man.

PAUL
I£ that's true, how do you explain what
happened with Lieutenant Manion I s wife?

MARY
I don 1t know what happened with
Lieutenant Manion I s wife, so there
really isn't anything for me to explain,
is there?

Guests appear in the dining roo~ doorway and Mary rises.

MARY
(continues}
Would you pardon me? The waitress
will take your order when you're ready.
So nice to have met you -- Mr. Biegler
-- Mr. McCarthy--Mrs, Rutledge.
She moves away.

PAUL
(looking after Mary)
Parn, what did you get on Quill?

PARNELL
Nothing we could turn into evidence,
Nothing that would make anybody
believe he was a rapist.

A WAITRESS comes to the table, says "Orders please," and the

three companions consult their menus.

DISSOLVE TO:

--·
 63.

49 INT. THUNDER BAY INN - LOBBY - DAY

Paul, followed by Maida and Parnell, enters from the dining room.
Paul goes to the hotel desk where a CLERK -- a plain, harassed
man -- is working at an adding machine.

PAUL
I beg your pardon.

CLERK
Yes sir?

PAUL
I'm Paul Biegler, attorney at law.
I represent the soldier who shot
. Mr. Quill. · I was just wondering --
did you happen to be on duty that
night?

CLERK
Why yes sir, as a matter of fact I was •••

The Clerk's attention is drawn away from Paul to Mary Pilant who
is standing in the dining room door. She gives a minute negative
shake of her head. Paul turns to follow the Clerk's gaze -- then
turns back to the Clerk.
CLERK
\ Sorry, I like my job, Mr. Biegler.
0
Paul nods, understanding that Mary has silenced the Clerk. He
goes toward the main exit, pauses as he comes abreast of Mary,
Parnell and Maida beside him. ·
PAUL
Your loyalty• to the dead Mr. Quill
is very touching, Miss Pilant.
MARY
Barney was well liked here, by
everyone, Mr. Biegler.
PAUL
Very generous of everyone to overlook
his little faults -- like raping other
men 1s wives.
Mary colors -- tea:.:-s spring instantly into her eyes. Abruptly she
walks away.
PARNELL
U she could have helped you 1ve
sure fixed that wagon now.
PAUL
It was already fixed. What I don 1t
understand is why. Why don 1t they
want to part with some simple, honest
information about Barney Quill and
his character?
DISSOLVE TO:
 50 INT. MANION 1S JAIL CEI,I· - DAY
Mani~n is playing a game of casjno through the bars with DUANE
.MILLER. A small narrow table is drawn against the bar-son
Miller 1s side. Miller is a ravaged, hungry-looking prisoner with
shifty eyes and a slack mouth.

MANION
(slapping a card down)
Build sevens.

MILLER
(takes the sevens)
Thanks, mate.

MANION
(slaps another
card down)
Build Kings.

MILLER
(takes the Kings)
Thanks, mate.

MANION
(throws in his
cards)
Take 1em all.

He flings away from the game, goes to a window, his back to

Miller, nervously lights a cigarette. With a lop- sided grin,
Miller watches Manion. From below the SOUND of the steel
door opening and closing -- steps on the iron stairs, and Paul
appears on the landing -- goes to the bars of Manion 1s cell.

PAUL
An.y word, Lieutenant?

Manion turns to Paul, takes out a letter, passes it through the

bar.a.

MANION
This -- from Washington. They'll
let a doctor come to testify, but
there I s a string on it.

Paul opens the letter, reads it, his face growing impatient.

PAUL
I can't get you to the Army Hospital
in Detroit for the examination.
Doesn't the Army understand you're

- in jail on a non-bailable

That's
offense?

MANION
(indicating the letter}
it -- as far as the Army's
·

c~ncerned.
(CONTINUED)
 65.

50 CONTINUED:

PAUL
(putting the letter
in his pocket)
I don 1t know how I can get arowid
this hump but 1111 try to do something.-

MANION
My wife hasn 1t been here for two
days. Have you seen her?

PAUL
Not for a while.

MANION
Where the hell is she?

PAUL
You've got other things to worry
about, Lieutenant. I'll get in touch
with her -- tell her you miss her.

MANION
(flatly)
Yeah -- you tell her that.

Manion glumly watches Paul go down the stairs. Then, in anger,

hurls his lighted cigarette against the far wall of the cell -- falls
disconsolately on his bwik. Miller, from his cell, has watched
the scene between Paul and Manion. Now he comes close to the
bars.

MILLER
Know how you feel, Lieutenant.
I'd be pawing the ground too if
I had something like that outside.

MANION
Like what outside?.

MILLER
Oh, man, you know what I mean --
something like that walking arowid
on the loose.

In a finely coordinated movement, Manion rises, reaches through

the bars, catches Miller's hair, jerks Miller down and against
the bars. Miller YELLS in pain, wrenches away, falling back
across his cot. Fast steps on the iron stairs and Sulo appears
from below. ·

SULO
Now, what 1s the big noise, buckos?
MILLER
Me, dummy. I hit my shin.on this
lousy iron cot.
(CONTINUED)
 66.
50 CONTINUED: (2)

SULO
(~ You want some rubbing alcohol maybe?

MILLER
No. But I guess a little bourbon would
help.

A general laugh goes up from the inmates, cat calls and Bronx
cheers.

SULO
Knock it down, buckos -- knock it
down.

DISSOLVE TO:

51 - -,-IN.F-.--A---ROADHOUSE. • NIGHT - -
------·-
OPEN on a hand slapping the strings of a bass fiddle -- slapping
time to gut• bucket jazz. MOVE from the bass fiddle to a drummer,
eyes closed, lips moving, beating it out on his traps. MOVE on
to the keyboard of a piano where two pairs of hands are playing
a duet. PULL BACK and find Paul happily sitting beside the
Negro piano man, both enjoying the music they are making. Paul
is a little amateurish with his treble end, missing a trick now
and then but catching up with a grin. A drink stands above him
d on the piano top. The CAMERA PULLS BACK FARTHER to
reveal the small smoky roadhouse in its entirety. Booths and
dance floor are crowded with young people and a few who are not
so young. Now RETURN to the Combo and watch them kick it
around -- Paul in the midst of it, satisfying himself by being a
part of the noise which is called jazz.

LAURA'S VOICE
Hey, what a crazy lawyer we 1ve got.

Paul looks up from the.keyboard.and from his POV we see Laura,

_dre_sseci a.s usual. in tight•fitting ..pants an,d sweater, about half
tight~ ·danciiig·with a. Secoiid.i.ieutenant. ·

LA.URA
Hi, Polly -- Tha.t 1 s what they call_
you, isn 1t it, Polly? That 1s a crazy
name for a crazy lawyer.

In CLOSE UP Paul is not smiling, his face suddenly tight and

grim, eyes following Laura as she dances away. From ANOTHER·
ANGLE across Paul, she moves away with the Lieutenant --
another soldier cuts in -- this one is a rock dancer and he and
Laura execute some of the more intricate steps of the sensuous
dance. The number ends with a CRASH OF CYMBALS from
the drummer. Paul, watching Laura, takes his drink from the
piano and rises. The Combo begins a new number.

(CONTINUED)
 67.
51 CONTINUED:

PAUL
Thanks for letting me sit in, Pie-Eye.

PIE•EYE
You quittin 1 me, man?

PAUL
(moving away)
See you.

Paul crosses the dance floor to the booth where Laura is sitting
down with three soldiers, two of them Lieutenants, one of them
a Sergeant.

LAURA
Hi, Polly. Fellows, this is Manny 1s
lawyer.

There is a general acknowledgment.

, A LIEUTENANT
Sit down, won't you?

PAUL
Sorry, I can 1t right now. Could I
speak to you for a moment Mrs.
Manion -- outside?

LAURA
Mrs. Manion? I thought we 1d dropped
the formalities a long time ago.

PAUL
I think we 111 pick them up again.
This is important.

LAURA
Okay. 1111 go with you.
One of the soldiers rises to let her out of the booth.

SERGEANT
Hey, you're coming back, aren't you?

LAURA
Sure ..·.. what do you think?

A little unstoadily she walks across the room to the main exit.
Paul places his glass on the table and follows.

- 52 EXT. ROADHOUSE - NIGHT

Paul and Laura emerge from the noisy joint, the exterior
illuminated
PIE-EYE'S.
with a glaring red and green neon sign reading:

(CONTINUED)
 68.
52 CONTINUED:

I'\,,_./ I
Laura turns to Paul,. smiling, her face caught in the colors of the
neon light, eyes a little sleepy, her face soft with the pleasure of
alcohol.

PAUL
Didn 1t you get my phone mes sage?

LAURA
Yes, but I got busy.

PAUL
Why haven't you been to see your
husband?

LAURA
I don't see why I have to see him
every day.

PAUL
It I s a good idea if you did.

LAURA
All right. I 111 see him every day.
Okay?

PAUL
No, not okay. Where's your car?

LAURA
I came with them.

PAUL
My car Is over here.

He takes her arm.

LAURA
Now wait a minute -- I got friends
inside.

PAUL
Friends or no friends -- you're
going home .•

LAURA
Say., who do you think you •••

PAUL
I 1m a lawyer trying to beat a rap
for your husband. Remember?

-· Well,
LAURA
what I s that got to do •••

(CONTINUED)
 69.

52 CONTINUED: (2)

PAUL
Everything, Mrs. Manion. Until 1
the trial's 1
over you re going to be
a meek little housewife in horn-
rimmed spectacles -- you're going
to stay away from men, juke joints,
booze and pinball machines •. You 1re
going to wear a skirt, low-heeled
shoes, and a girdle -- especially
a girdle. I don't as a rule complain
about an attractive jiggle, but you
can save that jiggle for your husband
to look at -- when and if I can get
him out of jail.
1
.
Laura s eyes grow large and hurt, tears well up and-she turns away.

LAURA
I'm sorry. I really am.. I wouldn't.
hurt Manny's chances for anything.

PAUL
Let 1s go.

Again h~ takes her arm and leads her through the parked cars to
his own machine.

DISSOLVE TO:

53 E.XT. THUNDER BAY TOURIST PARK - NIGHT

The gate of the darkened park is closed. Paul 1s car wheels up

and stops. He opens Laura's door, she gets out and he behind
her.

PAUL
i.
Is this about where Barney knocked
you down? ·
I
'
LAURA
Yes, right here. Over there --
that I s the opening in the fence where
Muff was running around with the
flashlight.

They walk to the stile opening in the fence, go through.

PAUL
Where's your trailer?

LAURA
This way -- by the lake.
They set out along the dark path through the trees toward the lake.
 70.

54 ANOTHER LOCATION ON LAKE PATH

The lake is silvered by the moon. The night is quiet except for a
breeze high in the treetops. Paul and Laura come along the path.
She turns out onto a promontory.

LAURA
This is my favorite place. So,metimes
when Manny wa.s sleeping I 1d come here
and just sit. I had to get out of that
trailer~ I can't stand being cooped up
all the time.
{a pause)
I'm lonely, Paul, I 1m awful lonely.
I wouldn 1t have gone to that roadhouse
except for that ... you know.

PAUL
Maybe you 1re getting in some· good
practice being lonely.

LAURA
{a searching pause)
You mean maybe Manny won't get off?

PAUL
Twelve jurors, good and true, will
tell us that.

LAURA
U he didn 1t it would be one way to end
it. No, no. I don't mean that. I
might think that sometimes, b~t I
don 1t really want that.

She wearily moves back to the path. Paul follows.

55 EXT. MANIONS 1 TRAILER • NIGHT

bur~~g in tl;Le.trail;~~.
T:P,e:lights cLz.'.e Pc1.ul a.nd Laura arrive. La.~a.
opens the door ·and.Muff bounds out of the trailer into Laura's arms.
LAURA
(hugging the dog)
Hello, sweetie -~ did you miss me,
sweetie? Of course you missed me.

She turns to Paul, that tremulous smile on her lips.

LAURA
(continues)
Paul, would you come in? You can

- if you want t.o ... you know.

You forgive
Laura. ·
PAUL
me if I don 1t. Goodbye,

(CONTINUED)
 71.

55 CONTINUED~

()- LAURA
·--,. Good night,.

He walks away,

LAURA
(continues;
calling softly)
Thanks,

The CAMERA GOES with Paul as he walks away and out of the scene.
Laura remains by the open door of the trailer, caught in its light,
a small figure very much alone, pathetically alone.

FADE OUT:

FADE IN:
56 INT. IRON CLIFFS COUNTY COURTROOM - FULL SHOT -
COURTROOM - DAY
A large and impressive vaulted room with stained glass windows in its
dome -- a room which reflects its great and grave function. Only a
few spectators dot the benches. Inside the bar the Jury's seats are
empty, the attorneys' benches crowded and the prisoners' bench
contains an assortment of men and women to be arraigned. The
COURT CLERK is in his place and SHERIFF BATTISFORE is at his
desk. The Sheriff is a worried-looking, middle-aged man -- kindly
and plodding. Among the lawyers are Paul and Parnell.

Mitch Lodwick is at the prosecuting attorney's table. The do.or to the

Judge 1 s chambers opens, the people of the courtroom rise as JUDGE
WEAVER enters, climbs the steps to the austere mahogany bench.
He's middle-aged, with a powerful face, sharp eyes which can
twinkle or flash impressive authority. The Sheriff raps with his
gavel when the Judge is seated.

SHERIFF
Hear Ye, hear Ye, hear Ye, The
Circuit Cou_rt for the County of Iron
Cliffs is now in session. You can
be seated.

57 CLOSER SHOT - JUDGE WEAVER ON HIS BENCH

He thumbs the court docket, glances around the room at the prisoners,
at the lawyers a.rid, from his POV, the CAMERA PASSES over these
men. Among the prisoners is a cheerful looking old codger named

- MADIGAN,

{CONTINUED)
 72.
57 CONTINUED:

Parnell~ sitting beside Paul, is dressed _in his best -- cleanly shaven,
suit pressed, the collar of his white shirt raveled but clean, his hair
plastered down. He is ill at ease.

JUDGE WEAVER
(after a careful
study of the people
before him)
For those of you I haven 1t met, my
name is Weaver. I 1m from downstate
and I'm sitting temporarily while your
good Judge Maitland is recovering from
a severe illness. There 1 s no need to
dwell at length upon my methods. One
judge is much like anoth_er. The only
differences may be in the state of
their digestions or their proclivities
for sleeping on the bench. For myself,
I can digest pig iron, and while I might
appear to doze occasionally, you'll
find that I keep one eye open for tricky
lawyers. -- - -- ---··- -----·

58 CLOSE SHOT - PAUL AND PA.RNELL

Paul is pleased with the erudition of the new judge. He and Parnell
exchange quick glances and Parnell raises his brows in approval.

59 FULL SHOT - COURTROOM - INSIDE BAR

JUDGE WEAVER
(consulting his docket)
We will take up the call of the criminal
docket. People versus Clarence
Madigan, breaking and entering _
in the night.

MitchLo4wick rises andtakes'a· reco~dof cri.minal'information from.

the -Court Report~r 1s desk. - -

MITCH
_ (reading) -
State of Michigan, Court of Iron Cliffs.
I, Mitchell Lodwick prosecuting attorney,
come into said county of Iron Cliffs
and give the Court to understand that
one Clarence Madigan, alias 'One-Shot
Madigan, 1 alias 1Smoky Madigan, 1 d.i,d
break and enter the dwelling house of

-
Casper Katz and did there commit the
felony of larceny on said preIP,ises •
contrary to the Statute in such case
made and provided and against the peace
and dignity of the people of the State
of Michigan. (CONTINUED)
 73.
59 CONTINUED:
He passes the information record up to Judge Weaver.

JUDGE WEAVER
Will the prisoner stand?

MADIGAN
(rising, moving
toward the bench)
That 1 s me, Your Honor.

JUDGE WEAVER
Does Mr. Madigan have an attorney?

MADIGAN
Nope. A man 1s got to have money to
ask them fellows the time of day.

There's small laughter from the lawyers' bench.-

JUDGE WEAVER
Mr. Madigan, if you 1re impoverished
it 1s my duty to appoint an attorney
in your behalf.

MADIGAN·
I wouldn't bother, Your Honor. I
1---I
stole the whiskey. I'm guilty as hell.
\,____,/
. MITCH
It was a. full ca.se of expensive bourbon,
Your Honor. ·

MADIGAJ.'l
It was sure good stuff,. Judge.

JUDGE WEAVER
Do you plead guilty or not guilty to
the offense charged against you?

. . . MADIGAN
I'm just as guilty as old scratch,
Your Honor.

JUDGE WEAVER
Did you sell this whiskey?

MADIGAN
No, sir -- drank it.

JUDGE WEAVER
All of it?

- (CONTINUED)
 59 CONTINUED: (2)

cJ· You bet,

MADIGAN
your honor.

JUDGE WEAVER
Are you aware that it will be
necessary to punish you for this
crime?

MADIGAN
It was worth it, your honor.

JUDGE WEAVER
I'll accept your plea of guilty, Mr.
Madigan. You'll be sentenced later.
You may now return to your place.

MADIGAN
Thanks, your honor.

• JUDGE WEAVER
You 1re quite welcome, Mr. Madigan.
(he consults
the docket)
People versus Frederick Manion.
The charge -- murder.

PAUL
(rising)
Paul Biegler for the defendant. My
formal appearance is already on file.

JUDGE WEAVER
Which of these men is your client,
Mr. Biegler?

PAUL
None of them, your honor •

. .· .· JUDGE ·WEAVER:·
Sheriff Battisfor~, · will you produce
the prisoner?

SHERIF]f
(uncomfortably)
I'm afraid I can't do that, your honor.

There is a portentous silence in the courtroom. Judge Weaver

looks from the unhappy Sheriff to the embarrassed Paul and
finally to the scared Mitch.

-
JUDGE WEAVER
Perhaps someone should explain.
I 1m· not clairvoyant.

(CONTINUED)
 75.
59 CONTINUED: (3)
()-· Mitch, Paul and the Sheriff all start to speak at the s~ time and
instantly stop.

JUDGE WEAVER
I'll take it from Mr. Biegler.

P,A.UL
The defendant is in Detroit being
examined by a psychiatrist, Your
Honor.

JUDGE WEAVER
Sheriff Battisfore, shouldn 1t the Court
have been consulted before the defendant
was allowed to leave its jurisdiction?

PAUL
Your Honor, we 1re dealing with the
Army on this matter and this was the
only crack the Army would give us
at one of their psychiatrists. The
Court was not present and it was
urgent that we get the defendant to
the psychiatrist.

JUDGE WEAVER
What does the Attorney for the People
say to this?

MITCH
It was done with my knowledge, Your
Honor.

JUDGE WE.AVER
I've always heard that this Upper
Peninsula of our fair state was a queer
place. li it 1 s customary here to .allow
a mancharged \Vith first degree murder
Jo::~d~~-'~p'Qµt:-'.,itfwi]4{. i d9n1t ,s~ppose ·
it b~hooves an:outside·r to point out
that the law makes no provision for
such quaint liberalism.

PAUL
Your Honor, the defendant is in a
deputy's care and will be returned
this evening. He I s an officer in the
United States Army and not likely
to try to run away.

-
JUDGE WEAVER
Well~ since I am an outsider and
outnumbered,· I'll stretch a point
for the local team.
(MORE)
(CONTINUED)
 76.
59 CONTINUED: (4)
cJ··. JUDGE WEAVER (cont 1d)
We 1llformally arraign the defendant
upon his return. For the sake of the
docket can you give me a clue to his
plea?

PAUL
The defendant will waive reading of
the information and stand mute.

JUDGE WEAVER
A plea of not guilty will be entered.
The case of Frederick Manion will
be placed first on the docket.
(again consulting
his docket)
People versus Peter Finnley and Lois
Green •- lewd and lascivious co--
habitation.

As the defendants, Peter and Lois, a poor shabby pair, shuffle

forward to the Judge's bench, the Sheriff mops his face in great
relief. Paul sits and Parnell leans to him.

PARNELL
(whispering)
we•ve got a real judge, Polly -- a
real honest-to-God judge.

DISSOLVE TO:

60 INT. IRON CITY RAILROAD STATION - WAITING ROOM -NIGHT

The waiting room is deserted, a telegraph key lonesomely CLICKING
.in the station master's office. Through the windows we see a train
st~ding before the station. A loaded mail cart is being pulled down
the platform, a.few trainmen are hu.~tling-about the~r .inspecti~s.
Manion a axid aeputy sheriff are stepping '.off a coach to:·me·e't ~aul. 1
Parnell and Sheriff Battisfore. There is a handshake between Paul
and Manion, a quick huddle with Sheriff Battisfore and all move
toward the door. of the waiting room. Sheriff Battisfore opens the
door, allows Paul, Parnell and Manion to enter.

SHERIFF
Can you hurry it up, Polly? Somebody
tells that judge the prisoner was
lounging around the railroad station
he 111 really give me the works.

- PAUL
Only take a minute, Sheriff.

(CONTINUED)
 77.

60 CONTINUED:

Sheriff Battisfore closes the door, remains outside with the Deputy.

PAUL
(continues)
How did it_ turn out, Lieutenant?

MANION
He said I was temporarily insane.
Paul and Parnell exchange pleased glances.

PAUL
You better give us some of the details.

MANION
(sitting on the bench)
He's writing a letter to you, but I
made some note~ on my own.
--------,----,-------------
He unfolds a piece of notepaper. Paul and Parnell stand above him.

.MANION
(continues)
The doctor's name was Smith.

PARNELL
CJ Smith? Anatole Wolfgang Smith or
Ludwig von Smith I hope. A name
like that will impress the jury.

MANION
No. Just plain Matthew Smith.
(consulting his
notes)
He said when I shot Quill I was
suffering from •••
(he p·ronounce s
it carefully)
.•••• . 1di-ssociative
. ·:-:_.
_;_., . ... .,_.·: ·reaction.'-'
·.'~ ..· ·. . ::: .
-~:··,:'
,,,_ ':.· .: '.,. .. '•

PAUL
Dissociative reaction. That sounds
good -- very good.
PARNELL
What's it mean in plain English?

MANION
(consulting his notes)
It means that I had an irresistible
impulse to shoot Quill. ~

- Paul and Parnell stare at Manion in blank shock.

(CONTINUED)
 78.
60 CONTJNUED: (2)

MANION
0 (continues; looking
from face to face)
That's okay, isn 1t it?

PAUL
What did he say about your knowing
the difference between right and wrong
when you shot Quill?

MANION
I don 1t think he said anything. Is
that important?

PAUL
(after a moment)
We better not keep the Sheriff waiting
any longer.
(he opens the door)
All right, Sheriff.
Manion, puzzled by the glum reception of his news, leaves with the
Sheriff.,

PAUL
(continues; closing
e the door)
Thanks, Sheriff.
in perpetuity.
You 1ll have my vote

Manion and Sheriff Battisfore, accompanied by the Deputy., walk past

the windows outside •- disappear. Parnell sits on a bench, gloomily
studies the floor.

PARNELL
(burps delicately)
Damn strawberry soda •

.Paul meanders aimlessly about the waiting room.

PARNELL
(continues)
You ever hear of a Michigan court
. accepting irresistible impulse as
insanity?

PAUL
Maybe we should switch to self-defense.

PARNELL
Even Mitch Lodwick would make a
monkey out of us on that.

(CONTINUED)
•
 79.

60 CONTINUED: (3)

Outside the train WHIST LES and begins to move out of the station.
0, Paul sticks a penny in a glass peanut vending machine. It doesn't
"-~--) work. He slaps it once and it works.
PAUL
(above the SOUND
of the rolling train,
holding out his cupped
hand to Parnell)
Want some peanuts?
Parnell shakes his head in the negative. Paul leans against the
wall, eating the peanuts until the train is gone.

PARNELL
Tomorrow's Saturday. We've only
four days till the trial. When do you
want to start working?
----,-----,-------------- --··· ..

PAUL
In the morning -- early.
DISSOLVE TO:

61 EXT. CHURCH IN IRON CITY - SUNDAY MORNING

The SO{JND of distant church bells over the town as the
congregation of this church streams out into the morning sun.
Women in bright hats, men in dark Sunday suits, children
scrubbed and starched~ the minister at the door shaking hands •.
Among the people coming from the church.is Judge Weaver.
He shakes hands with the· minister, puts on his hat, strides
a.way down the street toward the Courthouse.

6Z EXT. COURTHOUSE - DAY

No loiterers here o.n the lawn this Sabb;a.th morning. The Judge
.arri'V'.e&~
,car,~,~g his weight lightly, hat square on·his big
head; 'fa.::e,at,peace. ·ae -enters the deserted building~ .

63 INT. COURTHOUSE - ROTUNDA

In the high, silent rotunda the Judge crosses to the wide marble
stairs and goes up.

64 INT. UPSTAIRS' CORRIDOR - COURTHOUSE

The Judge_ arrives at the landing, turns into the. corridor, walks
along toward his chambers.

( CONTINUED)
 80.
64 CONTINUED:

He passes double swinging doors in which there are small oval

windows. Above the doors -is a sign -- LAW LIBRARY. As the
Judge passes, from inside the library there is the SOUND of a
book being snapped shut. The Judge halts and in c.uriosity
retraces his steps, pushes open one of the library's swinging doors.

65 INT. LAW LIBRARY - DAY

The law library is a tall. room with a narrow balcony, providing

access to the shelves above. Sunlight falls through high, dusty
windows. The Judge has halted just inside the doorway. From
his POV .the CAMERA SCANS a table littered with brown paper ·
sacks, a half-empty bottle of milk, several paper plates with the
remains of sandwiches, an ashtray heaped with Italian cigar butts
and maybe a dozen empty and half-empty bottles of strawberry
soda pop. The Judge lifts his gaze to the library ·balcony and from
his POV the CAMERA PANS up to the balcony. On one side of
the room, Paul is on the balcony ladder, deeply engrossed in a
heavy tome. On the other balcony across the room, Parnell is
crawling along on his knees, searching for a certain volume.
Both men are in their shirtsleeves, both need a shave. Without·
a flicker of expression, the Judge watches the two lawyers who
do not see him, so absorbed are they in their work. Silently
the Judge backs out of the room, lets the swinging door close. ·

e
.

66 INT. UPSTAIRS CORRIDOR - COURTHOUSE ··

l'he Judge peers through the small oval window in the closed
library door. He smiles a tiny smile and ambles on towards .
his chambers.

67 INT. LAW LIBRARY

Parnell on the balcony has found his book and is sitting on a stool
perusing it. The . CAMERA MOVES IN to a CLOSE SHOT.
'~s,.eyebr:ows.,begin.to lift, his.eyes to shine. · ·

PARNELL
Polly ••• POLLY!
Across the room Paul, excited, is climbing down from his perch
on the ladder. ·

PAUL
(shouting)
Parn, listen to this. Listen •••

PARNELL
(shouting)
Never mind that. Just find People
versus I>urfee, 62 Michigan 487.
Year 1886 •••
(CONTINUED)
 81.

67 CONTINUED:
PAUL
O· That 1s it. That•s what I've got - right
here in the A. L. R. !
(reading)
1The right and wrong test, though condemned
as being unscientific, is adhered to by most
of the states, but 1 • • • PARN, LISTEN TO
THIS 'BUT 1 • • • 1but the fact that one
accused of committing a crime may have
been able to comprehend the nature and
consequence of this act and to know that
it was wrong, nevertheless• ••• 1
PARNELL
Ah, that sweet, endearing word
1nevertheless~ r

PAUL
'•., nevertheless if he was forced to its
execution by an impulse which he was
powerless to control, HE WILL BE
EXCUSED FROM PUNISHMENTi• The
Michigan Supreme Court did accept ·
irresiatible impulse. It's precedent,
Parn. We're in. God bless dear old
Durfee, year 1886.
Both men come scrambling down from the balcony, meet at the
I~
littered table.
PARNELL
{grab.bing a bottle of pop)
Read some more, Polly. Let me have
it all.
PAUL
(reading)
'•~.or if he has not the power to resist
the impulse to ·do the act ••• 1
. ·_PAP..NE_L~
(takes:,a. &wig of -
,st:;~wber·ry .soda)"
By the saints, this strawberry soda pop
is beginning to. taste like good rye whiskey!
PAUL
(sits, makes notes)
Yeah - well, don't get drunk yet because
this is just a candle in the wind. We 1ve
got to convince a jury our client was
irresistibly impulsed. -
PARNELL
(sobered)
That's a fact. ·
He automatically starts to take another swig of pop, catches himself
in time and puts the bottle aside with great distaste.
DISSOLVE TO:
/.
 82.
68 INT. COURTHOUSE ROTUNDA - .DAY

o- Groups of people stand about the rotunda.

crowded,
a thrill.
mostly 'With older women, curiosity
The marble stairway is
seekers looking for
From the main entrance comes CLAUDE DANCER, a
slight man, conservatively but expensively dressed, not a man to
draw immediate attention -- but as he threads his way through the
clots of people in the rotunda and up the marble stairs the CAMERA
EXAMINES him a little more closely -- obsidian eyes, a
controlled intellectual face -- the face of a perceptive, clever
man. As he pushes up the stairs he apologizes to those he brushes
against, tips his hat to a group of ladies as he presses on.

69 . TOP OF COURTHOUSE STAIRS

Here the main doors to the courtroom are guarded by a DEPUTY

SHERIFF and here the traffic jam ends in a hubbub of protest.
In the b. g. Dancer is working his way up the stairs.

A WOMAN
That courtroom canhold another
hundred people, I know.

DEPUTY
Sorry, folks, this new judge won 1t
allow any standees. You might as
well go on home.
0 Dancer arrives, hands the Deputy a slip of paper. The Deputy
glances at the paper and opens the courtroom door.

DEPUTY
Yessir, go right in.

DANCER
(removing his hat
as he enters)
;'
,- Thank you, officer.

70 - COUR.T;ltOOM -

Dancer halts just inside the main doors as they close behind him.
From his POV we look_ across the heads of the seated spectators
to where Judge Weaver fs on his bench, questioning the jurors.

JUDGE WEAVER
Now ladies and gentlemen of the
jury, before we proceed further I
must examine you for qualifications
to sit here as jurors. Please
remember you are under oath.
 83.
71 INSIDE THE BAR

(; .,.,.-~,
...____I
I ' Judge Weaver begins to question the jury.

JUDGE WEAVER
Are all of you citizens ? Raise your
hand if you are not •
•
Dancer is coming down the aisle toward the gate.

JUDGE WEAVER
(continues)
Are any of you deaf or in poor health?
· (a mumble of ''no 1 s")
Are any of you over seventy and
wish to be excused?

A mumble of "no 1s." Dancer has entered the bar where Mitch
rises to meet him, shakes his hand, presents him with a chair
at the Prosecutor's table. ·

JUDGE WEAVER
(continues)
Have any of you served on a jury
in a Circuit Court in the last twelve
months?
(a mumble of "no•s 11)
Are any of you government or
e municipal employees and wish to
be excused?

A mumble of 11no's. 11 Parnell, who sits with Maida on the

spectators• bench· immediately behind Paul and Manion, has
seen Dancer's entrance. As the Judge's questions proceed,
Parnell takes a note pad from his pocket, scratches a note,
hands it to Maida who leans forward, passes it to Paul. Paul
scans the note. ·

72. INSERT: NO'.I'E

guy w:i.~h.
:•l~J:1-e lvJ,itch is troubl'e
shc;,oter fro·rn Attorn_ey General's
office. I've seen him in action
in Detroit. ·Lookout. 11

73 CLOSE SHOT - PAUL

He folds the note before glancing toward Mitch I s table. At

Mitch's table, Dancer looks toward Paul 1 s table and their eyes
meet. Paul turns his attention again to the business at hand --
but a little disturbed. If Mitch has called in a ringer it could
mean severe trouble. Judge Weaver has continued through this
action.' ·

(CONTINUED)
 73 CONTINUED:

JUDGE WEAVER
Axe there any Justices of the Peace
or law enforcement officers among you?
(a mumble
of "no I s 11)
Are any of you related by marriage or
blood to any law enforcement officer?
{a mumble
of "no 1s 11)
So much for qualifications. I will now
examine for cause. Do any of you
have any business pending with the
prosecuting attorney, Mitchell Lodwick?
(a mumble
of "no 1s")
Do any of you have any business pending
with Paul Biegler, attorney for the
defense?
(a mumble
.of 11no 1-s 11)
Are any of you acquainted with the
defendant sitting there on Mr. Biegler 1 s
left?
(a mumble
of "no I s 11)
Will Mrs. Laura Manion, the defendant 1 s
wife, please stand up?
From a lawyer 1s chair near Paul's table Laura rises. She is dressed
in a neat, mousy suit with a Peter Pan collar. She wears almost no
make-up. Her blonde tresses are coifed underneath a respectable hat
and she wears horn•rimmed glasses.

JUDGE WEAVER
(continues)
Do any of you know Mrs. Manion?
(a mumble
..
,.
of ''no-1.s'')
.Thank you, Mrs.· Manion. You may
·. be ,seated. . ·

Laura sits rather stiffly and surreptitiously inches her hand down along
her thigh, gives her girdle a jerk, glares at Paul as he bites off a
grin. Judge Weaver has continued.

JUDGE WEAVER
(continues)
Were any of you intimately acquainted
with the deceased l3arney _Quill of
Thunder Bay, Michigan?
(a mumble
of "no• s 11)
____
Ci,__
_ ------------~C~o=un=s~e=l~ma= _y_c_hallenge_the_jur...y____ _
(CONTINUED)
 85.

73 CONTINUED: (2)

MITCH
(rises)
Your Honor, before counsel 1s challenge,
may I introduce Mr. Claude Dancer to
the Court. Mr. Dancer is an assistant
Attorney General from Lansing. Because
of the peculiar nature of this case, I
requested the Attorney General to
allow Mr. Dancer to sit in with the
Prosecution,

JUDGE WEAVER
Your reputation precedes you, Mr.
Dancer. It's a privilege to have you
in my Court.

DANCER
(rising)
Thank you, Your Honor -- I'm sure
it will be instructive •
•
· · --·- · ··----- ·· -·--· · --JUDGE WEAVER
Do any of you jurors have any business
pending before the Attorney General 1 s
office?
(a mumble
of 11no 1s")
Then we will proceed with the challenge
for cause. Yours first, Mr. Prosecutor.

Mitch rises with a list of the jurors in hand.

MITCH
Frank Edmonds •• Mr. Edmonds, did
you serve in the armed forces ••• ?
DISSOLVE TO:

-.:74 - INT~:,Jun:oEts,:cHA~ERS.'~ DAY

Judge Weaver ente_rs, followed by Paul, Mitch and Dancer.
·,
JUDGE WEAVER
(going to his desk)
I must apo1ogize for my disparaging
remarks about the Upper Peninsula
and its customs. I have rarely seen
a murder jury selected and sworn in
only half a day. You have won my
heart completely, gentlemen. Now,
Mr. Dancer, you asked for this recess.
I s on your mind?
a What
' .
V
(CONTINUED)
 86.
74 CONTINUED:

C,-..
./
The Judge 1s shrewd eyes move from Paul to Dancert
these two men are the real adversaries in the case •
knowing that

DANCER .
There is a little suggestion I wanted
to make.

JUDGE WEAVER
By all means.

DANCER
Since the defense plea is insanity, the
prosecution has retained a psychiatrist.
Under the statutes we have a right to
petition for a mental examination of
the defendant by our own doctor. Are
you familiar with the statute, Mr. Biegler?

PAUL
Moderately.

DANCER
It would delay things to file a formal
petition. Why don't we get together
and informally agree to ask his honor
for ari adjournment -- just for a day
or so, and let our doctor visit with
the defendant. It will save everybody
time, don't you think, Mr. Biegler?·
1
Judge Weaver s eyes dart to Paul as a tennis fan following a fast
hit ball.

PAUL
(eyes twinkling)
11m sure it would. · .

The Judge's eyes bounce to Dance_r. -i

DANCER
Good.

PAUL
But suppose you go ahead and file
the ·formal petition anyway. Of course,
you 1re a little late, but maybe his
honor will overlook that - and then
I 1d sort of like the jury to see that
you think our insanity plea has
some merit.

a (CONTINUED)
'..»I
 74 CONTINUED: (2)

o-· There's
DANCER'
really no need for our doctor
to examine your client. Naturally
I was only following the usual procedure.

PAUL
Naturally. I'm all for it.

JUDGE WEAVER
Do you wish to file the petition or not,
Mr. Dancer?

MITCH
I think we ought to •••

DANCER
(cutting him off)
It won 1t be necessary.

MITCH
(changing tune)
That 1s right, it isn't necessary at all.
Dancer smiles at Paul, seeming to be pleased that he is opposed by a
mind perhaps as sharp as his own.

JUDGE WEAVER
(rising, shaking
out his robe)
Skirmish over. Shall we now join on
the field of battle ?

DISSOLVE TO:

75 INT. COURTROOM - DAY

The trial is under way, the. courtroom quiet that all may catch the
· testi~ony o~ the witnesses. Par:nell and Mai~-a.re in their place .
i·
oon·;.tlie;fr~J#<be1u::li, :Lallra' _i1ftlie '.la.Wyer•~ ~P@.,~i~
proaec~ion .tabl~,, im.pe·rturbabie
P~*er. c1t the
but aiert~ 'Mite~ h1 oh his feet,
I .
I
l,1
examin4lg.DO'CTOR. RASCHID w~o, because of·many such
experiences, is at home in-the witness box. Judge Weaver. reclines
in ~s chair, eyeglasses ·pushed up on: his forehead. As the
questioning proceeds; the· J'udg.e is attracted to Paul who does not
seem to be paying any attention to the proceedings but is fiddling
around, manufacturing an angling lure from_ material in his pocket.
He is binding several small fish hooks together with a piece of red
flannel. The Judge drops his glasses down to better see what Paul
is doing and the CAMERA MOVES IN on Paul's hands# then to a
CLOSE UP of Judge Weaver, interested and rather amused. • OVER
THIS Mitch 1s direct examination of Dr. Raschid.
a
':;;J;J (CONTINUED}
 88.
75 CONTINUED:

MITCH
Dr. Raschid, did you perform an
autopsy on the body of one Barney
Quill?

RASCHID
I did -• on the night of August
seventeenth in the Saint Francis
Hospital of this city.

MITCH
Were you able to determine the cause
of death?

Raschid takes out and unfolds several sheets of typewritten paper.

PAUL
(without rising)
The defense will accept a summary
of the report.

MITCH
People agree, your honor.

JUDGE WEAVER
The witness will state the· necessary

e facts.

RASCHID
The body of Quill had sustained five
gunshot wounds. One of the bullets
had passed through the heart. Death
in my opinion was almost instantaneous
and was directly caused by this wound.

MITCH
~y l have your detailed report?

Raschid hands Mitch the report.

MITCH
(continues; giving a
copy to the COURT
REPORTER)
I ask that t]µ.s .report be marked
People I s Exhibit One for identification.

JUDGE WEAVER
So received and marked.

MITCH
(passing a copy
to Paul)
The People hand the defense a copy
of the report.
(CONTINUED)
 89.
75 CONTINUED: (2)
JUDGE WEAVER
0 So noted.

MITCH
Counsel may cross-examine.
Paul places the unfinished lure between the pages of a single lawbook
on the table before him and, perusing the doctor's report, he rises.

PAUL
Dr. Raschid, your primary purpose
was to ascertain the cause of death,
was it net?

RASCHID
Yes.
PAUL
Yet I see by your report that you
checked to determine whether
spermatogene sis was occurring in
the body of the deceased at the time
of death.

MITCH
Objection, Your Honor -- the People
have called this witness only·to show
cause of death.

PAUL
Your Honor, the entire report has
been entered as evidence and the
report contains this information
about spermatogenesis~

'
JUDGE WEAVER
,;, Overruled, Mr. Lodwick. Take the
answer.
R.ASCHll>
..
Yes, I made that examinati~n on the
deceased.

PAUL
Will you tell the Court your findings?

RASCHID
Spermatogenesis was occurring at
the time of death.

PAUL
In other words, the deceased, in life,
was not sterile -- he could produce
children? Is that correct, Doctor?
(CONTINUED)
 90.
75 CONTINUED: (3)

RASCHID
That is correct.

PAUL
Now. Doctor, if a woman says she's
had intercourse with a certain man
and this man is proved fertile yet no
evidence is found in the woman's body,
couldn't a lawyer-- say a prosecuting
attorney- - use this as evidence that
the woman is lying?

MITCH
Your Honor, I object to this line of
questioning, We 1re not concerned
here with whether or not there's been
relations between a ~ and a woman.

PAUL
Since an examination for spermatogenesis
was made, certainly we're entitled to
know why.

JUDGE WEA VER

Objection overruled. Take the answer.
~ RASCHID
u Yes, prosecution could use that--
t4ough certainly it would not be
conclusive that she was lying.

PAUL
Why not?

-RASCHID
Well, there could be several reasons
why the test on her was negative-·the use
of a contraceptive or perhaps there
was no coinplet~on on. the part of the man.
'PAUL .
In this post-mortem were you also
asked to determine whether or not
the deceased had had a sexual climax
shortly before his death?

RASCHID
No.

PAUL
Could you have made such a determination?
,Q RASCHID
~
Yes.

(CONTINUED}
 91.

75 CONTINUED: (4)

o-· PAUL
Then you were only asked to make such
examination as might be useful to the
prosecution, but none which might help
the defense, although such evidence might
have existed?

RASCHID
Well, yes --

DANCER
I object, Your Honor. The question
is argumentative. Counsel for the
defense is trying to impugn the intent
of the representatives of the People.

JUDGE· WEA VER

Mr. Biegler, you're aware that the
I
question is highly improper.
: I
I
PAU!~
I'll withdraw the ques'..:ion and apologize,
Your Honor.

JUDGE WEAVER
Question and answer will be stricken
and jury will disregard,

PAUL
That's all the questtons I have.

MITCH
No re-direct.

Paul returns to his table, glances at Parnell and Parnell executes

a concealed winner I s grip.
'
·;. I

1I , I MANION j
;
l.
(whispering to Palil) .
How can a jury disregard something l
j j
they've already heard?·
: I

-
PAUL
(takes his lure
from the la wbook,
works on it)
They can't Lieutenant -- They can't.

MANION
(whispering)
I think you're a shyster, Mr. Biegler.
(CONTINUED)
 92.
75 CONTINUED: (5)

PAUL
(whispering)
You've unmasked me, Lieutenant.

While this exchange between Parnell, Manion and Paul has been going
on, in the b. g. a new witness, one LLOYD BURKE has been called
and sworn. Now Mitch takes up the examination of Uoyd Burke.

MITCH
Mr. Bu.rke1 will you state your
profession please?

BURKE
11m a. commercial photographer.

MITCH
Were you called upon by the police to
take photographs of the body of the
deceased Bernard Quill before he was
removed from t-1le scene of death?

BURKE
Yessir, I was.

Mitch takes a half a dozen 8 x l O photographs from his table and

approaches the witness.
e MITCH
(handing the
photographs
to Burke) .
Were these photographs of the.
deceased made by you?

BURKE
(looking at the
pictures)
They were.·

Mitch takes the photographs to the Court Reporter's table.

MITCH
The reporter will please mark these
photographs People's Exhibit 2A to
2.F inclusive for identification.
Photographs are tendered to the
defense for examination and the
People move tl;Leir admission as
evidence. Your witness.

PAUL
· No questions and no objection.

But Laura suddenly leans £9rward and whispers to Paul.

(CONTINUED)
 93.
75 CONTINUED: (6)

PAUL
(continues).
Just a moment, Mr. Burke.
Burke sits again in the witness box. Paul gets the photographs,
looks them over.

PAUL
(continues)
Mr. Burke, were the photographs
offered here in evidence the only
photographs you took that night?

BURKE
No.
PAUL
I suppose the others didn 1t turn out,
was that it?

BURKE
(a little offended)
All my pictures turn out.

PAUL
Did you give these othe.r photographs
e to the police?

BURKE
Yes, sir, I did.

PAUL
Well, what were they, Mr. Burke --
just some side shots, maybe of the
moon or of a black bear· scavenging
the Thunder Bay dump?
MITCH
Your.Honor, I object. I can't see
how other photographs are relevant.
The photographs in evidence were
introduced to show that the deceased
met with a violent death.

PAUL
Your Honor, I would think that any
photographs· pertaining to the case
would be relevant.

. JUDGE WEAVER
The point is good, Mr. Biegler.
Continue.
~
V
(CONTINUED)
 94.
75 CONTINUED: (7)

o·-- PAUL
What were the other photographs of,
Mr. Burke?

BURKE
Lieutenant Manion I s wile.

PAUL
You mean these photographs showed
how she looked on that night after
Barney Quill was killed?

BURKE
Yes.

DANCER
Your Honor, how Mrs. Manion looked
is irrelevant. No evidence has been
introduced to connect Mrs. Manion 1s
appearance to the charge of murder.

JUDGE WEAVER
Sustained.

PAUL
The photographs can be entered, Your
Honor. I just wanted to be sure that
the prosecution was not withholding
evidence.

MITCH
(angry)
Now look here -- I protest. The defense.
attorney's persistent attack on the
motives of the prosecution •••

JUDGE WEAVER
(cutting him off)
The jury will disregard the. remark
~de by th.e attorneyfor._the d,efen.se.
There is no ·reason to believe that .
the prosecution ~as not acted in good
faith. .

PAUL
My apologies to the prosecution and
to the Court, but Your Honor, as long
as protests are being made, I would
like to make a protest myself. I 1m
willing to take on these two legal giants
any time, any place., but in common
fairness it ought to be one at a time.
~ I don 1t want both of them pitching
~
knuckle balls at me at the same time.

(CONTINUED)
 95.
75 CONTINUED: (8)

C;· A couple of enrapt jurors nod in agreement.

movement and his eyes twinkle.
The J'udge catches the

JUDGE WEAVER
Mr. Biegler, you seem to be batting
a thousand with a bat in each hand,
but your point is well taken. Whichever
attorney opens with the witness, he
alone shall continue with that witness
until the witness is excused.

PAUL
Thanks, Your Honor.

JUDGE
Have you finished with this witness,
Mr. Biegler?

PAUL
No more questions.

MITCH
No questions.

JUDGE WEAVER
Witness may step down. It 1s five
e o1clock and we have had a full day.
I will admonish the jury that they
must not discuss this case among
themselves, with their families,
friends or anyone else. The Court
is adjourned until nine a, m. ·tomorrow
morning.
He raps his gavel and steps down to his chambers, followed by the
Court Clerk. The Sheriff, "Hear ye - hear ye - this honorable Court
is adjourned until nine a. m. tomorrow morning. 11 Immediately
newspaper photographers are inside the bar, flash bulbs popping,
. catching·pict;ures of all participants, of Laura, Manion and of Mitch,
who poses readily,
DISSOLVE TO:

76 INT. COURTHOUSE - TOP OF STAIRS - MORNING

Paul, standing inside at the top of the stairs, his single lawbook under
his arm, watching the spectators crowd up the stairs and into the
courtroom. The Deputy at the door keeps repeating "Move slowly, 11
1
"Don t rush, 11
"Take it easy, folks. " Maida is in the crush on the
stairs, literally being pushed upward. She reaches the landing and
manages to slip out .of the mob to Paul.
(CONTINUED)
 96.
7 I
'

76 CONTINUED:

MAIDA
( straightening
her hat)
We're drawing well today, aren't we?

PAUL
1
Where s Parnell?

MAIDA
Parnell? Why, isn 1t he here?

PAUL
No, a.nd he isn't in his rooming house
and .hasn't been there all night. You
saw him last. Where is he?

MAIDA
I promised not to tell, so don 1t ask me.

PAUL
What's the-big ·seer-et:~
---__• _____
_
MAIDA
He thinks you might worry.

PAUL
Did he fall off the wagon?
0 MAlDA
No. He's sober.

PAUL
Did he go somewhere ?

MAIDA
He did borrow my car for something
or other.

PAUL
That was smart. He hasn 1t driven
a car in twenty years~ He'll kill
himself. Where I s he going?

MAIDA
·My word is my bond.

Holding onto her hat, she steps back into the crush of spectators
and is carried on into the courtroom.
 96A
77 EXT. HIGHWAY - DAY

Maida's old car comes speeding along, wobbling on a curve,

• veering to the center, forcing another ca~ off on the shoulder.

78 INT. MAIDA'S CAR - DAY

Pa_rnell, oblivious to danger, singing a rollicking song at the top

of his lungs -- tires screeching as he comes around the curve,
· horns HONKING at him in anger. ·

-,

,i&.
~
 97.
79 EXT. HIGHWAY - DAY
Maida 1s car zigzags through frightened traffic, speeds on down the
n·
. '~.__../
highway. The CAMERA PANS to a sign on a shoulder:
1/2 MILE TO CANADIAN CUSTOMS INSPECTION ST AT ION. 11
"SLOW

80 INT. COURTROOM - DAY

The spectators are in their seats, the doors of the courtroom closed.
Manion and Laura are in their places with Paul. Maida is on the first
spectators' bench behind Paul's table. At the prosecution table sits a
stranger with Dancer and Mitch. The stranger is stooped, spare, a
grey droopy mustache, a high-domed forehead. Judge Weaver comes
from his chambers and the hall grows quiet as the Sheriff calls the
Court to order.

JUDGE WEAVER
We will again take up the case .of People
versus Frederick Manion. Is the
defense ready?

• PAUL
Yes, sir, Your Honor, but the defense
observes a third person at the prosecution
table. We wonder if the Court shares
our curiosity as to his identity.

MITCH
I was about to introduce him. Your
Honor, this gentleman is Dr. W. Gregory
Harcourt. Dr. Harcourt is the People's
psychiatrist in this case. We ask that
Dr. Harcourt be allowed to sit at our
table as an observer.

PAUL
What .do you want him to observe? --
the constellation of Taurus or the.life
and times of a bumblebee?

MITCH
To observe the defendant, of course -
as the tirelessly grandstanding defense
counsel well knows.
· PAUL
Defense has no objection, Your Honor.
I only wish to express my relief that
the new recruit is not additional legal
reinforcement from Lansing.
A titter from a couple of jurors.

e {CONTINUED)
 98 ..

80 CONTINUED:
--,
0
- JUDGE WEA VER
{rapping)
Call the first witness.

MITCH
Call Alphonse Paquette.

COURT CLERK
Alphonse Paquette come for ward.

Paquette comes from the witness bench into the enclosure, is sworn
and seated.

MITCH
State your name, please.

PAQUETTE
Alphonse Paquette.

MITCH
You work at the Thunder Bay Inn,
don 1t you, Mr. Paquette?

PAQUETTE
I'm bartender there.

MITCH
Were you working on the night
that Barney Quill was shot by
Frederick Manion?

PAQUETTE
I was.

MITCH
Were you witness to the shooting ?
·I
I
PAQU~TTE.
I was.
MITCH
Please tell us in your own words what
happened.

PAQUETTE
I was at a table by the door when
Lieutenant Manion came in.

MITCH
Did you know Lieutenant Manion by

- .sight and by name ?

(CONTINUED)
 98A
80 CONTINUED:

PAQUETTE
Yes sir.

MITCH
Go ahead.

PAQUETTE
He came in and walked over to the bar
and began to shoot. He shot Barney
when>he came up to the bar and when
Barney fell he stood up on the rail
and kept on shooting down at Barney
behind the bar. Then he stepped down
off the rail and turned around and
walked out,

MITCH
When Lieutenant Manion entered the
bar, ho:w did he appear to you?

PAQUETTE
Well, he walked slow--kind of
deliberate I guess you'd say,

(CONTINUED)
cJ

-
 990
80 CONTINUED: (2)

MITCH
Did he speak to Barney Quill?

PAQUETTE
Not a word. He just walked over and
pulled out his gun and 'bang! 1

MITCH
Then he walked out?

PAQUETTE '
Yes.

MITCH
As he walked out, how did he appear
to you?

__PAQUE=-:T~T;--=E=-:-------;:--------------
He seemed just like he did when he
walked in. Like he was the mailman
delivering the mail. He delivered it
and left.

MITCH
Did he seem excited?

PAQUETTE
Not that I could see.
MITCH
Was he trembling, maybe his hands
shaking?

PAQUETTE
Far as I could see he was as cool as
ice.

' ·. .. MITCH
Whe:a..Lieuten~ ¥,anion walked out
of the bar, what did you do?

PAQUETTE
Well, it had happened so fast that I
guess I was stunned, but then I ran
out after him.

MITCH
Did you find him outside?
·-
PAQUETTE

-
Yes, sir - he was walking away.

MITCH
Did you speak to him?
(CONTINUED)
 100.
80 CONTINUED: (3)
PAQUETTE
Yes, sir, I said, 1Lieutenant, you 1d
better not run away from this. 1

MITCH
Did he reply to you?

PAQUETTE
He said, 1Do you want some too, Buster? 1

MITCH
Was he pointing the gun at you?

PAQUETTE
Sort of.

MITCH
Can you be more specific, Mr. Paquette?

PAQUETTE
Well~ he was holding the gun in my
direction but the muzzle was low.

MITCH
. What happened then?

PAQUETTE
I\_,, I backed off and he went on.

MITCH
When he said, 'Do you want some too ,
Buster, 1 how was that expressed?
Did he shout, was it hysterical, was
he hoarse, did his voice tremble?

PAQUETTE
No, sir, he just said it cool and hard
and looked right at me •

._ .. . ;.' -:>MIT:ci-:t
-. .
Did he appear to be, as far as you
could tell, in complete possession
of his faculties?

PAQUETTE
Yes, sir, as far as I could tell.

MITCH
Your witness.

(CONTINUED)

-
 101.
80 CONTINUED: (4)

PAUL
(places his lure
between the pages of
the book and rises)
Mr. Paquette, did you see Laura Manion,
wife of Lieutenant Manion, in the bar
that night?

MITCH
Your Honor, there he goes again. This
is immaterial and irrelevant.

PAUL
The prosecution seems to be excessively
jumpy, Your Honor. I haven't gone
anywhere yet.

_ JUDGE WEAVER
-Levs-·see :where he is going before we
object, Mr. Lodwick. Proceed, Mr.
Biegler.

PAUL
Did you see Mrs. Manion in the bar?

PAQUETTE
She was there.
C.J
PAUL
Do you know when she left?

PAQUETTE
I don't remember when but she left
some time.

PAUL
Did Barney Quill leave the bar that
night?

._PAQUETTE
Yes.

PAUL
How long was he gone?

PAQUETTE
I don 1t know exactly.

PAUL
Do you remember when he returlled?

- PAQUETTE
I think he came back around midnight.

(CONTINUED)
 102.

80 CONTINUED: (5)
PAUL
Did you see him enter the bar?

PAQUETTE
Yes.
PAUL .
From which entrance did he come? .
From the lobby entrance or the outside
entrance? .
PAQUETTE
It was from the lobby.

PAUL
How did he appear to you at that time?
PAQUETTE
How do you mean?
PAUL
You understood the prosecuting attorney
very well when he asked that question.

PAQUETTE
Oh -- well, he was just old Barney,
like usual.
d
PAUL
You mean, he was just good-old• sober•
reliable• gentle• salt•of•the•earth-friend-
to-man Barney?
MITCH
Your Honor, ~hat kind of a question
is that?

PAUL·
I witll_draw the question.,. Y:our<ijonor••.
- Now, Mr. Paquette, had Barney
changed his clothes s_ince he left the
bar?
Paquette hesitates.

PAUL
(continues)
Did he have different clothing on,
Mr. Paquette?
PAQUETTE

- I don 1t remember.
{CONTINUED)
 103.
80 CONTINUED: (6)
PAUL
Might his clothes have been different
when he returned? That is, might
he have changed his clothes?

PAQUETTE
I couldn't say. I didn't notice.

PAUL
Was Barney drinking that night?

PAQUETTE
Well, he always had a few shots while
he was talking to the customers. He
was friendly.

PAUL
Good old Barney. · Now how many
shots would you say good old Barney
usually had?

PAQUETTE
I don't know exactly.

PAUL
Was he drinking more than usual that
night?

PAQUETTll::
Not to my knowledge.

PAUL
Wasn 1t he in fact pretty well loaded
that night, Mr. Paquette ?

· MITCH

:::::;:g~unk
Objection, Your Honor.
1
If the deceased
it s no defense to

JUDGE WEAVER
Sustained. I suggest you get off this,
Mr. Biegler.

PAUL
Mr. Paquette, what do you call a man
who has an insat~ble penchant for
women?

PAQUETTE

-
A what?

PAUL
Penchant ••• a de sire ••• appetite •••
passion ••• taste ••• hunger.
(CONTINUED)
. '
 104.

80 CONTINUED: (7)
PAQUETTE
Well, a ladies' man, I guess -- or
maybe just a damned fool.
A titter runs through the courtroom.

JUDGE WEAVER
(rapping his gavel)
Just answer the question, Mr. Paquette.
The attorneys will provide the wisecracks.

PAUL
· What else would you call a man like
that, Mr. Paquette ?

.I MITCH
We can't see the drift of this, Your
Honor.
P-AUL.
You mean you do see it, Mr. Lodwick.
JUDGE WEAVER
Take the answer.
PAUL
Can you think of another name, Mr.
Paquette?
PAQUETTE
Woman chaser.
PAUL
Try again.

PAQUETTE
Masher?
PAUL· . -·
Come now, Mr. Paqu~tte, mashers
went out with whalebone corsets and
hairnets. Did you ever hear the
expression 'wolf? 1
PAQUETTE
Sure. I've heard that. lt slipped
my mind.

PAUL
Naturally it would, clanking around
in there with all those rusty old

- mashers. Have you ever known a

man who could be called a wolf, Mr.
Paquette?
(CONTINUED)
 105.
80 CONTINUED: (8)
~.
(
'-.._./'
j PAQUETTE
11m not sure.

PAUL
Was Barney Quill a. wolf, Mr. Paquette?
PAQUETTE
I couldn't say.

PAUL
Or wouldn 1t.

MITCH
Objection.

JUDGE WEAVER
Sustained. The question was answered,
he couldn't say.

PAUL
Mr. Paquette, when Barney returned
from wherever he had been, did he
relieve you at the bar ?

PAQUETTE
Yes.

PAUL
What did he say when he relieved you?

PAQUETTE
He said, 11111 take over. 1

PAUL
Did he say anything else? Did he
whisper anything to you?

PAQUETTE
(lc;oking :away~ . ··
hesitating)
I don 1t remember he said anything
else.

PAUL
When you came out from behind the
bar, where did you go?

PAQUETTE
I went over to the table where the
Pedersons were sitting.

- (CONTINUED)
 106.
80 CONTINUED: (9)

PAUL
You testified that you were by the door
when Lieutenant Manion came in. Was
that the reason you were by the door,
because the Pedersons 1 table was there?

PAQUETTE
Yes.

PAUL
And how long was it before Lieutenant
Manion came in?

PAQUETTE
I don 1t know exactly -- maybe thirty
minutes.

PAUL
You remained at the Pedersons 1 table
all this time?

PAQUETTE
Yes•• they 1re friends of mine.

PAUL
Isn't there also a window by that table?

PAQUETTE
I think so.

PAUL
You think so? How long have you worked
at the Thunder Bay Inn, Mr. Paquette? -

PAQUETTE
About six or seven years.

PAUL
Well, does. that window beside that table
·so~et~s vanish and.theii:a.ppear· again?
Does it. come and go in ·a ghostly fashion?

PAQUETTE
No sir. It I s there all the time.

PAUL
Did you happen to look out of this
window while you were talking to
your f_riends?

PAQUETTE

-
I might have.

(CONTINUED)
 107~

80 CONTINUED: (10)
. ()·•. PAUL
When you were looking out of this window,
were you looking for something special?

PAQUETTE
No -- I wasn 1t looking for anything.
PAUL
Didn 1t Barney Quill tell you to go to
the window and watch for Lieutenant
Manion? ·

Paquette freezes, licks his lips nervously.

MITCH
I object, Your Honor. Counsel has gone
far afield.
JUDGE WEAVER
Perhaps so, Mr. Lodwick, but there
---- .° · see-ma--to.-be no.real ofiense. Take 'the
answer.
PAUL
Did he tell. you to watch for .Lieutenant
Manion?

PAQUETTE
He did not.
PAUL
Mr. -Paquette, Barney Quill was quite
a marksman, wasn't he, wi~ guns?
He 1d won prizes for. shooting, hadn 1t he?

PAQUETTE
I' Yes.
1

PAUL·
He was well known for his skill, wasn 1t
he? He also kept loving cups, pictures
and write•ups about his -shooting on
display behind the bar, didn't he?
PAQUETTE
Yes.
PAUL
Did he keep any guns behind the bar?

PAQUETTE
Well, he might have.
(CONTINUED}
 108.
80 CONTINUED: (11)
PAUL
Isn 1t it a fact that there ar~ three
. concealed pistol racks behind that
bar, Mr. Paquette ?

MITCH
Your honor, the defendant's plea is
one of insanity, not self•defense.

JUDGE WEAVER
I 1m sure Mr. Biegler bas not forgotten
that fact, Mr. Lodwick. Take the answer.

PAUL
Are there concealed gun racks behind
the bar?

PAQUETTE
Yes.

PAUL
How many people knew about those gun
racks?

PAQUETTE
I couldn't say.
\---,
"-....,..,1
PAUL
Isn 1t it a fact that Barney sometimes
took the pistols out of those racks,
spinnfag them on his fingers, showing
off his prowess for his customers?

PAQUETTE
I don 1t remember.

PAUL
Try to remember, did you ever see
him do thi~ yourself?,:>.
PAQUETTE.
Once or twice he did.

PAUL
That 1s all, Mr. Paquette.

MITCH
No further questions.

JUDGE WEAVER
Witness may step down.

- Call George
MITCH
Lemon.

(CONTINUED)
 109.

80 CONTINUED: (12)

As Paquette leaves the enclosure and Mr. Lemon comes in and is

sworn -- at the prosecution table, Mitch huddles with Dancer.

MITCH
(continues)
Biegler's going cf£ in all directions.
What 1s he getting at?

DANCER
I 1ve a foeling he I s afraid of what we 1ll
get at. Mr. Biegler 1 s putting up a
smoke screen for some reason.

Mitch rises to begin examination of Lemon.

WuTCH
State your name, please.

LEMON
Gecrge Lemon.

MITCH
What kind of woi-lc do you do, Mr.
Lemon? ·

LEMON
11m caretaker of the tourist park in
cj Thunder Bay. I see that the place
is clean and orderly, I check people
in and check them out and lock the
gate at night. ·

MITCH
What is your authority for these duties?

LEMON
11m paid by Mastodon township and I'm
a deputy sheriff - jus~_courtesy, sort
.of·•--:np P~Y•· · ·

MITCH
Mr. and Mrs. Frede~ick Manion Hved
in a trailer in your park, didn 1t they?

LEMON
· Yessir.

MITCH
Did you see Lieutenant Manion on
the night of the fifteenth? The night
Barney Quill was killed?

LEMON
Yes sir.

(CONTINUED)

----- --
 110.
80 CONTINUED: (13)

MITCH
Will you tell the Co~rt about how and
when you saw Lieutenant Manion?

LEMON
About one a. m. a knock on my door
waked me up. I went to the door and
Lieutenant Manion was standing there.
He said, 'You better take me, Mr.
Lemon, because I just shot Barney
Quill. ' I told him to go back to his
trailer and that I would call the State
Police.

NUTCH
How did Lieutenant Manion appear to
you when he asked you to take him?
l mean, was he trembling, excited,
frightened, or what?

LEMON
He seemed right straight forward. He
said what he had to say and then did
what I told him. There wasn't any fuss.

MITCH
Did he appear to be as far as you could
tell in complete possession of his
faculties?

LEMON
As far as I could tell, yes sir.

W.i.ITCH
Take the witness.

PAUL
.. (rising) . .
· Mr. Lemon, did you go to Manion•s
·trailer ? . .

LEMON
Yes sir.

PAUL
Did you see Mrs. Manion at the trailer?

LEMON
She was standing out side and she said,
1
Look what Barney did to me. 1
MITCH
Objection, Your Honor. Witness i.s
not answering the question. He was
asked, 'Did you see Mrs. Manion. •

(CONTINUED)

----· , --
 111.

80 CONTINUED: (14)

JUDGE WEAVER
Strike the answer and the jury will
disregard. Take the question again,
Mr. Biegler.

PAUL •
Did you see Mrs. Manion?

LEMON
.
Yes sir.

PAUL
What was her appearance?

LEMON
Well -- she was a mess.

MITCH
Objection. No evidence has been
introduced to make Mrs. Manion' s
appearance relevant to this case.

PAUL
(angry}
No evidence was introduced to make
Barney Quill's appearance relevant
but you didn 1t object to my question
then. Is that because you know that
Quill bathed and changed and cooled
off after he had raped and beat the
hell out of this poor woman?

MITCH
Your honor, everybody in this
courtroom is being tried except
Frederick Manion. I must protest
Mr. Biegler's attacks on~ ••

... . PAUL
(cutting in)
This is a cross-examin.ation in a
murder case, not a high school
debate! What are you and Dancer
trying to do? - - railroad this
soldier into the clink?

Judge Weaver is pounding with his gavel and finally the room is
quiet.

JUDGE WEAVER
Mr. Biegler, you're an experienced

- attorney and you know better than

to make such an outburst.
(MORE}

(CONTINUED)
 112.
80 CONTINUED: (15)
JUDGE WEAVER {cont 1d)
I will not tolerate intemperance of
this sort. If you once again try the
patience of this Court, I shall hold
you in contempt,

PAUL
I apologize, Your Honor. It won 1t
happen again.

JUDGE WEAVER
The witness I answer will be stricken
and the jury will disregard the
answer. Now you may proceed, Mr.
Biegler.

PAUL
Mr. Lemon, on the night Lieutenant
Manion awakened you and turned
himself in, had you been awakened
before -- ·1iad anything else disturbed
your slumbers?

LEMON
No, sir.

PAUL
There were no soldiers singing?

LEMON
No, sir, not in my park after ten
o'clock.

PAUL
There were no women screaming?

LEMON
.I
Well, those screams
·the :gate.. ' ;, < ,, ,·;' ' down
were
: : by...
MITCH
Objection, objection.

JUDGE WEAVER
I see no reason for objection yet,
Mr. Lodwick.

PAUL
Tell us about those screams, Mr.
Lemon,

- were some tourists

LEMON
I didn 1t hear 1em myself. There
from Ohio in
the park and they heard them and .
told me about it the next day.
(CONTINUED)
 113.

80 CONTINUED: (16)
-~-- JUDGE WEAVER
(-...,._.,,,,
I
Now, Mr. Lodwi,ck.

MITCH
This testimony is incompetent, hearsay --
irrelevant, immaterial, inconclusive --

PAUL
( cutting in)
That's too much for me. The witness
is yours, Mr. Lodwick.

MITCH
{caug~t in mid-air
by Paul's sudden
switch)
Huh? -- oh, no questions •

.JUDGE WEAVER
Witness may step cio'W'.]1.Call your
next witness. ___ ..• _ ·---·-..

The next witness is SERGEANT DURGO of the Michigan State Police.

As he is called and sworn, Paul, at the counsel table, whispers with
Maida over the· railing which separates them.

PAUL
When we break you 1d better phone
that Army psychiatrist. Tell him
to be here day after tomorrow.

MAIDA
Will do.

PAUL
Will·you please tell me where Parnell
has gone?

,MAIDA
Won't do.

PAUL
You're fired.

MAIDA
You can't fire me until you pay me.

Sergeant Durgo is now on the stand. He is a strong-looking, handsome

man of about forty, direct, thoughtful, hone st. Mitch takes the
direct examination.

(CONTINUED)
 114.
80 COI\l"TINUED~(17)
MITCH
State your name and your occupation,
please.

DURGO
Detective Sergeant James Durgo.
Michigan State Police.

MITCH
Were you called to Thunder Bay by
Deputy Sherifi Lemon of Thunder
Bay on the night that Barney Quill
was shot and killed?

DURGO
Yes sir, I was. My cor.q,anion
officer and I were the first to be
called in on the case.

MITCH
Sergeant Durgo, when you arrived at
the Manion trailer, who was there ?

DURGO
Lieutenant Manion and his wife were
there.
0 MITCH
What did Lieutenant Manion say to you?

DURGO
He said that his wife had had some
trouble with Barney Quill and that
he had gone to the tavern and shot
Quill. He asked us whether Quill
was dead or not and we told him he
was.

· MITCH··
How did.Lieutenant Manion take
this information?

DURGO
He didn 1t seem surprised.

MITCH
What did you do then, Sergeant
Durgo?

DURGO
I asked for the gun he had used.

(CO:r-.i"'TINUED}
 115.
80 CONTINUED: (18}

::J· .MITCH
Did you take Lieutenant Manion to
the County jail here in Iron City on
. that same night?

DURGO
Yes sir. We drove the Lieutenant
down with his wife.

MITCH
On the drive to Iron City did the
Lieutenant talk further about the
shooting?

DURGO
He remarked that i£ he had the whole
thing to do over again he would still
do it-. He also said that he had thought
about it before going to the bar and
had decided that Quill shouldn 1t be
·allowed to live.

MITCH
Through all this -- at the trailer --
the drive to Iron City, how did
Lieutenant Manion appear to you?

DURGO
He was very quiet mo st of the time
and seemed clea.r-headed.

MITCH
You would say he. was calm?

DURGO
Yes -- calm.

__
·· . MIT9~
As-.far ...as you could tell, wott,ld
you say that he was in complete
possession of his faculties?

DURGO
He seemed so to me.

MITCH
Your witness.

PAUL
Now sergeant, you testified that

-
the Lieutenant told you he had shot
· Barney Quill after he had learned
that his wife had had I some trouble 1
with Quill. Were those the words the
Lieutenant used? 'Some trouble? 1
(CONTINUED}
-- -- ..:-. - - -- - - --
 116.
80 CONTINUED: {19)

(J No sir. Those
DURGO
were my words --
not his.

PAUL
Was it your notion to come here and
use your own words?

DURGO
No sir, it was not.

PAUL
Was the suggestion made to you to
call it 'some t:rouble 1 by a person
now in this room?

DURGO
(looking toward
. Mitch)
Yessir, it was.

PAUL
Now would you please tell the Court
what words Lieutenant Manion
1
actually used to describe the 'trouble
his wife had had? ·
cJ
lvlITCH
Objection, your honor. We've been
over this before. This information
would not be relevant to any issue
before the Court.

PAUL
I
This statement concerning some
I
trouble was brought out during the
direct examination of Sergeant Durgo.
,,
'Qp to.~~~ the prosecution has adroitly
I. r,estricted all of their witnesses 1 •
testimonies where Laura Manion has
been concerned. But now the cat is
out of the bag and it I s fair game for
me to chase it.

JUDGE WEA VER

This is a sore point, Mr. Biegler,
and it's getting sorer. I'd like to
hear .what the prosecution has to say.

1'.1itch and Dancer confer for a moment. Then Mitch rises •.

- (CONTINUED}
 117.
80 CONTINUED: (20)

MI~CH
Your honor, the burden is on the
defense to prove temporary insanity
at the time of the shooting. If the
reason for the alleged insanity is
important to this case then that is
a matter for a competent witness --
an expert on the subject of the human
mind. What the defense is trying to
do is introduce some sensational
material £or the purposes of obscuring
the real issues.

PAUL
Your honor, how can the jury accurately
estimate the testimony being given here
unless they first know the reason behind
this whole trial -· why Lieutenant
Manion shot Quill? The prosecution
would like to separate the motive from
the act. That's like trying to take
the core from an apple without breaking
the skin. Well, the core of our defense.
is that the defendant rs temporary .insanity
was triggered by this so-called 'trouble'
with Quill. I beg the Court to let me
cut into the apple.

MITCH
Our objection still stands, your honor.

The courtroom is silent. All attention upon Judge Weaver. This

is why he is called judge, because alone he must decide what is
just or unjust. Judge Weaveri in deep study, takes out his watch,
winds it, the SOUND clearly heard in the silent room. He looks
at Paul, Manion, Laura, Dancer and Mitch. He looks out over the
slack-mouthed thrill seekers among the spectators and from his
POV we, too, look at all these people. Finally the judge leans
back in his ch~ir, puts his watch bc!.ck in ~s pocket.i
1 ' .:·, • , ,. •·• • • .. J : '. • ': .- .• •. •

JUDGE WEAVER
1111 take the answer.

A wave of muted excitement travels through the courtroom. Paul,

gratified and triumphant, rises to continue the cross-examination.
Mitch rises, intending to protest the judge's decision, but is stayed
by a touch on his arm from Dancer.

PAUL
Sergeant Durgo, tell the Court how
Lieutenant Manion described the

-
trouble his wife had with Barney Quill.

(CONTINUED)
 118.
80 CONTINUED: (21)

DURGO
He told us that Quill had raped his
wife. ·

PAUL
Can you recall generally what
Lieutenant Manion told you about
this rape?

DURGO
Yes sir. He said he 1d been asleep
since right after dinner and that he
was waked up by some noise --
screams he thought. That he got up
and opened the trailer door and went
outside and his wife came running
out of the dark and fell into his arms.
- ·-·---pJtMU'T"L-:-c--
-----.,.,-----------
You saw his wife in the trailer. How
did she look?

DURGO
She was a little hysterical and she 1d
been pretty badly beaten up. She
had big black bruises over her face
and arms.
\J
PAUL
Did sh~ tell you the story about the
rape and beating ?

DURGO
She did.

PAUL
Did she take you to the place where
it had happened?

.DUR.GO
Yes sir. The next morning. ··.

. PAUL
Did you find anything there -- any
sort of evidence pertaining to what
Mrs. Manion hacl told you?

DURGO
On the lane in the woods we found
some tire tracks and some dog tracks
and a glasses case with some horn•

- rimmed glasses inside.

(MORE)

{CONTINUED)
 119.
80 CONTINUED: (22)

(~---. DURGO (cont 1d)

__,,
..___
We also looked £or a -- uh -- a. certain
undergarment of Mrs. Manion 1s, but
1
we didn t find it.

JUDGE WEA VER

Will the attorneys from both sides
approach the bench please ?

Paul1 Dancer and Mitch come to the Judge I s bench. The Judge
leans over to look down at them and their conversation is conducted
in a low monotone.

JUDGE WEAVER
(continues)
Mr. Biegler, you finally got your
rape into the case and I think all
the details should be made very
clear to the jury. Do you agree,
Mr. Lodwick'(

MITCH
Absolutely.

JUDGE WEAVER
What exactly was the undergarment
just referred to?

PAUL
Panties, your honor.

JUDGE WEAVER
Do you expect this subject to come
up again?

PAUL
Yes sir.
j;i' . JUD.GE· ..WEAVER
~ I
There 1s a certain lightconnotation
attached to the word 'panties. 1
Can we find another name for them?

MITCH
I never heard my wife call 1em

anything else.

JUDGE WEAVER
Mr. Biegler?

PAUL

- I'm a bachelor, your honor.

(CONTINUED)

I
_J
 120.
80 CONTINUED: (23)
JUDGE WEAVER
That 1s a great help. Mr. Dancer?

DANCER
When I was overseas during the war,
Your Honor, I learned a French word
but it might be slightly suggestive.

JUDGE WEAVER
Most French words are. All right,
go back to your places.

The attorneys return to their tables.

JUDGE WEAVER
(continues)
For the benefit of the jury, but more
especially for the spectators, the
-~------,---------- _ undergarment referred to in the
· testimony was, to be exact, Mrs.
Manion's panties.

A snicker goes through the room:. Judge Weaver waits for quiet
again.

JUDGE WEAVER
(continues)
I wanted you to get your snickering
over and done with. This pair of
panties will be mentioned again in
the course of the trial and when that
happens there will not be one laugh,
one snicker, one giggle or even one
smirk, in my courtroom. There isn't
anything comic about a pair of panties
which figure in the violent death of
one man and in the possible incarceration
of another •

.A·long.pause~ :a pin drop can.·be heard.

JUDGE WEAVER
(continues)
Proceed, Mr. Biegler.

PAUL
Sergeant, did you further investigate
Mrs. Manion's story?

DURGO
Yessir. I asked a lot of questions --

-
like did anyone hear the screams from
up by the gate that night. We found
some people in the tourist park who
had heard the screams.
(CONTINUED)
 121.
80 CONTINUED: (2.4)

PAUL
(J Go ahead. What else
your investigation?
did you do in

DURGO
I made Mrs. Manion tell her story
several times.

PAUL
I suppose you were looking for
variance in her story?

DURGO
Yessir, but there wasn't any.

PAUL
Did you give Mrs. Manion a lie-
detector test?

MITCH
Objection. A polygraph test is
inadmissible evidence in our courts.

PAUL
I only asked if he gave a test.
I didn't ask the results.

JUDGE WEAVER
Take the answer.

DUROO
I gave her a lie-detector test at
her request.

PAUL
Now after all this investigation,
did you believe Mrs. Manion?

PURGO
I did.

PAUL
Even aiter the lie-detector test?

DURGO
Yes sir.

MITCH
Your .~onor, I object to that question
and answer. It constitutes flagrant,
sneaking subterfuge on the part of

-
the defense counsel.

(CONTINUED)
 122.
80 CONTINUED: (25)

JUDGE WEAVER
(J Objection sustained. Ladies and
gentlemen of the jury, a polygraph
or lie-detector test is not admissible
evidence because no one has ever been
sure but what some people can lie
even to a lie-detector and get away
with it. Go ahead with your field day,
Mr. Biegler,

PAUL
(a half-grin)
Thank you, Your Honor. But in any
case, Sergeant Durgo, you yourself
in your heart and mind were quite
convinced of Mrs. Manion 1s honesty.

DURGO
Yes sir.

PAUL
That's all.

MITCH
Just a moment.

He and Dancer are conferring -- Mitch nodding to what Dancer is

saying. Mitch rises. ·

MITCH
(continues)
Sergeant Durgo, did you look for the
panties elsewhere than the lane in
the woods?

. DURGO
We looked in Barney Quill's car and
his room in the hotel. We couldn't
find the panties.

MITCH
Do you know why.Mrs. Manion
requested a lie-detector test?

DURGO
I know what she said.

MITCH
What was that?

DURGO
She said she wanted everybody to

- believe her story because she knew

it would help her husband.

( CONTINUED)
 123.
80 CONTINUED: (Z6)

(J -~ MITCH
That was the only reason she gave?

DURGO
I don 1t remember anything else.
She said sh,e had already sworn to
her husband and she wanted everybody
else to believe it, too.

Dancer is riveted. Paul's face is tight. Laura 1 s lips are open,

t:-emulous. Maida compulsively closes her eyes. Dancer rises
and whispers to Mitch.

MITCH
Sergeant Durgo, did Mrs. Manion tell
you how she had sworn to her husband?

DURGO
Yessir. She said she had sworn on
a rosary.

MITCH
A moment, your honor.
(he again confers with
Dancer and returns to
the witness)
1---,
. \,__,.I
Sergeant, · this lane in the woods --
what is it used for -- where does
it go?

DURGO
It used to be a logging road --
doesn't go any place -- it just stops.

MITCH
Who uses it now?

.DURGO_ .
I think it's a road that kids. drive.
do~n t:o park. .. . .

MITCH
You mean, it's a lovers' lane.

DURGO
I think so, yes sir.

MITCH
The witness is yours, Mr. Biegler.

PAUL

- No questions.

{CONTINUED)
 124.
80 CONTINUED: {27)

JUDuE
Witness may step down.

Paul glances at Dancer. Dancer smiles and nods as if to say,

11
Yes, I've caught ori. 11

MITCH
In view of the evidence concerning
rape which your honor has ruled
admissible, the prosecution asks
for a thirty minute recess in order
to bring in another witness whom we
had not anticipated using.

JUDGE WEAVER
Can you get the witness in that length
of time?

MITCH
Yes sir.

JUDGE WEAVER
Very well. The Court is recessed for
thirty minutes.

In the general hubbub of recess, Paul turns to Laura and Manion.

CJ PAUL
Why didn't you tell me about that
rosary? -

MANION
We forgot it.

LAURA
We didn't for get it. Manny said
maybe we ought not to tell that
again.

.. . MANION ....
It might have looked iike something
else -- like I didn't believe her.

PAUL
How much more didn't you tell me?

MANION
Everything else. We told you
everything else. ·

PAUL
Is that right, Laura?

(CONTINUED)
 125.
80 CONTINUED: (28)

LAURA
{a hesitation, a
glance at Manion)
Yes, everything else.

PAUL
Well, the fat 1s in the fire now. Get
this -- both of you. When you get on
the stand I want you to tell the truth.
Don 1t tell anything but the truth. Don 1t
1
try to lie, don t try to conceal or
you 111 be skinned alive. Dancer I s
going to start moving in.

DISSOLVE TO:

81 INT. COURTROOM - DAY

DR. DOMPIERRE is _on the stand. A pleasant faced, be spectacled

bald-headed little doctor. Dancer is examining.

DANCER
Doctor, did you have occasion to come
to the county jail on the night of August
the fifteenth of this year?

DOMPIERRE
I did,

DANCER
Who called you to the jail?

DOMPIERRE
The police authorities.

DANCER
What did they want you to do?

. . .. . DOMPIERRE
. :They wanted~:rne•to ciake a test.for
the presence of sperm on the person
of a Mrs. Frederick Manion. I made
the test.

.DANCER
In making this test, what was your
conclusion?

DOMPIERRE
Negative. There was none.

DANCER
Your witness, Mr. Biegler.

( CONTINUED)
 126.
81 CONTINUED:

PAUL
Doctor, in making your test, did you
notice any bruises or marks on
Mrs. Manion at that time ?

DOMPIERRE
I did.

PAUL
Were you asked to determine the
reason for these bruises? •

DOMPIERRE
I was not.

PAUL
Where did you do the laboratory work
on the test for sperm?

DOMPIERRE
1
• Saint Margaret s Hospital in this
·· - - ··· ----city,--. ·

PAUL
Who worked the slides up for you?

. DO.MPIERRE
A technician at the hospital.

PAUL
What kind of a technician?

DOMPIERRE
Oh, X-Ray -- like that.

PAUL
Was he a pathologist or an expert
in laboratory work having to do with
h\Ul;lall re:product;~n? _
~()MPIE:B.RE
He was just a technician.

PAUL
Wouldn't it have been better to
have these·slides worked up by a
pathologist or an expert in this
field?

DOMPIERRE
Yes, but the police were in a hurry

-
and I knew this young fellow came on
at seven in the morning.

(CONTINUED)
 127.
81 CONTINUED: (2)

PAUL
(\_· Wouldn't it have been especially better
'-~)· to wait for an expert if the possible
question of rape hung on the result?

DOMPIERRE
It would have been.

PAUL
Now, Doctor, in the newspaper on the
evening of August sixteen it was stated
that you had found no evidence of rape.
Is that true?

DOMPIERRE
It is not true. I made no such statement.

PAUL
Did you form an opinion about whether
Mrs. Manion had been raped?

DOMPIERRE
No, sir.

PAUL
Why didn 1t you form an· opinion?

DOMPIERRE
CJ It I s impossible to tell if a mature
married woman has been raped.

PAUL
No further questions.

DANCER
Doctor, did you have an opinion about
whether or not she had any recent
relations with a man?

DOMPIERRE
··Yes.

DANCER
State your opinion.

DOMPIERRE
Insofar as no sperm was present, it
didn't appear that she had.had recent
relations with a man.

DANCER
That's all.

- (CONTINUED)
 128.
81 CONTINUED: (3)

PAUL
One more question, Doctor. That no
evidence was present in her body does
not mean she wasn 1t raped, does it?

DOMPIERRE
No.

PAUL
Do you know what constitutes rape under
the law?

DOMPIERRE
Yes, sir. Violation is sufficient for
rape. There need not be a completion.

PAUL
No more questions.

JUDGE WEAVER
Witness may step down.

DANCER
The People recall Alphonse Paquette
to. the stand.

Paquette comes .forward.

JUDGE WEAVER
You 1re still under oath, Mr. Paquette.
Paquette goes to the witness box.

' . DANCER
Your Honor, since counsel for the
defense has forced the question of
rape, it becomes necessary to take
this additional testimony from Mr.
Paquette.
... •. (to Paquette)"
_Mr.Paquette, will you take a look
at Mrs. Manion, sitting there at
the defense table? Was she dressed
in this manner on the night of the
shooting?

PAQUETTE
No.

DANCER
How was she dressed that night?

- (CONTINUED)
 129,

81 CONTINUED: (4)

PAQUETTE
(J- I recollect she had on a real tight
skirt and a sweater-kind-of-thing
sort of glued on. She was wearing a
pair of red shoes with high heels •••

DANCER
Was she wearing hose?

PAQUETTE
No, she was bare-legged.

DANCER
Was she wearing a hat?

PAQUETTE
No.

Three women on the jury, three nice respectable matrons,-- ha-vi=-------

gotten a pinched look about their faces.

DANCER
Mr. Paquette, what kind of hair does
Mrs. Manion have under that hat?

PAUL
we•n be glad to show the Court Mrs.
d Manion 1s hair. Mrs. Manion, will
you take off your· hat, please?

Laura jerks her hat of!, pulls a couple of hairpins and disdainfully
-shakes oU:t her glamorous tresses.

DANCER
Thank you, Counselor. Mr. Paquette,
was she wearing glasses that night?

PAQUETTE
I think _she -was -whe_~ i1he played
-pm -
- • b- a11.·· - - -- - -

DANCER
Considering the tight skirt and the
tight sweater and the bare legs, what
was the result in her appearance ?

PAQUETTE
- Well •••••

DANCER
Would you say Mrs. Manion 1 s appearance
on that night was deliberately voluptuous
and enticing?

(CONTINUED)
 130.

81 CONTINUED: (5)
PAQUETTE
C)·
'---.., Well, you could pretty much see
everything she had.

PAUL
Your Honor, defense will concede
that Mrs. Manion when dressed
informally is an astonishingly
beautiful woman. As a matter of
fact, it's pretty easy to understand
why her husband became temporarily
· deranged when he saw such beauty
bruised and torn by a beast.

Judge Weaver blows his nose to keep from laughing.

DANCER
Your Honor, I protest. Mr. Biegler
is perhaps the least disciplined and
the most completely out-of-order
attorney I've ever seen in a courtroom.

A laugh goes through the courtroom.

JUDGE WEAVER
(rapping)
Jury will ignore Mr. _Biegler 1s oration.
0
DANCER
Was Mrs. Manion drinking heavily
that night?

PAQUETTE
Well, I sold her six drinks myself
and Barney came over and got some
more for her •. I don't remember
how many.

DANCER f
i
• -Would you say that Mrs. Manion was .. I
tight?

PAQUETTE
She was high all right.

DANCER
What did she do to make you think
she was high?

(CONTINUED)

-
 131.
81 CONTINUED: (6)
PAQUETTE
She took off her shoes and went
bare-footed and when she played
pinball she would kind of swish
around to give the machine english.

DANCER
You mean she was flipping her hips
around?

PAQUETTE
Yes.

DANCER
Anything else?

PAQUETTE
When she 1d made a good sc:ore she
jumped up and down and -squealed-- --- --
like women do. -

DANCER
She was playing pinball with Barney
Quill, wasn 1t she?

PAQUETTE
\~ Yes sir.

DANCER
What was her attitude toward Barney
Quill?

PAQUETTE
Friendly, I guess you could call it.

DANCER
More than friendly perhaps?
. .. . ..
PAQUETTE
· l thought so.

DANCER
Why did you think so?

PAQUETTE
She would kind of lean on him and
a couple of times she bumped him
with her hip.

At the defense table Manion is pale and strained. Laura holds

her lip between her teeth.

- (CONTINUED)
 132.
81 CONTINUED: (7)

DANCER
Would you say Mrs. Manion was
making a play for Barney Quill?

PAUL
Objection. That calls for an
assumption on the part of the
witness, your honor.

DANCER
I withdraw the question. Would you
say that Mrs. Manion was free and
easy with Barney Quill?

PAQUETTE
I would.

DANCER
Your witness, Mr. Biegler.

PAUL
(rising)
Mr. Paquette, the attorney for the
People asked you if Mrs. Manion
was. tight and you said she was high.
Speaking as a. bartender, what is
the distinction between the tw~?
d
PAQUETTE
I don't think I understand.

PAUL
When we say a per son is tight we
usually mean they're a little stupid
with drink, isn •t that right?

PAQUETTE
I guess that's about it~ yes •
..···.PA.UL
But if they 1re high they're gay and
enjoying themselves?

PAQUETTE
Yes.

PAUL
So in other words, Mrs. Manion
was happy. Now is there anything
wrong with being happy in the
Thunder Bay Inn?

- No.
PAQUETTE

(CONTINUED)
 133.
81 CONTINUED: (8)
PAUL
Thunder Bay itself is a resort, isn't
it? Swimming, fishing, that sort
of thing.

PAQUETTE
Yes.

PAUL
Is it unusual to see a bare-footed
woman in Thunder Bay? •

PAQUETTE
No.

PAUL
So Mrs. Manion taking off her shoes
-·
in Thllllder Bay doesn 1t necessarily
-------- mean that she was being unladylike,
does it?

PAQUETTE
I ·guess not.

PAUL
Yes or no.
d PAQUETTE
No.

PAUL
You testified that Mrs. Manion was
squealing, jumping up and down and
swishing her hips at the pinball
machine. Was she· creating a
disturbance, was she attracting
a crowd?

.PAQUETTE
No,

PAUL .
Were all of the men in the bar
standing around ~atcbing Mrs. Manion?

PAQUETTE
No.

PAUL
But you were conscious of Mrs. Manion,
enough so that you can tell us how she

- acted.

(CONTINUED)
 134 ..
81 CONTINUED: (9)

(J-. PAQUETTE
Yes.

PAUL
And certainly Barney Quill was
conscious· of Mrs. Manion, because ·
he was playing pinball with her.
Wouldn't you say so?

PAQUETTE
Yes.

PAUL
So it seems that· only you and Barney
Quill were acutely aware of Mrs.
Manion and her actions and appearance.
Perhaps Barney, when he came to
get some drinks, perhaps he winked
and said, 'Alphonse, I'm going to
take this babe out- and rape: her. t

. PAQUETTE
(angry)
No, no he didn 1t!

PAUL
{boring in -- raising
his voice)
And maybe you said, 1Do it once for
me.•
The courtroom is rumbling.

DANCER
( shouting --
simultaneously
with Paul)
Objection, objection.. 'l'hose aren't
questions • Col:lllse~ ia:1attacking the
. witne$s:. •· . ·1'· .. . • • :· .

PAUL
(contemptuously)
No more questions.

JUDGE WEAVER
(restoring order)
The Court has had about all of this
dogfight it can take for one day. And
I'm sure the jury is immensely
confused, tired and hungry.

- (CONTINUED)
 135.

81 CONTINUED: (10)

MITCH
()- Your Honor, that was the last of the
- ,.___,,
I
People 1 s witnesses.

JUDGE WEAVER
Very well, Mr. Lodwick. Tomorrow
the defense will take over and, with
expedition, prayer and a little self·
discipline on part of counsel, perhaps
we can reach an end by Saturday night •.
The Court stands adjourned until
nine tomorrow morning,

DISSOLVE TO:_

82 EXT. MAIDA'S CAR - RAlNY NIGHT

SHOOTING through the windshield, wipers frantically swiping at the

heavy rainl' Parnell behind the wheel.

83 INT. MAIDA 1S CAR - RAINY NIGHT

Parnell is in need of a shave and a clean shirt. He is dog-tired,

trying to stay awake as he drives.

84 POV THROUGH WINDSHIELD

Through the wet glass the road curves ahead.

85 CLOSE UP - PARNELL

His eyelids drooping and closing.

86 POV THROUGH
. . .
WINDSHIELD ..
' . .

A big truck comes barreling around the curve. The hood of Maida 1s
car is wobbling into the center of the road.

87 CLOSE UP - PARNELL

The approaching lights of the truck flash in his face, awaken him from
his doze and he turns the car back into its proper lane. The truck
roars past, claxon horn SOUNDING angrily.

-
88 POV THROUGH WINDSHIELD

The highway stretches straight ahead into the night. The windshield
wipers slap in a deadly lullaby. ·
 136.

89 CLOSE UP - PARNELL

The SOUND of the wipers over -- his eyelids are drooping again and
finally close. ·

90 POV THROUGH WINDSHIELD

A curve ahead and a side road running straight off at the beginning of
the curve. A barnyard gate closes the side road. A barn looms behind
the gate. The hood of the car does not turn into the curve but rushes
at the gate, crashes through.

DISSOLVE TO:

91 INT. HOSPITAL CORRIDOR - NIGHT

Sheriff Battisfore and an INTERNE are talking quietly in the deserted
dimly lighted corridor. The elevator door opens and Paul arrives in
wet raincoat, hat dripping. He hurries to Battisfore and the Interne.

PAUL
Ho\y is he, Sheriff?

SHERIFF
The doctor here says he 1s all right.

INTERNE
\-----,
(opening the door to
0 a hospital room)
He's banged up a little but there
doesn 1t seem to be anything else.
We 1d like to watch him for a day or so.

Paul, the Sheriff and the Interne enter the room.

92 INT. HOSPITAL ROOM - NIGHI'

There are several beds in the room and in one of them lies Parnell,
a s.!:i:ip;.of .b~~ge acr~.s.s his forelJ.ead, h~s eyes closed. Pci.ul, the .
Sh~riff;,:and'thef,Interne come into the room:, ·halt before Parnell's bed --
speak in low tones.

PAUL
What's the damage?

SHERIFF
He wrecked a gate and a barn door --
and he hasn't got a driver's license.
He'll hav.e to appear in the JP Court
when he 1s able. Old fool.

(CONTINUED)
 137.

92 CONTINUED:
PARNELL
(J (opening one eye)
Speak kindly of the dead.

PAUL
You mind if I have a minute with the
corpse?

SHERIFF
Sure, Polly.

The Sheriff and the Interne leave.

PAUL
Was it worth trying to kill yourself
for? -- whatever it is you~ve been
up to?

PARNELL
How's the trial going?
····---- -·- P-AUL ---·. •
1 1m making a lot ·of noisebut-Dance·rrs--·
racking up the points. Come on -
where 1ve you been?

PARNELL
Quill hired Mary Pilant up north· of
the Soo. Struck me funny he 1d go
all the way up there just to hire
somebody to work for him. I been
up there nosing around.

PAUL
F.ind anything of use?

PARNELL
Not till I looked up her birth certificate.
Born in Blind River,· Ontario - 1934 •
outof·wedlock;:····Mother·was:a-waitress,··
· named Sizilohe· Pila.zit .. F~ther wasa .
_lumberjack - name - Barney Quill.

DISSOLVE TO:

93 INT. LOBBY - THUNDER BAY INN - RAINY NIGHT

"
It is very late. The lobby is deserted except for a young night PORTER.
He 1s reading the sports page in the newspaper. Through the main
entrance we see a car pull up outside and Paul, holding his hat against
the wind and rain, gets out of the car, hurries up the steps to enter

- the lobby.

(CONTINUED)
 138.
93 CONTINUED:

PAUL
o·- I'd like to see Miss Pilant.

PORTER
She •s gone to bed, mister.

PAUL
It's important.

PORTER
Real important?

PAUL
Yes, real important.

The porter plugs into the small switchboard and buzzes several times.

PORTER
(into phone)
Miss Pilant? Sorry if I woke you up.
There's a guy to see you. Says it 1s
real important.
(to Paul)
What 1s your -- ·

PAUL
Paul Biegler.
,--\
\__,I
PORTER
(into phone)
Biegler ------------------ okay.
He disconnects the plug.

PORTER
(continues;
to Paul)
She says it's not important enough.

.. . .· . . :PAtJL . · ·
...Call her back. ·Tellher I mentioned
Blind River, Ontario.

He leaves the desk, goes through the door which leads from the lobby
to the barroom. Puzzled, the porter looks after him, plugs into the
switchboard again.

94 INT. HOTEL BAR - RAINY NIGHT

Not many customers are here. The jukebox plays softly. Paul comes
down the short flight of steps from the lobby, approaches the bar.

- (CONTINUED)
 l 39.

94 CONTINUED:

(~ -, Paquette, polishing a glass, sees Paul, stacks the glass on the

\ ___} back bar, moves warily down to meet the lawyer. ·

PAQUETTE
Drinking, Mr. Biegler, or just snooping?

PAUL
I tn try a little of both, Alphonse. Why
don't we start with a beer.

Paquette draws a beer, places it before Paul.

PAQUETTE
On the house • and that I s all you get -
a beer. No questions - no answers.
I got my belly full of you in the courtroom.
When you 1ve finished that - blow - and
don 1t take too long about it.

PAUL
As long as this is on the house how
about that much o£ rye to go with it?

Paquette glares at Paul, snaps a bottle off the back shelf, slides
a shot glass next t.o Paul's beer and pours.

PAUL
(continuing)
I 1m just a lawyer doing my job. What
are you so afraid of, Al?

He tosses off the drink, takes a sip of beer. Paquette watches him
with glum anger. Paquette 1s eyes are drawn to a point behind Paul.
Paul turns. Mary Pilant, dressed in skirt and a coat-sweater, has
just entered the bar from the lobby. Her face is pale and concerned.
She approaches Paul, waits for him to speak.

PAUL
C_ould we have se>me privacy? .

Silently she leads the way to the far table by the window and the door
leading to the outside. Paquette watches them anxiously.

Paul draws a chair out for Mary and sits beside her.

PAUL
(continues)
I owe you an apology, Miss Pilant.
I was a little rough when I was here
before. I didn't know Mr. Quill was
your father.

- MARY
How did you find that out?

(CONTINUED)
 140.

94 CONTINUED; (2)

PAUL
Friend of mine did a bit of what Al
there would call. snooping. Oh, could
I buy you a drink?

MARY
It's a long drive from Iron City in this
kind of a night, Mr. Biegler.

, PAUL
You mean why am I here?

MARY
You didn 1t come just to apologize.

PAUL
No - no - but the apology was part of
it. Tell you the truth I thought it
might thaw you out just a little. Now
all I want you to do, Miss Pilant, is
listen for just a. few minutes.- I need
some strong evidence to back up Laura.
Manion I s story about the rape.- The
prosecution is going to attack that story
.pretty hard - and if the jury thinks she I s
lying it could turn their decision against
Manion.

:MARY
Well, isn 1t she lying? Barney didn't
do what• she said he did. He couldn 1t
have.

PAUL
What did you know about your father?

MARY
All I needed to know - that l\e took care
of me -· and of my mother - for as. lo~g
as she lived.
He would have. married
her, but he was already married. . When
he finally got a divorce it was too late,
but he was always there when I needed
him. Now that 1s what I know about my
father, Mr. Biegler. Will that • as you
say - ~.YE Laura Manion 1s story?

PAUL
Miss Pilant, I'm not trying to get at you
or hurt you.
(MORE)

- (CONTINUED)
 141.

94 CONTINUED: (3)

PAUL (cont 1d)

(~
,___
) 1 appreciate your affection for your
father •· but as a lawyer I have had
to learn that people are not just good
or just bad, but many things - and 1
think maybe Barney Quill was many
things--•

MARY
1 don't want •••

PAUL
Now just ... hear me out, please. I
believe that Barney told Al Paquette
what happened that night and sent· Al
to the window here to watch out for
Manion - while he stood by by one of
his gun racks - waiting. Manion came
in and fired almost the moment he
entered the door and that first shot went
right through Barney 1s heart. All I
want is for you to try and persuade Al
to come into court as a defense witness
and tell the court what Barney told him
- that he had raped and assaulted Mrs.
Manion.

d MARY
.Al wouldn 1t conceal that. Why wouldn't
he tell it if it were true?

PAUL
Everybody loves something or someone.
Me, I love fishing and an old guy named
Parnell. Manion loves his freedom -
he'd like more of it. Barney loved you
-- and maybe so does Al. I wouldn 1t
blame him. He 'doesn't want you to ,
know tlle truth about Barney ••• that he
·. ,co,µd:be ··brl:ltal :a.1].9-:
I! I

': 9:~~erous.: · · .But if

y9u ask Al -- straight out .... · ·
She stares at Paul for a long time -- then calls:

MA.RY
Al.
Behind the bar, darkly watching the table where Ma.ry and Paul sit,
Paquette motions for a waitress to take over the bar and he goes
slowly to Mary. ·

-
(CONTINUED}

-· - - ---- -- - - - -. --
 l4l•A~

94 CONTINUED: (4)

MARY
C) (continues}
Al, Mr. Biegler knows Barney was my
father and he thinks you know something
about the night my father was killed -
something you won 1t tell.

AL
Lawyer, I told you once and I'll tell
you again. No questions, no answers.

MARY
Wait, Al. Did my father rape Mrs.
Manion?
AL ,
Barney wouldn 1t hurt a woman. He was
a good guy - just like you though~
·-- -- ·-

MARY
Is the re any reason you wouldn 1t tell
me the truth, Al?

AL
(a queer pause)
What reason?

MARY
Anything ebe, Mr. Biegler?

PAUL
(rises • puts on the
wet hat)
I 1ll_ leave a pass for you and Al a.t the
trial. You might J,ike to watch Lt.
Manion get convicted.

He goes to the door.

AL
You going to spread it around about
Mary being Barney's kid?

PAUL
(he I s tired)
No, Al. I'm not going to spread it
around. Good night, Miss Pilant.

He goes. Paquette moves to the window, looking after Paul as he

disappears into the wet night. Mary remains at the table - still
and thoughtful.

- DISSOLVE TO:
 141-B.

95 COURTROOM - DAY

Manion is on the stand. He is cool, straight-forward, a.t ease, and

alert. Paul is questioning.

·PAUL
Now let 1s get at that rosary thing.
It has been testified that your wife
swore to you on a rosary that she
had been raped by Barney Quill. Did
you ask her to swear on a rosary?

MANION
My wife was hysterical and wasn 1t
making much sense. I thought if I
asked her to take an oath on the rosary
it might serve to calm her and make
her think -clearly.

PAUL
Did the rosary help?

MANION
She was able to tell me in detail what
had happened.

PAUL
Now go on from here. What did you
d do then, Lieutenant?

MANION
I ha.d her lie on the bed and I got some
cold cloths for her head and -- oh yes,
I gave her a drink of brandy. After a
while she became quiet and seemed to ·
go to sleep. Then I went to the closet
and got my gun and loaded it.

PAUL
Was it in your mind to kill Barney Quill?

(CONTINUED)

-
 142.

95 CONTINUED:

MANION
(J No.

PAUL
Why did you get your gun and load it?

:MANION
I knew I had to go to Quill's bar and I
thought I might need it.

PAUL
Why?

MANION
I knew Mr. Quill kept guns behind the
bar. I was afraid he might shoot me.
PAUL
·-··-,-·-· Mightshoot you i£ you did what? What
were-you going to do?

MANION
I'm not sure. I remember I had some
idea 0£ finding him and. holding him
while I called the police.

PAUL
d But Mr. Lemon right in the tourist
park was a deputy sheriff. Why didn't
you get him to go with you?

MANION
I don 1t know why I didn 1t think of Mr.
Lemon. Maybe because he always
seemed to be nothing except the old
caretaker of the park. Maybe because
I wasn 1t thinking too clear! y about
anything -- except finding Barney
. Quill.

PJ\.UL
Why didn It you go to the telephone
and call the State Police before you
went to the bar?

MANION
I don 1t know why.· I was in sort of
a daze. It was an awful thing to see
what had been done to my wife.
PAUL
You say you were in a daze. When

- you got to the bar -- did you see that

the bar was crowded?

(CONTINUED)
 ----------------------------------------~-~~~-- . 1

143.

95 CONTINUED: (2)

MANION
I don 1t remember anyone at that bar
except Barney Quill. He was the only
person I saw.

PAUL
What was he doing?

MANION
I think he was just standing behind
the bar.,.

PAUL
Did he make a threatening move to
reach for a gun?

MANION
I don't know. He might have, but I
don't know.

PAUL
Now since you went there to find him
and· hold him for the police, why did
you shoot him?

MANION
I don't remember shooting him.
0
PAUL
As you left the bar, do you remember
Alphonse Paquette stopping you and
saying you 1d better not run away from
this? -- and your reply -- 1Do you
want some, too, Buster? 1

MANION
I seem to have a vague recollection
o£ someone speaking to me but I
don. 1t remember what I·said or
what·
' '~a·s said. to me. .. . '

PAUL
Do you remember going home?

MANION
Not clearly.

PAUL
When did you realize you had shot
Quill?

•
MANION
I was getting a drink of water.
(MORE)

(CONTINUED)
 144.

95 CONTL~UED: (3}

MANION {cont 1d)

I remember my throat was so dry that
it hurt. When I put the glass down I
saw the gun on the kitchen sink be side
the tap. I noticed the gun was empty.

Paul takes the Luger from the table, hands it to Manion.

PAUL
Will you please show the Court how
you knew the gun was empty?

MANION
(demonstrating
on the Luger)
This gadget here. When it sticks up
you know the last round has been fired.

PAUL
Lieutenant Manion. on the night of the
shooting did you love your wife?

MANION
Yessir.

PAUL
Do you still love her?

MANION
Very much.

Laura 1s face as she watches Manion is without emotion.

PAUL
Your witness, Mr. Dancer.

Dancer comes over slowly, twisting a ring on his finger, stands

smiling at Manion. Manion faces him calmly.

DANCER·
Lieutenant Manion, how many men
have y9u killed?

PAUL
Now wait a minute. Your honor, a
man 1 s war record -- in Lieutenant
Manion 1s case a great record --
certainly should not be used against
him.
{CONTINUED)
 145.

95 CONTINUED: (4)

DANCER
0 Your honor, 11m as patriotic as the
next man but the simple truth is that
war can condition a man to killing
other men. I only wish to determine
how conditioned the lieutenant may
be to the use of fire arms on another
human being.

JUDGE WEAVER
I don't approve of the question, Mr.
Biegler, but on the other hand l
don't see how I can turn it down.
Let 1s see what Mr. Dancer is going
to do with the information. Take the
answer.

MANION
I know I killed at least four men in
Korea. Three olthem with a hand
grenade and one with my service
automatic. I may have killed others.
A soldier doesn't always know.

DANCER
Now Lieutenant, in these acts of
killing, did you ever have a lapse
of memory such as you had when you
killed Barney Quill?

MANION
No sir.

. DANCER
Did you ever have a lapse of memory
during battle?

MANION
No ·sir.

DANCER
Were you ever submitted to a constant
barrage, constantly in a sweat for
many hours, constantly under attack
or attacking?

MANION
Many times.

DANCER
Were you ever treated for shell shock,
battle fatigue or any war neurosis or
~ psychosis? ·
~
(CONTINUED)

__________ J
 146.

95 CONTINUED: (5)

MANION
No.

DANCER
Did you ever experience an unusual
mental state during the war?

MANION
I do remember having one great urge.

DANCER
What was that?

MANION
To get the hell out and go home.

The laughter conies.

JUDGE WEAVER
(rapping for silence)
The defendant will confine himself
the seriousness of his present
to ...
situation.

MANION
I 1m sorry, your honor.
(""""7
, __,/ Dancer has taken the joke with good humor.

DANCER
I sympathize with the Lieutenant.
I expect he has the same feeling
about being in jail. The main point
here, Lieutenant, is that in all of
your war service .you had no record
of mental disturbance? You were
at all times in possession of your
faculties?

MA.Niot-f
Yessir. That's right.

DANCER
No more questions.

A BUZZ goes through the courtroom. Was this all that Dancer
was going to do? ·Paul, puzzled, watches Dancer return to the
prosecution table.

PAUL
No re-direct, your honor.
(CONTINUED)
 147.

95 CONTINUED: (6)

JUDGE WEAVER
You may step down, Lieutenant. Call
your next witness please.

PAUL
We call Laura Manion to the stand.

Manion hurries to sit beside Paul.

MANION
(whispering)
I thought you said he 1d skin me alive.

PAUL
Wait.
Nervously, hands gripping her purse, Laura is sworn.

96 INT. COURTHOUSE ROTUNDA - DAY

Mary Pilant enters the Courthouse, comes into the rotunda,
hesitates with uncertainty at the bottom of the stairs, then goes up.

97 INT. COURTROOM - DAY

Laura is on the stand, Paul questioning. As Laura talks, in the
back of the courtroom Mary enters. The Deputy inside the door
shows her to a space on a spectator bench. Paul sees Mary
enter, follows her with curious eyes as she is seated.

PAUL
How long after you told your husband
what had happened did he leave the
trailer?

LAURA
I don 1t know exactly. Eyerything was
kin4 of fuzzy~ I \V~S ~int and l lay ·•··
;down on the bed· aiid hesat
beside me.
I vaguely remember his getting up and
going out. I remember wondering if
he was going for a doctor and then he
came back in. It seemed just a few
seconds but it must 1ve been longer --
1 must 1ve gone to sleep. When he
came back in and sat on the bed he
had a gun in his hand and I said,
1
What are you going to do? 1 And he
said, 11 think I've already done it.
I think I've killed Barney Quill. 1

(CONTINUED)
 -- ···-----------

148.

97 CONTINUED:

PAUL
Are you sure he didn't say, 11rve

killed Barney Quill? 1

LAURA
No. 1 remember distinctly. 11 !!?!!?!-
I1ve killed Barney Quill. 1

PAUL
Now what did you do?

LAURA
I put my arms around him and began
to cry and I said, 'You 1d better go
to Mr. Lemon I and my husband said,
11 forgot about that. 1

PAUL
What did he me.an -- forgot ..about
what? ·

LAURA
He meant he 1d forgotten that Mr. Lem.on
was a Deputy Sheriff and he said, 'Yes,
1111 go turn myself in to Mr. Lemon. 1

PAUL
CJ Your honor, I have no other direct
questions at this time. But since I 1m
sure the credulity of the Court has
been strained about the part the
little dog played on this night, I
should like a few minutes to show
the Court this remarkable little
animal.

JUDGE WEAVER
Do the People have objections?
. DANCER
· 1 know if we raise an objection Mr.
Biegler will declare that we are
haters of all small furry animals.
And I must also admit I 1m curious
to see this dog which leads the way
home for ladies in distress.

JUDGE WEAVER
(wearily)
A creature that cannot talk will be
a welcome relief. Produce the dog.

(CONTINUED)
 149.

97 CONTINUED: (2)

PAUL
\
~--
. .~ . . (turns to the rear of
\ I
'"~--\ the courtroom) .
Will the Deputy bring in the dog please ?

The Deputy Sheriff at the main doors goes outside for a moment.
_Paul moves his gaze to Mary. Their eyes meet and she looks
away. The Deputy re-enters, carrying a traveling case for a dog.

PAUL
{continues)
Just let the dog out there.

The Deputy puts the case on the floor and opens its door. Muff
bounces out.

PAUL
(continues; calling)
Come on, Muff.

The little dog scampers down the aisle and bounds into Paul ts arms.

PAUL
(continues)
Now I'll ask Mrs. Manion to give the
dog a flashlight.

Laura steps down from the box and takes a small flashlight from
her purse. Paul places the dog on the floor and the dog runs to
Laura, romping in delight as he sees the :flashlight.

LAURA
Hello, baby • .;. hello, sweetie. Does
sweetie want the flashlight?

PAUL
I'd like the Court to notice that the
dog will turn the light on.

Laura p:uts-th.eflaslilight on the fl.09r. and Muflpa.ws at it, seizes·

it in his mouth~ his teeth over the switch. The light goes on.
A ripple of amusement and approval from the jury which swells
to laughter as Muff runs to Dancer with the light, stands up with
his paws on Dancer's leg. Judge Weaver raps for silence.

PAUL
(continues)
It 1s easy to see that Muff doesn't
know who his enemies are.

Another laugh from the courtroom. Judge Weaver raps again.

{CONTINUED)
 97 CONTINUED: (3)

3UDGE WEAVER
Remove the dog please. Witness will
return to the stand.

Sheriff Battisfore gathers up Muff, returns him to the Deputy as

Laura steps into the witness box and Dancer moves in for the
cross-examination. Dancer smiles and makes a little bow.

DANCER
Mrs. Manion, may I compliment you
on your well-trained pet.

Laura smiles, a timid grateful smile -- somewhat disarmed.

DANCER
(continues)
May l also say I 1m pleased to see
you a.re not today hiding your love! y
hair under a. hat.

PAUL
Your honor, is the assistant-attorney
general from Lansing pitching woo or
is he going to cross-examine.

A laugh from the courtroom which does not disturb the

imperturbable Dancer.
0
JUDGE WEA VER
(rapping)
Let I s get on with it.

DANCER
Mrs. Manion, what was your occupation
before you were married to the Lieutenant?

LAURA
Housewife.

DANCER
You mean you were married before?

LAURA
Yes, once.

DANCER
I suppose your fir at husband died?

LAURA
No.

DANCER
Did you divorce your first husband
for Lieutenant Manion?

(CONTINUED)
 --------·----·------------ ······-·· ----------·-----------
·----·----

151.

97 CONTINUED: (4)

PAUL
Your honor., if counsel wants to know
the grounds for Mrs. Mani.on 1s divorce --
let him ask that question.

DANCER
What were the grounds for divorce,
Mrs. Manion?

LAURA
Mental cruelty.

DANCER
Naturally. How long was it after your
divorce that you married Lieutenant
Manion?

LAURA
I'm -- I'm not sure.
PAUL
(quickly)
May I refresh the witness's memory
for Mr. Dancer?

DANCER
By all means.

PAUL ,
I believe she told me that they were
married three days after the divorce.

Laura and Paul have locked eyes. He is deliberately showing

her that she must not be evasive. Dancer looks from one to
the other, grasping the situation.

DANCER
Thank you, Mr. Biegler. Is that
correct, ,. Mrs. Manion?
' .. ' . :,:,,
.. , .. ... ;·, .... '
. . ,;•· ... ,

LAURA
(a murmur)
Yes.

DANCER
Then unless yours was a whirlwind
courtship you must have known
Lieutenant Manion before your
divorce. Did you?

LAURA
Yes.

(CONTINUED)
 152.,

97 CONTINUED: (5)

On the jury a couple of women exchange significant looks.

DANCER
What is your religious affiliation,
Mrs. Manion?

LAURA
11m a Catholic.

DANCER
A Catholic in good standing?

LAURA
Well, no -- the divorce -- you know.

DANCER
You mean you have been ex-communicated
because oi the divorce ?

LAURA
Yes.

DANCER
Mrs. Manion, wouldn 1t you say that
a Catholic who can blithely ignore
a cardinal rule of her church can
also easily ignore an oath taken on
one of its artifacts -- say an oath
taken on a. rosary?

LAURA
I don 1t think that I s true.

DANCER
But wouldn't you think there'd be
some doubt about the integrity of
such a person?
. LAURA · .
I don 1t know. All i knowis the
rosary means something to me.

DANCER
(smoothly)
I see. Well, .1111 pass on to something
else.

The ANGLE of the CAMERA is such that we can see that Dancer
has blocked Paul 1s view. of Laura. Paul moves to another chair
at the counsel table. As Dancer continue a he steps around to again
obscure Paul I s view of Laura.

(CONTINUED)
 97 CONTINUED: (6)
DANCER
Mrs. Manioi,., you 1ve testified that
your husband was late in coming home
from his work on the night of the
shooting. Were you angry about
his being late?

LAURA
I guess I was a little put out.

DANCER
Did you have an argument?

LAURA.
Not much. A little.

DANCER
When you left the trailer to go to the
-----------,--.T-.fcn-,-~cl-kno.w..that=-yOll.. __
were leaving?

LAURA
He was asleep.

DANCER
Was part of your reason for going
to the Inn without his knowledge
C because you were· vexed?

LAURA
Well, I'd been ironing all day and --
yes, I guess that 1 s true.

PAUL
Your honor, may the record show
that counsel has deliberately cut
off my view of the witness.

D~CER
. . ( smoothly)
I 1m sorry, ¥r. Biegler. ·1 wouldn't
want to interfere with your signals
to Mrs. Manion.

PAUL
(angrily)
I further object to the implication
that I'm signaling the witness. This
is the shabbiest courtroom trick
I 1ve ever ·seen.

DANCER
You haven't lived, Mr. Biegler.

(CONTINUED)
 ···-------··-----·--- ---·----

154.,

97 CONTINUED: (7)

o- Your honor, I ~k
on my objection.
PAUL
that the Court rule

JUDGE WEAVER
Mr. Dancer, will you be careful not
to place yourself between Mr. Biegler
and his witness?

DANCER
Of course, your honor.
(he moves out
of the way)
Anything else, Mr. Biegler?

PAUL
You do it once again and I 1ll punt
you all the way out into the middle
of Lake Superior.

JUDGE WEAVER
(banging his gavel)
This back-biting has got to stop. The
next one of you that speaks out of
turn is going to have me to deal with.
Now get on with the cross-examination.
0 The courtroom becomes quiet and Dancer continues.

DANCER
Would you have-gone to the Inn ii
your husband had been awake?

LAURA
He would probably have gone with me.

DANCER
But would you have .,. gone alone?
. .

u.URA
Well, not if he didn •t want ~e to.

DANCER
Would he have not wanted you to?

LAURA
11m not sure. I don't know how to
answer that.

DANCER
Had you ever gone befor·e to the
Thunder Bay Inn or elsewhere in
Thunder Bay at night -- alone?

(CONTINUED)
 155.

97 CONTmUED: (8)

LAURA
,_
Cl Yes. Sometimes.

DANCER
Did your husband know you were going?

LAURA
Not always. He goes to sleep early
and sometimes 11m restless.

DANC~R
Where did you go on these occasions?

LAURA
I took a walk by the lake or I went
to the bingo place or maybe to the
Inn.
DANCER
Did you ever go to meet another man?

LAURA
No. No I di~ not. I never did that.

DANCER
Do you mean to say, Mrs. Manion,
that a love! y woman like your self,
attractive to men, lonely, restless --
that you never •••

PAUL
Objection, your honor. · The witness
answered the question about other
men. Counsel is now making a
veiled suggestion for the jury.

DANCER
I ~thdraw the question. Now Mrs.
'
-I Manio:tl; on,_th~se occasional _
excursions "into_the night~ dici you
always go and return alone?
LAURA.
Of course.

DANCER
But Mrs. Manion, you testified
that you got into Barney Quill's car
because you were afraid to go home
alone. Why were you so frightened
on that particular night_?
(CONTINUED)
 156.

97 CONTINUED: (9}
LAURA
I said it was because he told me that
bears had been s.een around.

DANCER
Was this the first time you 1d heard
of bears coming around Thunder Bay
to pick up scraps ?

LAURA
No.

DANCER
Had you seen the bears around before ?

LAURA
Yes.

DANCER
Then this was just the first time that
you were afraid of them?

LAURA
No. I was always afraid of them..

DANCER
Then this was the first time you were
0 · enough afraid to allow a man to take
· you home from one of your evening
prowls?

PAUL
Objection. The use of the word
'prowl I is intended to mislead the
jury. .

JUDGE WEAVER
Sustained. Ask the question again,
Mr. Dancer. ·

DANCER
I'm sorry, Mrs. Manion, I didn't
mean to imply that you were a
huntress -- so let 1 s say, "evening
walks." Was this the first time
you were frightened enough to let
someone take you home from an
evening walk?

LAURA
But it wasn't just that -- it was
a !iOrt of --

{CONTINUED)
 157.

97 COI\TTINUED: (10)

DANCER
Come, Mrs. Manion, you should be
able to tell us that straight off.
It I s a simple enough question.

Laura is pale and shaky. She dabs at her lips and forehead with
her handkerchief. •

PAUL
Your honor, how can the witness answer
straight off if the counsel interrupts
her answer? !

JUDGE WEAVER
Witness seemed rather slow to me,
Mr. Biegler. However, I'd let the
witness complete a statement if
she can, Mr. Dancer, before you
interrupt.

DANCER
Of course, your honor. In any case,
Mr. Biegler 1s objection has given
Mrs. Manion sufficient time to think
of an answer to my question. You've
thought of one, haven't you, Mrs.
Manion?

LAURA
What I was going to say is that I
didn't want to offend Mr. Quill by
making him think I was afraid of
him or didn 1t like him. He bad
been very pleasant to my husband
and me when we were in his bar.

DANCER
That's very good, Mrs. Manion,
very good indeed. .

PAUL
Your honor •••

· JUDGE WEA VER

Attorney for the People will save
his comments for the arguments.

DANCER
I will ask you this question, Mrs.
Manion.~.
(slowly)
••• Was this the first time you had
been in Barney Quill 1s car at night?

(CONTINUED)
 ---··------·

158.

97 CONTINUED: (11)

Laura's nervous gaze is quickly fastened on Manion, frightened

()·· of his tight lips and cold eyes.

JUDGE WEAVER
Mrs. Manion, did you hear the
question?

LAURA
(looking down at
her hands)
Yes, I heard. Yes, it was the first
time.

Dancer looks at the jury. Their attention is hard on Laura, their

faces a study of the questions in their minds --

One man frowns with puzzlement -- another's lips are pursed --

another is scratching his chin, a woman's head is turned in
askance, her ear to the witness -- another peers out over his
spectacles.

DANCER
Would you raise your voice a little,
Mrs. Manion?

LAURA
I said it was the first time.

98 CLOSE UP OF MANION

bleak, eyes glittering cruelly.

99 COURTROOM

DANCER
(changing pace)
Now Mrs. Manion; I'm quite concerned
about the lost panties •. Would.you
describe this article of clothing
to the Court?
. LAURA
They were nylon and had lace up
the side. There was a label of the
shop where I bought them --
Smartshop in Phoenix, Arizona.

DANCER
What was the color of the panties ?

:= =7 LAURA
\,...::,__,/
I believe white.

(CONTINUED)
 159.

99 CONTINUED:

o,-- You believe?

DANCER

LAURA
I have white and pink -- they may
have been pink.

DANCER
You're not sure? Haven 1t you checked
your lingerie wardrobe to see which
pair of panties is missing?
LAURA
No.
DANCER
When your husband came home from
work and you had this little spat,
were you already dressed to go out?
LAURA
No.
•
DANCER--
When did you dress ?

LAURA
After dinner. After he was asleep.
DANCER
It has been stated here that you were
bare-legged in the bar. Is that true?

LAURA
Yes.

DANCER
In your anger at your husband and your
haste to get out of the trailer, perhaps
you didn't put on any panties, either?
PAUL·
Objection. Witness has already
testified as to what she was wearing.

JUDGE WEAVER
Sustained.

100 CLOSE UP OF MARY PILANT

Her face pale and composed, but her eyes are wide with a secret
fear, or knowledge.
 ------------~ ------------- --- -·-·---------·------------ -------

160.
101 COURTROOM

Ir-\ ' DANCER

'-_) Do you always wear panties, Mrs.
Manion?

Laura glances helplessly at Paul.

PAUL
Your honor, I object to this line
of questioning. It's immaterial
what Mrs. Manion does all the
time. On the night she was attacked
she was wearing panties. That.'s
all we 're concerned with.

DANCER
Your honor, Mrs. Manion seems
uncertain about what kind of panties
she was wearing and since these
panties have not been found I submit
that it's possible she wasn't wearing
any and has forgotten. That's what
I'm trying to get at.

JUDGE WEA VER

Take the answer, Mrs. Manion.

0 .
Do you always
DANCER
wear panties?

LAURA
(on the verge of tears)
No.

DANCER
On what occasions don't you wear
them? -- when you go out alone at
night?

PAUL
. · (angry)
Your honor, we've been had. He
says he' a after one thing and he
goes for another.

JUDGE WEAVER
I'll sustain the objection. Strike
the last two questions and Mrs.
Manion 's answer. Now get off the
subject of panties, Mr. Dancer.
You've done enough damage.

·DANCER
Yes, your honor. Is your husband
a jealous man, Mrs. Manion?

(CONTINUED)
 ------·------~~~----·-------- -------·-·····-··--·····----··---···

161.
101 CONTINUED:

.. Maida glances quickly at Paul who is terribly still, held in

0
.
suspense •

LAURA
Well, he -- he loves me.

DANCER
I'm sure of that. But is he
excessively jealous?

PAUL
How can the witness answer that,
· your honor? What is the norm of
jealousy?

JUDGE WEA VER

Can you put your question in another
way, Mr. Dancer?

DANCER
Has your husband ever struck you
. in a jealous rage, Mrs. Manion?

PAUL
Your honor, I think Mr. Dancer is
fishing. What is the relevancy of
this question?

DANCER
Your honor, the shoe is squeezing
Mr. Biegler 1 s foot. In his own words,
this is not a high school debate, it's
a cross-examination in a murder trial.

JUDGE WEAVER
Can you nail your questions down a
little more, Mr. Dancer?

. •. .DANCER.
·I.believe so, your honor. Mrs~
Manion, did you ever go out socially
in Thunder Bay?
. LAURA
Yes, a few times.

DANCER
When your husband's outfit moved
into Thunder Bay, didn't Barney
Quill throw a cocktail party for the
officers and their wives?

(CONTINUED)
 101 CONTINUED: (2)

n·,, Yes.
LAURA
'.___./

DANCER
Did your husband strike a young second
Lieutenant at the party?

LAURA
There was a little scuffle. It wasn't
much.

DANCER
What was it about?

LAURA
I'm not sure I remember.
DANCER
Were you too drunk to remember?

LAURA
No, I was not. I think the Lieutenant
was cutting in too much when I was
dancing with my husband.

DANCER
And shortly afterward didn't your
husband on the veranda of the Inn
slap you hard enough that you fell
against the wall?

LAURA
He was drinking.

DANCER
Wasn't this a jealous rage ?

LAURA
I don't kn.ow.
DANCER.
Do you remember why he struck you?

LAURA
Well, yes.

DANCER
Wasn 1t he enraged at you because he
thought you had encouraged this young
lieutenant·?

LAURA
He might have thought so.

(CONTINUED)
 163 ..
101 CONTINUED: (3)
-.,
. DANCER
G
..
Mrs. Manion, there are witnesses
to this whole a.ffair. I'll ask you
again -- wasn 1t this jealous rage?

LAURA
I suppose it could be called that.

DANCER
(boring in)
Now I'll ask you -- on the night of
the shoating, what did you swear,
what oath did you take on the rosary?

LAURA
It was about Barney Quill raping me.

DANCER
Why did you swear on the rosary that
he had raped you?

LAURA
For the reason that my husband said
-- I was hysterical.

DANCER
That was the reason he gave for
asking you to swear. What was your
reason for swearing?

LAURA
(blindly)
So he'd believe me.

Paul's face is -anxious. Dancer's getting close. Laura is

frightened.

DANCER
sh9uldn 't he b~li~ve you? .
W·h.y_
PAUL
Objection, your honor. The reason
for the use of the rosary has been
established. These questions are
immaterial.

JUDGE WEAVER
No, I think I'll take the answer, Mr.
Biegler.

DANCER
I ask you again, Mrs. Manion -- why
shouldn 1t he believe you?

(CONTINUED)
 164.

101 CONTINUED: (4)

LAURA
I guess -- I guess because I wasn't
making sense. ·

DANCER
Did he think you were lying about a
thing like that?

PAUL
Objection. Lieutenant Manion has
already testified as to what he thought.

JUDGE WEAVER
Sustained.

DANCER
(suddenly)
Did yo':J,r hus~~d strike you that night?
~--------,---=-----------
Laur a is unable to answer -- her lips moving without sound.

DANCER
Did he hit you that night?

LAURA
He -- when -- he might have slapped
me because I was hysterical.

DANCER
And didn 1t you swear to a lie to keep
him• from hitting you again?

LAURA
No -- I didn 1t -- I did not.

DANCER
(driving)
Hadn 1t he already 1?eat you up at the .
'i .· ga.t~ w);ien he caught you coming honie
from a trip do\m·lovers' lane \vi.th.
Barney Quill?

Paul is on his feet before Dancer is done, his voice coming in behind
Dancer's, Dancer raising his voice to complete the question.

PAUL
(shouting)
Objection. The witness has testified
that she was beaten by Barney Quill.

The courtroom is rumbling. Judge Weaver raps for silence.

? ~--'1 (CONTINUED)
'.::.../
 165.
101 CONTINUED: (5)

~ DANCER
1
1'--...../ No more questions.

Laura bursts into tears.

PAUL
I think the witness has had enough,
your honor.

JUDGE WEAVER
The witness may step down. We will
recess until after lunch.

He raps his gavel 3ind steps down from the bench toward his chambers.
In the flash of photographers' bulbs and hubbub in the courtroom Laura
comes down from the stand. Manion is quickly beside her, his arms
around her.

MANION
(whispering)
I'm sorry, baby.
Maida has come into the enclosure.

PAUL
Maida, take Mrs. Manion to the house
and let her rest.

Manion kisses Laura on the cheek.

MANION
It 1 s all over now.

LAURA
Did I do all right?

PAUL
You did fine.

SHERIFF
Come on, Lieutenant. Let's see what
Sulo has for us.

Manion goes with the Sheriff, Laura with Maida through the door of
the lawyers r conference room. Paul gets his hat from the table and
starts up the aisle to the main doors of the courtroom. The courtroom
is emptying and Mary is isolated among the empty benches. Paul
moves toward her. Nervously she rises, and avoiding him, hurries
to join the throng leaving the courtroom. P~ul holds, looking after
her with curiosity.

DISSOLVE TO:
:--=-"'::"":':'.','
,._/
 166.
102 EXT. IRON CITY RAILROAD STATION - DAY

Parnell is on the platform as the train is pulling in. He is bandaged

0
. a little and hobbling. When the train stops, a woman and two children
get off, a YOUNG MAN with a stubby nose and a crewcut gets off,
an elderly couple follows and then a middle-aged DISTINGUISHED
LOOKING MAN with a neat, greying moustache and wearing a Homburg
hat. Parnell's face lights up and he approaches the distinguished
middle-aged man.

PARNELL
Dr. Smith?

DISTINGUISHED MAN
Pardon?

PARNELL
I've come to meet you -- My name is --

DISTINGUISHED MAN
___ -_··___ (cutting him off)
I'm sorry. You made a mistake.

The man moves on and the kid with the stubby nose and the crewcut
approaches Parnell.

SMITH
Maybe I'm the one you 're looking for.
Are you Mr. Biegler?

PARNELL
(in disbelief)
No. No, I'm his associate in the case.
Don't tell me you're Dr. Smith?

SMITH
That's me.

PARNELL
{in dis belief)
Th~ -- army -- psychiatrist?

SMITH
Maybe you expected me to be in uniform?

PARNELL
No -- sure -- well, I didn't expect
anybody so young.

SMITH
I'm forty.

PARNELL
I sort of hoped you'd have a beard
and· wear a monocle.

(CONTINUED)
 102 CONTINUED:

SMITH
(J' Oh, I see.

He takes out a pair of heavy horn-rimmed glasses and slips them on.

SMITH
(continues; grinning)
That better?

PARNELL
(grins)
It helps. · Well, we'd better shove
along.

Parnell takes the doctor's small overnight bag and they walk away
down the platform.

DISSOLVE TO:

103 INT. COURTROOM - DAY

Dr. Smith, in his horn-rimmed glasses, is on the stand. Pa.rnell

with Maida on the spectator's bench behind defense table. Paul is
interrogating. ·

. PAUL·
0 Doctor, have you formed an opinion,
as to Frederick Manion's emotional
disorganization at the time he killed
Barney Quill?

SMITH
I have.
PAUL
What is that opinion?

SMITH
He was temporarily insane at the
time of the shooting.

PAUL
At the time of the shooting do you
believe that he .was able to distinguish
right from wrong?

SMITH
He may or may not ha.ve been. It
doesn't make too much difference.
(CONTINUED)
 168.

103 CONTINUED:

PAUL
() Now doctor, as clearly as you can,
will you explain Frederick Manion 1s
temporary insanity?

SMITH .
It is known as dissociative reaction.
A psychic shock which creates an
almost overwhelming tension which
the per son in shock must alleviate.
In Lieutenant Manion 1s case, a soldier,
it is natural that he would turn to
action. Only direct simple action
against Barney Quill would relieve
this unbearable tension •. This is not
too uncommon. For example in
combat -- in war I mean -- some of
the more remarkable heroics take
place in this state of mind. Soldiers
who have performed fantastically
brave acts are frequently wia.ble to
recall having performed those acts
because they were at the time in
the grip of dissociative reaction.

PAUL
Is there another name for dissociative
C_j reaction, one we are more likely to
recognize?
SMITH,
Yes. It has been known as
'irresistible impulse. 1

Paul glances toward the prosecution table. Dancer and Mitch are
in a whispering huddle. . Paul half-grins.

PAUL
ill the grip of .
Now docto:r, a 1l'Ul.J.'.l
i
1.. ir.r.esi'stible impulse. -- would he be
likely to go to a neighbor for advice,
would he call the police to come to
his aid?

SMITH
Completely incompatible. In this
trance-like state he would be unable
to think of anything except the relief
of this massive tension.

PAUL
But our man was able to think of
taking out a gun and loading it before
he set off to find Barney Quill.
(MORE)
(CONTINUED)
 169.
103 CONTINUED: (2)

PAUL (cont 1d)

He testified that he got the gun
because he was afraid Quill would
shoot him. If he was in a trance-like
state, how do you explain this?

SMITH
That was his conscious mind working ••
but if no gun had been available he
would have gone anyway -- bare-handed --
he would have walked into the mouth
of a cannon. It 1s important to
understand that the very essence
of his manhood was at stake. Nothing
short of oblivion or death could have
prevailed against his overpowering
need.

PAUL
Would this tension interfere with
his physical ability? -- say his ability
to accurately fire a gun?
•
SMITH
It probably would have heightened
his ability.

PAUL
How would a man look when in the
grip of dissociative reaction?

SMITH _
He might appear to be deadly calm --
fiercely deliberate.

PAUL
Could you describe his behavior as
being like a mailman delivering the
mail?

SMITH
That I s not bad. Like a mailman, he
would have one job to do and he
would do it.

PAUL
Would a man in this state be apt to
converse with other men? '

SMITH
It 1s possible, although he wouldn't
likely initiate conversation.

(CONTINUED)
 l 70~

103 CONTINUED: (3)

PAUL
~ ',
(\___.,.)
Do you mean that if someone stopped
him and spoke to him he might answer
but he wouldn't be likely to speak fir st?

SMITH
Not likely --
PAUL
Your witness.

Dancer rises. During his first few questions Paul is surveying

the courtroom -- then bends to Maida and whispers --
PA UL
Can you spot Mary Pilant?

MAIDA
She didn't come back after lunch.
You 1d better give up on that one.
•
Between Dancer and Smith. ••

DANCER
Doctor, did you find any psychosis in
Frederick Manion?

SMITH
I did not.

_DANCER
Any neuroses?

SMITH
I found no history of neuroses.

DANCER
Did you find any history of delusion?

·SMITH
None.

DANCER
Loss of memory?

SMITH
Not before this instance.

DANCER
How about hallucinations?

SMITH
No.

(CONTINUED)
 -- -···---·----------··-·-·-- ---··------·-- -··-··--- ---- -· - ··-·· ---·······--·-· ...

171.

103 CONTINUED: (4}

DANCER
"'· Azly history of conversion hysteria?
':)·
.
,,
I .
.

SMITH
Well, irresistible impulse embraces
what has been called conversion
hysteri~

DANCER
In comm.on language isn't conversion
hysteria also known as a fit of temper?

SMITH
I know of no reputable psychiatrist
who would so describe it.

DANCER
But a layma.n might call it that?

SMITH
Probably, yes.

DANCER
Isn't that what really happened? In
a fit of temper -- in a fit of rage, the
Lieutenant walked over and shot
Barney Quill.

0 SMITH
-No, not in my opinion. That is not
what happened.

DANCER
Doctor, you stated that the Lieutenant
might or might not have been able to
distinguish right from wrong -- but
that it didn't make much difference.
Am I right? Is that what you said?

-SMITH
Approximately -- yes.'

DANCER
Did you mean that at the time of the
shooting he could have known the
difference between right and wrong?

SMITH
He might have, yes.

(CO:NTINUED)
 172.

103 CONTINUED: (5)

DANCER
Doctor Smith, if the defendant could
have known what he was doing and
could have known that it was wrong,
how can you come here and testify
that he was legally insane?

SMITH
I'm not saying he was legally insane.
I 1m a doctor, not a lawyer. I'm
saying that in his mental condition
it would not have made any difference
whether he knew right from wrong --
he would still have shot Quill. He
could not have prevented himself
from doing so.

DANCER
In other words, what he did he did
willfully and in anger?
•
SMITH
The words 1anger' and 1willful I are
an immense simplification of a very
complicated mental condition. I
repeat, Lieutenant Manion was
temporarily insane.

DANCER
Are you willing to rest your testimony
in this case on this opinion?

SMITH
I am.

DANCER
(looking at Paul~
puzzled)
Your honor,.•· .I• would like. to ask for
a .~hortrecess;' The attorneys for
the People would like to meet with
Mr. Biegler and the Court in chambers.

JUDGE WEAVER
Mr. Biegle:i;-?

PAUL
Glad to oblige, your honor.

JUDGE WEAVER
Court will stand in recess for ten
minutes.

(CONTINUED)
 ---·-·· -·-·-··-··-·---- ---· --·-··

173.

103 CONTINUED: (6)

He steps down from the bench toward his chambers, followed -by
Paul, Dancer and Mitch. Paul is carrying the la wbook which he
has kept on the defense table, the same book in which he deposited
the fishing lure earlier in the case.

104 INT. JUDGE'S CHAMBERS - DAY

The Judge enters, followed by Paul, Dancer and Mitch. Judge Weaver
goes directly to his desk, seizes his pipe and begins to stuff it.

JUDGE WEAVER
One day I'm going to horrify tradition
and lay a blue pall of good Virginia
burley on that hallowed precinct out
. there.
(he gets his
pipe lighted)
All right, Mr. Dancer.

DANCER
I thought perhaps in view of Dr. Smith 1 s
testimony the defense might like to
change their plea.

PAUL
0 Change· it to what?

DANCER
To guilty, of course.

PAUL
No, we 111 still go for broke.

MITCH
Hell, Polly, you know a guy's not
considered legally nuts in Michigan
unless he didn 1t know right from wrong.
Why don 1t you come .on and end this
thing?

PAUL
(placing his
la wbook before
Judge Weaver)
Judge, would you open that to page ,
106.

MITCH
What I s that?

. \
JUDGE WEAVER
-:._;; It appears to be a lawbook, Mr. Lodwick.

(CONTINUED)
 174.

104 CONTINUED:

~
1
Judge Weaver pulls down his glasses, opens the book to the right
\......./ page -- glances at Paul expectantly, and picks the red flannel
fishing lure off the open page.

PAUL
(reaching £or
the lure)
Oh -- sorry, Your Honor. I make
those things to help ine think sometimes.

JUDGE WEAVER
(inspects the lure)
For perch?

-PAUL
No, sir -- ·frogs.

MITCH
(impatiently)
What case is he citing, Judge?

JUDGE WEAVER
(absorbed by lure)
We gig frogs in my part of the country.

PAUL
(demonstrating
as he talks)
Yessir, up here, too - but this is a
new wrinkle I 1m going to try. They
do it in 'the bayous down south. You
use a long pole with a ten pound line
and sort of drift along a high bank in
the boat.

Mitch turns away in impatient disgust; Dancer is amused.

·PAUL
.. •·( continlle s) . . ..
You see a big bull sitting back in a
crevice. You swing this out and kind
of let it float in front of him -- and
POP -- that old tongue of his will snap
out and you got frog legs for supper.

JUDGE WEAVER
I'll be darned.

PAUL
Keep it and try it sometime.

(CONTINUED)
 175.

104 CONTINUED: (2)

JUDGE WEAVER
Thanks. I will. -
(he 1s suddenly
reminded of the
.business at hand)
Oh -- yes, page 106 I believe you said.

He bends over the book and reads slowly. Mitch comes back to the
desk and hovers over the Judge.

JUDGE WEA VER

(continues;
finally)
Hummpl

MITCH
What is it, Your Honor?

JUDGE WEAVER
Precedent. People versus Durfee --
year 1886. Would you like to read it,
Mr. Dancer?

DANCER
No, Your Honor. We're hooked -- like
the frog.

DISSOLVE TO:

105 INT. COURTROOM - DAY

DR. W. GREGORY HARCOURT is being sworn. Now he takes the
witness stand. Dancer rises to examine. '

DANCER
Dr. Harcourt, where did you receive
your .university training?'

HARCOURT
Johns Hopkins in Baltimore, Maryland.

DANCER
When were you admitted to the practice
of medicine ?

HAR.COURT
192.4.

DANCER
Since that time have you specialized
, ... -., in any particular field of medicine?
<:Ji (CONTINUED)
 176.
105 CONTINUED:

HARCOURT
I have -- the field of psychiatry.

DANCER
Where do you practice now?

HARCOURT
I am the medical superintendent of the
Bonder State Hospital for the insane.
I am also psychiatric examiner for the
Veterans I Administration.

DANCER
Do you then feel that you have particular
knowledge of the mental ills and problems
of soldiers?

HARCOURT
I do.
DANCER
It has been stated here that dissociative
reaction or irresistible impulse is not
uncommon among soldiers in combat.
Do you agree with that statement?

r= HARCOURT
,s___.,1 I do. But not as it was put by Dr. Smith.

DANCER
Where would you depart from Dr. Smith.?

HARCOURT
Well, dissociative reaction is. not
something which comes out of the
blue and disappears as quickly. It
can only occur -- even among soldiers
in combat -- if the individual has a
psycb.~~neurotic condition of l9ng ·
standing. ·

PAUL
I object, Your Honor. Is the Doctor
stating a proved fact or an opinion?
We are not dealing here with chicken
pox or a sore throat but with the
mysteries of the human mind. If
the Doctor is giving his opinion it
should be qualified as such.

JUDGE WEAVER
Sustained. Do you want to straighten
,' ·,
,·-··-~-1 this out, Mr. Dancer?
,.J
(CONTINUED)
 177.

105 CONTINUED: (2)

DANCER
Your answer, Doctor, was of course
your opinion, wasn 1t it?

HARCOURT
That goes without saying, doe sn 1t it?

PAUL
No, it doesn't. Your Honor .•.

JUDGE WEAVER
(patient! y)
Just say it is your opinion, Doctor,
please.

HARCOURT
My answer was an opinion.
--------,---,.--,..--------,---...P...-A,...,.,0-L- - ----- -
(sitting)
All right.

DANCER
I am sure the jury has forgotten your
answer by now, Doctor. Let's go back.
Is it your opinion that dissociative
(~ reaction could not occur one time
'------) and one time only?

HARCOURT
Yes. There would· have been repeated
upsets of a dissociative nature.

DANCER
It bas been testified here that a
psychiatric· examination of the
defendant showed no evidence of
neuroses or history of dissociative
.reaction. ·You have -heard\it further
· 'te's'tifi•d here that the defendant's
behavior on the night of the shooting
was cool and direct. As an observer
do you remember this testimony?

HARCOURT
Yes.

DANCER
From this have you formed an opinion
about the defendant I s sanity on the
night of the shooting?

(CONTINUED)
 178.

105 CONTINVED: (3)

HARCOURT
Yes. I am of the opinion that he was
in sufficient possession of his faculties
so that he was not dominated by his
unconscious mind.

DANCER
In other words he was not in the grip
of irresistible impulse,

HARCOURT
In my opinion he was not.

DANCER
Your witness, Mr. Biegler.

PAUL
Dr. Harcourt, psychiatry is an effort
to probe into the dark undiscovered
world of the mind -- and in there the
world might well be round or it could
be square -- your opinion could be
wrong and Dr. Smith's opinion could
be right, isn 1t that true?

HARCOURT
11d be a poor Doctor if I didn't agree
with that. But I believe my opinion
to be right.

PAUL
And good Doctor that you are, you
very carefully used the word believe,
didn't you? ·

HARCOURT
Yes.

PAUL .
Do you think you would have been less
positive if you had examined the
defendant as Dr. Smith did?•

HARCOURT
I believe it would have helped to
confirm my opmion.

PAUL
But isn 1t it possible it might have
caused you to change this opinion?

·.,
==···!
HARCOURT
·. '.7

J I don 1t believe so.

(CONTINUED)

i
_I
 ----·-·~··
··-··---· ·--·----- ·- ----------------

179.

105 CONTINUED: (4)

0) '•. PAUL
\____/ Doctor, did you ask to make an
examination of the defendant ?

HARCOURT
No sir.

PAUL
Did the attorneys for the people petition
for such an examination in your behalf?

HARCOURT
No sir.

PAUL
So your opinion boils down to a snap
judgment, d9esn't it?

HARCOURT
No • It is as careful a judgment as the
circumstances permit.

PAUL
Dr. Smith I s opinion was made wider
better circumstance st wasn 1t it?

HARCOURT
If you mean that he was able to examine
the man, yes.

PAUI,.
Thank you, Doctor.

DANCER
Doctor, upon what do you base your
opinions?

HARCOURT
Up~n the .findings of _other doctors
and largely upon·my own years of
study and analysis.

DANCER
Are those many years ?

HARCOURT
Over thirty years.

DANCER
You were working in this field probably
before Dr. Smith was born, weren't you?

HARCOURT
Yes. But that doesn't necessarily
mean ..•
(CONTINUED)
 180.

105 CONTINUED: (5)

~ DANCER
0
1
(cutting him off)
No more questions, that's all.

PAUL
Your Honor, we would like to hear the
witness's answer. Counsel cut him off.

DANCER
Witness has responded 'yes• to the
question.

PAUL
(grinning)
But I think the Doctor was about to
qualify that yes.

JUDGE WEAVER
Get off of i~ Mr. Biegler. Do you have
any questions? · ··

PAUL
No questions, Your Honor.

JUDGE WEAVER
That's all, Dr. Harcourt.

Harcourt sits down, Dancer glares at him and huddles with Mitch at
their table.

JUDGE WEAVER
(continues)
Does the prosecutor have other rebuttal
witnesses?
DANCER.
(whispering to
Mitch)
We 1re over a bar%'.el. We 'U have
to use him, Mitch.

MITCH
(rising)
. We call Duane Miller to the stand.
Will the Sheriff please bring in the
witness?

Sheriff Battisfore goes into the lawyers I conference room. Manion

is pale, seemingly stricken, his lips parted, his eyes afraid. The
Sheriff comes from the c()nference room with Miller. The man wears
a crooked smile, struts behind the Sheriff to the witness stand and is
......__
sworn .
::j {CONTINUED)
 181.

105 CONTINUED: (6)

.~ -, PAUL
· \ __..J. (to Manion)
What can he tell?

MANION
(nervous) •
Nothing -- he can't tell anything.

Dancer moves in for the interrogation, glancing at Manion, shrewdly

observing the little drama at the defense table.

DANCER
State your name.

MILLER
Duane Miller. Folks call me Duke.

DANCER
Where do you presently reside, Mr.
Miller?

MILLER
Across the alley, in the jail.

DANCER
Do you know the defendant, Frederick
,__::_ Manion?
,__
I ······1
,/

MILLER
Yessir. Sure.

DANCER
How well do you know him?

MILLER
I got to know him the last few weeks.
His cell's next to mine.

DANCER
Being neighbors; I suppose you
frequently have had conversations
with Lieutenant Manion?

MILLER
Yeah, we talk.

DANCER
What was the last conversation you
had with him?

MILLER
Well, except for a hello this morning,
the last one was last night.

(CONTINUED)
 ----~-~----·----- - -------------------· ---~-----------·"---~---- ----~ -~---. -- - ~-----'-'----~--
... ··----·----·····-__._.__,-'~- ---------····--· ·---·-· --·- .... ------··-·---·--·-·--· --····-

183.

105 CONTINUED: (8)

DANCER
Are you sure Mr. Miller, that the
Lieutenant said, 'I've got it made --
BUSTER?' -

MILLER
That's what he said -- Buster.

DANCER
Mr. Miller, did Lieutenant Manion
say anything else?

MILLER
(grinning)
Yessir. He said when he got out
the first thing he was going to do
was kick that bitch from he re to
kingdom come.

106 CLOSE UP •

of Laura, teeth set against her trembling lip.

107 COURTROOM

DANCER
To whom was he referring?

MILLER
To.his wife.

DANCER
Your witness.

Paul surveys the jury as he rises. From his POV their faces are
set and ·sullen •.

· PAUL
Mr. Miller, what ·a.re you in jail for?

MILLER
Arson. I copped out and I'm waiting
for a sentence.

In the b. g. the Guard from the main courtroom doors comes down the
aisle, hands a no~e to Parnell. Parnell scans the note, says
something to Maida, rises and hobbles quickly up the aisle and through
the main doors.

u PAUL -
How many other offenses have you
committed?

(CONTINUED)
 ... ·-·····-···········---··· -~-

182.

105 CONTINUED: (7)

0- DANCER
\.._J_
Did you discuss his trial last night?

MILLER
Some.

DANCER
Tell the Court what Lieutenant Manion
had to say about the trial.

MILLER
Well, I said are 'things looking up,
Lieutenant? And he said, 11 got it
made, Buster. 1 He said, 1 1 fooled
my lawyer and I fooled that head
shrinker and I'm going to fool that
1
bunch of corn cobbers on the jury!

MANION
{violently)
You 1re a liar. You're a lousy,
stinking liar ! !

The Judge raps for order. Paul draws Manion back into his seat.

PAUL
u I apologize for my client, Your· Honor.
Yet, his outburst is almost excusable
since the prosecution has seen fit to
put a felon on the stand to testify against
an officer in the United States Army.

DANCER
(angry)
Your Honor, I don 1t know who is the
worse offender -- Manion or his
lawyer .•.
JUDGE. 'WEAVER
(patience lost) ·
We 1re close to the end. In the name of
heaven let's have peace and courtesy
for these last few hours. Mr. Dancer,
you will continue your interrogation
without comment. Mr. Biegler will
not perorate at every opportunity and
the defendant will remain in his chair
and keep his mouth shut.

He punctuates the end of his speech with a bang of his gavel. Paul
sits, humbly. Dancer takes out his handkerchief and dabs at his
forehead. Manion, white and furious, sinks down into his chair.
\
i_J
(CONTINUED)
 184.

107 CONTINUED:

I~ "· :MILLER
\Y Huh? Oh -- well, I was in ~eiorm school
when I was a kid. That's all.

PAUL
Your honor, I would like to see this man's
criminal record.

JUDGE WEA VER

Do you have the record, Mr. Lodwick?

MITCH
(sheepishly)
Yes sir, here it is.

Mitch produces several cards clipped together. Paul strides to the

prosecution table, takes the cards, flips through them.

PAUI,,
Mr. Miller, this record shows you 1ve
been in prison six times in three different
states. You've been in three times for
arson, twice for assault with a deadly
weapon, once for larceny. It also shows
you 1ve done short stretches in four city
jails for the charges of indecent exposure,
window peeping, perjury, and committing
a public nuisance. Is this your true
record?

MILLER
Well, them things never are right.

Paul stalks back to the prosecution table, angrily tosses the record on
the table. Mitch is embarrassed,· but Dancer is imperturbable, as
usual.

. PAUL. .
lvfi.Uer, how dic:i,you.gefthe
lv{r. ear of
the prosecution in order to tell them
about your conversation with Lieutenant
Manion? ·

MILLER
The D. A. was taking us to his office ••.

PAUL
Taking who to his office?

MILLER
Us prisoners in the jail.

PAUL
He took you all at once or one at a
·time?
{CONTINUED)
 185.

107 CONTINUED: (2)

0
.

One at a time.
MILLER
Him and that other
lawyer took us to his office and asked
us questions about Lieutenant Manion.

PAUL
Were you promised a lighter sentence
if you would go on the witness stand?

DANCER
The People object, Your Honor, to
being .•.

·JUDGE WEAVER
(snapping him off)
Overruled. Take the answer.

MILLER
i wasn 1t promised anything.

PAUL
Perhaps you just thought it might
heip your own troubles i£ you dreamed
up a story that would please the D. A.?

MILLER
I didn 1t dream up nothing.

PAUL
And you're sure that's what Lieutenant
Manion said? ·

MILLER
Yep, I'm sure.

PAUL
Just as sure as you were about your
criminal. rE'/,cord?

MILLER
Well, I kind of flubbed that I guess.

PAUL
great distaste)
(with
I don 1t feel I can dignify this creature
with any more questions.

He returns to beside Manion. Dancer smiles and bows to the Judge.

. DANCER
No further questions, Your Honor.

(CONTINUED)
 186.

107 CONTINUED: (3)

() \
··
JUDGE WEAVER
Take the witness away.

Miller steps down grinning and is led away by Sheriff Battisfore.

JUDGE WEAVER
(continues)
Mr. Biegler, would you like to have a
conference with your client? I can
see that Miller was very much of a
surprise.

PAUL
No, Your Honor, we ti.on 1t need a
conference. I'll recall Lieutenant
Manion to the stand right now.

Manion goes to the stand.

PAUL
(continues)
You 1ve heard the testimony of this
Miller. Is any part of it true?

MANION
\"-.1=,'I None.
,' ~)
PAUL
{studying Manion
for a moment)
Lieutenant, do you have any idea why
he might come in here with a tale
like that?

MANION
No.

PAUL
Have you ever talked with this man?

MANION
Yes.

PAUL
What did you talk about ?

· MANION
Nothing important. Certainly nothing
about my personal life or feelings.

PAUL
That is all I wanted to know.

{CONTINUED)
 187,

107 CONTINUED: (4)

("7 DANCER
"--' · · Lieutenant Manion, have you ever had
any sort of trouble with Miller?

MANION
Trouble? I don 1t know -- you mean
an argument - - something like that ?

DANCER
Did you ever attack Miller -- physically
attack Miller?

Paul realizes Dancer has used Miller as bait to get Manion back on
the stand. Manion looks to Paul for help.

DANCER.
Your attorney can't answer the question .
for you, Lieutenant Manion. Did you
ever physically attack Miller?

MANION
I don 1t think you co,.tld call it an attack.
I pushed his head against the bars one
day.

DANCER
0 Why?

MANION
He said something ugly about my wife.

DANCER
Do you clearly remember pushing or
bumping his head against the bars?

MANION
Sure. I just told you.

DANCER
Then this was not dissociative reaction.

PAUL
The defendant is not qualified to answer
that.

JUDGE WEAVER
Sustained.

DANCER
Lieutenant Manion, wasn 1t your action
against Barney Quill much the same
thing as your action against Miller or the
Lieutenant you slapped at the cocktail
party -- all done in the heat of anger, with
a williul, conscious desire to hurt or kill?
(CONTINUED)
 188.

107 CONTINUED: (5)

'~ ·-, MANION

~ 1
I don t remember my action against
Quill.

DANCER
How long had you known your wife was
stepping out with Quill?

MANION
I never knew anything like that. I
trust my wife.

DANCER
You just occasionally beat her up for
the fun of it, I suppose?

PAUL
(desperately)
··-
There has been nothing established to -----
permit a question like-that. He keeps
trying to insinuate without ever coming
to the point. Let him ask the Lieutenant,
did he ever beat his wife.

JUDGE WEAVER
I will sustain the objection. Do you
want to re-phrase your question, Mr.
Dancer?

DANCER
(pleased)
No thank you, Your Honor. I've finished.

PAUL
I 111 ask it. Did you, Lieutenant Manion,
ever beat your wife on the night of the
shooting or any other time ?
.MANION
·No sir.

PAUL
Is there· any doubt in your mind that
Barney Quill raped Mrs. Manion?

MANION
No sir.

PAUL
That's all.

DANCER
Nothing more.

(CONTINUED)
 189.

107 CONTINUED: (6)

JUDGE WEAVER
Step down, Lieutenant.

Manion comes down to take his seat at the defense table under Paul I s
hard gaze.

PAUL
We walked into that one.

MANION
I'm sorry. I should have told you
about Miller. Are we hurt?

PAUL
Bad.

Parnell comes hobbling down the center aisle from the main courtroom
doors.

JUDGE WEAVER
(watching Parnell)
Does the prosecution have any other
rebuttal witnesses?

MITCH
(watching Parnell)
(- ..-) No, Your Honor. We have no other
'-./ witnesses.

Parnell bends over the railing, whispers to Paul.

JUDGE WEAVER
Does the defense have any rebuttal
witnesses?

PAUL
Your Honor, I know time is very
pressing and I don 1t want to ask
for a recess. But. I would like to
leave the courtroom for a moment.

JUDGE WEAVER
Well, I suppose if it 1 s important we
can be at ease for a minute.

MITCH
This is highly irregular, Your Honor.

JUDGE WEAVER
Mr. Lodwick, there is no reason, as
the saying goes, to make a federal
case out of this. You 1re excused,
Mr. Biegler.

(CONTINUED)
 ----·-·-----~-----·--·

190.

107 CONTINUED: (7)

Paul and Parnell hurry up the aisle, their heads close together,
G talking as they go, hastening through the main doors into the corridor.
All eyes in the courtroom remain on the doors. The silence is
tempered by a low mumble of conversation. A few moments pass.
Dancer glances at his wristwatch, shrugs his impatience to Mitch.
Judge Weaver takes out his watch, winds it, motions to Sheriff
Battisfore to approach the bench.

JUDGE WEAVER
(in undertone)
Sheriff, will you see if Mr. Biegler 1 s
gone fishing?

Sheriff Battisfore trots up the center aisle and disappears through the
main doors. Almost immediately he returns, followed by Paul,
Parnell and Mary Pilant.

-------------- ------
PAUL
(coming through
the gate)
Thank you very much, Your Honor.
·· I now have a rebuttal witness. The
defense calls Mary Pilant to the stand.

DANCER
(as Mary approaches}
Your Honor, we 1d like to protest this
affair. The noble defense attorney
rushes out to a secret conference and
now the last minute witness is being
brought dramatically down the center
aisle. The whole thing has obviously
been rigged to unduly excite the jury.
It I s just another of Mr. Biegler I s
cornball tricks.

PAUL
Your Honor, I don 1t blame Mr. Dancer
· for: f~eling put upon. I 1m just «i.humble
country lawyer, trying to do the best I
can against this brilliant prosecutor
from the big city of Lansing.
The jury glowers at Dancer and he paces away angrily. Paul
suppresses a grin.

JUDGE WEAVER
( sighing gloomily)
Swear the witness.

Mary is sworn and takes the stand.

(CONTINUED}
 191.
107 CONTINUED: ( 8)

o.- Where do you live,

PAUL
Miss Pilant?

At the prosecution table Mitch leans to Dancer, says something and

Dancer nods at the information.

MARY
At the Thunder Bay Inn in Thunder
Bay. . -

PAUL
How long have you lived there?

MARY
For two years.

PAUL
What is your occupation, Miss Pilant?

MARY
1 manage the Inn.

PAUL
Was Barney Quill your employer?

MARY
c) Yes.

PAUL
How is the laundry handled in the Inn?

MARY
It's chuted down into the laundry
room.

PAUL
Where is the chute located on the
second floor ?

MARY
Between room 42 and 43.

PAUL
Who lives in these rooms?

MARY
I live in 42 and Mr. Quill lived in 43.

PAUL
Would Mr. Quill, coming up from the
.lobby, have to pass the mouth of this
chute on the way to his room?

(CONTINUED)
 .. ···-·--·---·· ------------

192.
107 CONTINUED: {9)

MARY
Yes.

PAUL
Could he easily drop something into
this chute as he passed by?

MARY
Yes.

PAUL
Now in the laundry room. what is done
with the laundry?

MARY
The sheets and slips are sent out and
the towels are put into a wash and dry
machine there in the room.

PAUL
When are the towels checked?

MARY
As they 1re taken from the wash and
dry.
Pl
\. ___
,,/
PAUL
Do you check them?

MARY
Yes. That is part of my work.

PAUL
Will you tell us what you found among
these towels on the day after Mr.
Quill was killed?

MARY
I found a pair of women I s panties.

PAUL
What did you do with them?

MARY
I threw them mthe rag bin.

PAUL
When did you learn of the significance
of the s·e panties ?

MARY
Here, this morning in the courtroom.

(CONTINUED)
 193.

107 CONTINUED: (10)

PAUL .
Did you then go home and get them
from the rag bin?

MARY
(opens her purse)
Yes.

She hands a. folded pair of panties to Paul.

PAUL
• I offer this article of lingerie as
Exhibit Qne for the defense. They 1re
white, have lace up the side and are
badly torn•- as if they had been ripped
apart by powerful hands. ·The label
reads, 'Smartshop .. Phoenix, Arizona..'

JUDGE WEAVER
If there are no-objections the exhibit
will be received in evidence.

PAUL
That 1s all, Miss Pilant.

At the prosecution table Dancer rises, cold and determined.

DANCER
Did you ever talk with Mr. Lodwick,
the prosecuting attorney, about Quill's
death?

MARY
Yes, he ca.me to the hotel several
times after Mr. Quill was killed.

DANCER
Did you tell Mr. Lodwick that you
··didn rt believe that Barney Quill raped
Mrs. Manion?

MARY
Yes, I told him that.

DANCER
Now, Miss Pilant, did you ever talk
to the defense attorney, Mr. Biegler? _

MARY
Yes.

DANCER
Was this also in connection with the
shooting of Barney Quill?

( CONTINUED)
 194.

107 CONTINUED: (11)

i~----
"-.,/' MARY
Yes.
DANCER
Did you tell him you didn 1t believe
Quill had raped Mrs. Manion?

MA.RY
Yes.
DANCER
How many times did you talk to Mr.
Biegler?

MARY
Twice.
DANCER
When was the last time ?

MARY •
Last night.
Dancer glances significantly at Paul, quickens the pace of his
interrogation.
DANCER
Have you now changed your mind
about Barney Quill? Do you now
believe he raped Mrs. Manion?

:MARY
I -- I don 1t know now. I think he
might have.

DANCER
When did you change your mind --
was it last night?: · ·

MARY
No -- I -- it was here, this morning.

DANCER
When were you given the_ panties? Was
it last night?

PAUL
Now wait a minute •• just wait a
minute, ••

JUDGE WEAVER
\ Use the proper form of objection, .
\J Mr. Biegler.
(CONTINUED)
 ··-···········-········-·~----~-------·~---------~~

195.
107 CONTINUED: (12)

0 On second thought
PAUL
I don 1t object,
Your Honor. I'd like the jury to hear
her answer.

JUDGE WEAVER
Witness may answer.

MARY
No,. I was not given the panties last
night or any other time. I found them,
exactly like I said.

DANCER
Do you know for a fact Barney Quill
dropped the panties in the laundry
chute or did you just assume it?

MARY
~ I assumed it.

DANCER
Had you thought that perhaps someone
else might have dropped them there?
Someone who wanted them found in
the hotel laundry?
\~
MARY
I hadn 1t thought about that.

DANCER
And in the grip of what Mr. Biegler
might call dissociative reaction you
rushed in here with the panties because
you wanted to crucify the character of
the dead Barney Quill -- isn 1t that
right?

MARY
No, I felt it was my duty to •••

DANCER
Your pride was hurt, wasn't it?

MARY
I don 1t know what you mean.

PAUL
Your honor, he 1s trying to confuse
the witness. Let him ask questions
that she can under stand.

(CONTINUED)
 ..... ·--·--· ··-·-·····--···----··-- ~-----------~

196.
107 CONTINUED: (13)
JUDGE WEAVER
Yes, Mr. Dancer -- I'd like to know
what you 're getting at myself.

DANCER
When you fowid the panties, Miss Pilant,
was your fir st thought that Quill might
have raped Mrs. Manion -- or was it
that he might have been stepping out
with Mrs. Manion?

MARY
(to the Judge)
What does he mean? I don't know
what he means.

JUDGE WEAVER
Mr. Dancer, I must again ask you to
put straight questions to the witness.
DANCER
. This· is a
straight question; Your 1-ionor.
Were you Barney Quill's mistress,
Miss Pilant?

MARY
(almost weeping
with fury)
No, no, I was not!

DANCER
Do you know that it I s common knowledge
in Thunder Bay that you were living
with Quill?

MARY
That I s not true. Barney Quill was - -

DANCER
Was what, Miss Pilant?

She looks helplessly at Paul. There's nothing he can do.

DANCER
(continues)
Barney Quill was what, Miss Pilant?

MARY
(defiant! y)
He was my father.
-,
,,---·· (CONTINUED)
t .. j
........
..-/"
 197.

107 CONTINUED: (14)

The courtroom whispers and mumbles. Dancer is stunned. He stares

at Mary for a long moment, then spins to glare at Paul. Paul plays
it straight, but he can 1t keep the triumphant glitter from showing in
his eyes. Dancer relaxes. A smile touches his lips. He inclines
his head in a tiny bow to Paul. ·

DANCER
No more questions, Your Honor.

PAUL
That 1s all for me, Your Honor.

JUDGE WEAVER
The witness may step down.

Mary leaves the stand, bravely, head up, Paul escorts her to sit
be side Parnell and Maida.

JUDGE WEAVER
(continues)
.. We will recess for fifteen minutes --
after which we will hear the closing
arguments. I hope the attorneys will
be brief and to the point. If it I s
possible, I would like to charge the
jury before nightfall. '

As the Judge is speaking, the CA:MERA PULLS BACK to take in. all
of the courtroom.

DISSOLVE TO:

108 INT. PAUL'S OFFICE - NIGHT

Paul is at the piano, aimlessly tinkering with some slow blue notes.
Parnell lies on the old couch, hat over his face. Maida comes from .
. the kitchen, ca.rl".Ying a. cup of coffee, surveys the two rru,:,n, comes on
I I . to peer th.rough squinted eyes at the clock on Paul's desk~ - It reads ·.I
one o'clock. ·· · · ·· ·

MAIDA
Think they're going to stay out all
night?
(a ·pause)
Why can 1t somebody say something?

PARNELL
(lifting the hat off
his face a few inches)
What shall I talk about, Maida
darling?
CJ
' ( CONTINUED)
 ----------·. ----·---· .. _ ... ····---····.- ··- ··-···- ..

198.

108 CONTINUED:

MAIDA
Tell me we 1re going to win. I'm
counting on getting that promissory
note from the Lieutenant. I hope we
can borrow some money on it. I need
a. new typewriter. Half the time the
tp 1 and the 1£1 won 1t strike on mine.
'Party of the first part 1 sometimes
comes out, •arty o 1 the irst art. 1
it doesn't make sense. It's embarrassing.

PAUL
Arty o I the 1irst art. I like that.
It has a ring to it.

A moment passes.

PARNELL
(puts his hat
over his eyes)
Twelve people go off into a room.
Twelve different hea.rts, twelve
different minds, from twelve
different walks of life -- twelve
sets of eyes and ears, shapes and
sizes -- And these twelve people
have to judge another human being
as different from them as they are
from each other - - and in their
judgment they must become of one
mind -- unanimous. It 1s one of the
miracles 1
of man s disorganized soul
that they can do it -- and most of
the time do it right well. God
bless juries.

A little time passes. Paul picks at the keyboard, Maida sips her
coffee.

MAIDA
I don 1t know what 1 1d do if I were on
that jury. I really don It know. Do
you?

PARNELL
(chuckles}
I loved that, Polly, my boy. I loved
that humble country lawyer bit. You
had Mr. Dancer dancing.

(CONTINUED)
"'\

<~~J
_/
 199.

108 CONTINUED: {Z)

PAUL
I'm afraid he got the last dance --
best summary I 1ve ever heard in a
courtroom.

MAIDA
I liked yours much better, Polly.

PARNELL
Do you have to play that stuff? Can 1t
you play Danny Boy or Sweet Isle of
Innisfree?

Paul boogies Danny Boy and Parnell rises irately.

PARNELL
(continues) ·
Sacrilege!

The RING of the phone cuts into the racket Paul is making at the
piano. He stops playing suddenly. He and Parnell turn toward
Maida who has seized the phone.

MAIDA
(into phone)
Paul Biegler 1s office ••• Yes sir.
Right away.
(she hangs up)
They're ready.

DISSOLVE TO:

l 09 EXT. COURTHOUSE - NIGHT

The upper floor, the courtroom floor, is ablaze with light. The lawn
is deserted. There are maybe fifteen cars parked in the street.
A water truck passes by spraying the pavement. As the truck passes
it is joined by Paul I s car which turns into the curb before the court-
house. Paul, Maida and Parnell hurry up the walk toward the
entrance.

110 INT. COURTHOUSE ROTUNDA - NIGHT

The rotunda is dimly illuminated by a few lights in the corridors off

the rotunda. Light from above touches the marble stairs and from
above Laura's voice is heard murmuring a plaintive song -- off key --
lazy. She is preceded by Muff -- flashlight in mouth, bouncing down
the stairs. As Laura comes into view, Paul, Maida and Parnell
enter the courthouse. Laura sees them and halts, leaning against the
(J stair wall. She carries her shoes in her hand, her suit jacket is
unbuttoned. She 1s pleasantly tight, careless and appealing.

{CONTINUED)
 200.

110 CONTINUED:

LAURA
Hi, sweetie.
PAUL
(to Parnell and Maida)
Be right up.

They go on up, looking back suspiciously at tipsy Laura.

PAUL
(continues)
The jury's coming in.

LAURA
(she hiccups)
I heard. Tell my loving husband 1111
be waiting in the car.

PAUL
You're sure he 111 be coming out?

LAURA
(putting on her shoes)
Sure. He's lucky. Some people have
all the luck. Tell him I 1m waiting to
get kicked to kingdom come. ·
C:J She meanders on down the stairs for a few steps.

LAURA
(continues)
· Oh, hey sweetie •••
(she opens her purse,
takes out a folded
object, tosses it to Paul)
Souvenir for you.

The object in Paul I s hand is a girdle.

PAUL
(stepping down, hands
her the girdle)
Better keep it. You might need it
again sometime. You never know.

LAURA.
No, you don 1t, do you? I like you,
Polly.

A beat, then she smiles and dawdles on, murmuring her song again,
crosses the rotunda. Muff playing about her in circles. · Paul watches
her go with pity, amusement and affection.
CJ
 201.
111 INT• COURTROOM - NIGHT
•-.
3
.
I The wall clock reads 1:30. Only a few spectators have kept vigil but
the newspapermen are, of course, still on hand. Mitch and Dancer
are chatting with a couple of reporters and the court officials are
lounging about inside the bar. There is a patter of conversation and
air of expectancy. Manion enters with Sheriff Battisfore from the
lawyers• conference room. As Paul enters the courtroom through the
main doors and walks down the center aisle, Judge Weaver comes
from his chambers. The courtroom comes to attention as the Judge
climbs to his bench. He glances up at the clock, checking it against
his watch.

• JUDGE WEAVER
You may be seated. Is everyone present,
Mr. Sheriff?

SHERIFF
Yes sir. All the principals are present.
---------,---,- ________ ----- ·--- --
JUDGE WEAVER·~-
Allow the jury to come in please.

Sheriff Battisfore opens the door to the jury room, saying, "All
right, folks, 11 and the jury files in, tired, rumpled, the men
needing shaves.

JUDGE WEAVER
(continues; when the
jury is seated)
I warn all of those present not to
interrupt the taking of the verdict.
I will stop the proceedings and
clear the courtroom if there is
any demonstration. Proceed,
Mr. Clerk.

COURT CLERK
Members of the jury, have you agreed
upon a verdict, and, if so, who will ,
_. speak for you?

A JURYMAN rises.

JURYMAN
We have agreed. I'm the elected
foreman.

JUDGE WEAVER
The defendant will rise.

Manion stands at the counsel table.

COURT CLERK
What is your verdict, Mr. Foreman?

(CONTINUED)
 2.02..

111 CONTINUED::

0 We find --
JURYMAN

(his voice cracks and

he clears his throat)
We find the defendant not guilty by
reason of insanity.

DISSOLVE TO:

112. EXT. OPEN HIGHWAY • DAY

'
Paul's ca·r comes speeding along the road by the lake which leads
to Thunder Bay. The sun is bright and it 1s a good day.

113 INT. PAUL'S CAR - DAY

Paul is driving, Parnell beside him. Both are mellow and pleased.

PAUL
Maida gave you the promissory note,
didn't she?

PARNELL
(tapping his
coat pocket)
Right here -- ready to be signed by
our happy client.
(lie looks out
the window)
You know, I used to think the world
looked better through a glass of rye.
It doesn 1t. I think I'll keep it this
• way. Looks nice.

PAUL
I've gotten one good thing out of this
case -- that's a law partner -- if it's
all right with him.

PARNELL
(delighted)
He 111 be mighty proud to have his
name on a shingle with yours.

They grin at each other.

114 EXT. GATE OF THUNDER BAY TOURIST PARK - DAY

Paul's car hums f;L"omdown the highway, turns through the gate.

_;
 2030

ll5 EXT. SITE OF MANION'S TRAILER - DAY

A littered clearing, waste paper blowing about the area, a canvas

chair with a broken back has been left behind, a big oil drum serves
as a garbage can and is overflowing with cans and empty bottles.
Paul I s car rolls up and stops. Paul and Pa:;r.nell get out. Paul walks
slowly to where the trailer once stood, looks about in dismay. Mr.
Lemon comes hurrying down from the trailer street.

LEMON
I guess you're looking for Lieutenant
Manion, aren't you,. Mr. Biegler?

PAUL
Yes.

LEMON
He gave me this note for you.

Paul takes the note, reads it silently.

LEMON
Felt real sorry for Mrs. Manion.
She was crying. Left a mess, didn 1t
they? I better get my helper busy
here.

He trots away. Without a word Paul hands .Parnell the note and for
lack of something else to do, idles over toward the oil drum. Parnell
scans the note. Now he reads aloud.

PARNELL
(reading) ·
'Dear Mr. Biegler: So sorry but
I had to leave suddenly. I was seized
by -- an irresistible impulse.
Frederick Manion. 1

The wind rustles through the littered camp site. Paul reaches into ·
the oil drum and. lifts out a red slipper· with a spike heel. The heel
·has been broken and dangles from its joint. He sets the heel into
place, holds the slipper on the palm of his hand.

PAUL
How the devil are we going to face
Maida?

PARNELL
(picking up an
empty bottle)
Gin. I knew there was something
wrong with that fellow. Never saw
-··,. a ·gin drinker you could trust.

U. (CONTINUED)
 ---••~•~-- .....-,-• .. ~""'•~~w~.•---~-~--~• ..... -.. • -••- .. -.-•--•••• --•- -••-•-.•-••.--••• .. ••
t

I
204, i
115 CONTINUED:
9
(-~ PAUL
Pardner, let 1s go see our first client.

PARNELL
And who might that be?

PAUL
{-grinning)
Mary Pilant. We 1re going to administer
1
Barney Quill s estate.

PARNELL
(chuckles)
That's what I call poetic justice for
everybody.

A little sadly, Paul drops the red slipper on top of the bottles.

--PAUL-
Yes.

They get into the car and drive away. Now they're gone and all that
remains -- the last dismembered part --- is the broken red slipper
lying among the empty bottles.

FADE OUT.
~
,____)-

THE END