Project of a Test Film
Our hypothesis is the following:
A person who tends to accuse a Jew or any member of another minority of an action which that group, on the basis of its professional and traditional background, cannot be expected to commit (at least not with greater probability than a member of any other group) must be biased in some way against this group.
The basic hypothesis is as follows:
A person determined by an antisemitic outlook will introduce a relation of cause and effect between two unrelated parts of a situation.
To explain: the occurrence of the accident, on the one hand, and the being Jewish of the accused person, on the other hand, are not related either in fact or perceptually (that there is no perceptual relation is established by the control experiment in which the accused person, playing the identical role, is Gentile).
The crucial question is whether the person introduces the causal relation where it does not exist. If he does, this can only be on the basis of an antisemitic orientation.
If this hypothesis is correct, then the reaction to the film indicates the presence or absence of an antisemitic orientation in the given situation. The validity of this inference can eventually be checked against the correspondence between the reactions to the film and the other data, such as interviews and attitude scales.
1. The frequency with which the Jew is judged guilty will vary directly with the antisemitism of the groups; i.e., the frequency will be higher in antisemitic groups than in non-antisemitic groups.
2. There will be significant relationships between the reaction to the film and the scores on attitude scales.
3. The ambiguous events in the film will be structured in the direction of the final decision.
4. Upon a second showing of the film there will be a trend to maintain the verdict previously reached.
5. The minority of the people will be prone to mention the man who reads the newspaper, and those who do mention him will tend to endeavor to achieve a most objective appraisal of the situation.
6. The fur-coat lady would get unfavorable reactions from antisemites.
7. In a Jewish audience there will be significant differences of reaction according to socio-economic levels; those of lower socio-economic level tending to exonerate the Jew.
8. The difference between variation II and variation I will be greater in the antisemitic groups.
9. In the group which shows a higher degree of accusation of the Jew, there will be fewer refusals to judge and contrariwise. If the refusal is not due to lack of cooperation in general, the male antisemites will show a certain degree of lack of cooperation, not the females.
10. Antisemitism is connected with anti-intellectualism in the sense of “sophistication.” Sophistication has a negative connotation with the antisemites.
Examples of questions which the audience
Will be asked after the showing:
1. Give a short report on what you have just seen. Tell the events without any commentary.
2. Which were the leading characters? Describe each one of them.
3. List each of these characters according to whom you like best, next-best, a.s.o. {and so on}, until the one whom you disliked most, and give reason why.
4. Do you think the crowd designated as guilty the right man?
5. How did the man behave when he was accused by the crowd?
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Cowardly |
Courageously |
Correctly |
6. How did the two nuns behave? Do you think their sympathies at the end were with the crowd or with the accused man?
We might experiment with the fragment of the picture which ends immediately after the accident. Therefore, the production should be done in such a way that we can make a break after the accident and before the talk starts.
Once in a while we might show the picture twice to the same audience in order to see whether the second showing (without the slow-motion part) has an influence on the audience’s opinion.
Perhaps it is a good idea to test the difference of reactions if the Jew is represented as rich or simply average. This could be done very easily. For example, at the end, when the crowd turns against the Jew, he would raise his hand and a member of the crowd would say: “Look at that big diamond ring!” This remark could be left out in other versions.
Another, and even better, way would be for the policeman to ask the man his business. Then, when he is questioned as to his employer, he answers: “I am the owner.” The next question concerns the address of the business. When that is given the policeman inquires: “What floor are you on?” to which the man answers that the business occupies the entire floor. After hearing the name, the policeman could even say: “Oh, you are the Mr.…”
It should be well understood that we do not expect that any cross-section of any group would react to the picture in the following way:
The part of the cross-section which will see the Gentile accused would be expected to say: “The Gentile is not guilty,” and the part, or at least a fraction of the part, which would see the Jew accused would say: “The Jew is guilty.”
What we expect is that some of the group which sees the Gentile accused will agree with the accusation. The percentage of the those who see the Jew accused and agree will be somewhat higher if the group of which the cross-section is typical is biased to some extent. This bias is not necessarily an expressed one. It might be that the whole cross-section, when asked, whether the Jews are as desirable as other groups, would answer, “Yes.” It is just this latent prejudice which can be tested by such means as the picture.
Either the one-legged man or another character must imitate the Jew.
There should be an old lady having {sic} a dog in a basket and crying: “My dog, My dog …” when the commotion starts.
There should be a child who cries in the panic.
There should be one intellectual with horn-rimmed glasses.
There should be one very elegant lady in a fur-coat.
There should be two shipyard workers, but they should be dirty enough as to enable the antisemite to say that they look suspicious.
Audience reactions are significant only if they are expressed spontaneously, involuntarily. The purpose of this test film must therefore be veiled. The interest of the audience must be diverted from the test proper and concentrated upon something else; in this case, on the fact that the testimony of eye-witnesses is nearly always unreliable.
On the other hand, we cannot veil the purpose of the film so that the audience is completely sidetracked. It would be advisable to insert motifs which keep alive or even stimulate the more or less latent racial or religious prejudices.
The subject of this film is an accident in a subway car. The accident occurs at the beginning of the film. This theme has been selected:
(1) to shock the spectators from the outset into identifying themselves with the characters in the screen;
(2) to arouse the spectators’ emotional reactions from the beginning;
(3) to create argument among the screen characters, a passionate dispute designed to evoke participation by the audience.
The film should be interesting as a movie. A dull film would weaken the interest of the audience in the problems involved, thereby reducing the value of the test.
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A subway car stops at a station. Pressing into the crowded car are people coming, perhaps, from a baseball game. Among them, a one-legged, elderly candyman, tries to get in. |
The one-legged man is to arouse sympathetic feelings among the audience. He will express antisemitic sentiments. |
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He is pushed aside by an obviously Jewish man.1 |
This is to arouse a slight bias. |
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The one-legged man finally gets in. A girl offers him her seat near the door leading to the next car. From this place he follows the events, and eventually becomes the mouthpiece of what seems the “public opinion” in the car after the accident. |
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As the subway starts moving, a man in front of the one-legged man is seen reading a newspaper. It hides his face. |
A slight comic touch is needed to prepare the audience for the shock to come. This character represents indifference. |
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A woman with a big parcel containing a vacuum cleaner is squeezed against the door leading into the next car. When the train rounds a curve, she clasps the latch, trying to keep her balance, and the door swings open. |
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At this very moment, for unknown reasons, a violent commotion occurs, involving four men standing close to the door. One of them is the Jew. The three others are presumably Gentiles—among them a rather tough guy. Owing to this commotion or to some other cause, the woman is pushed out of the door; she seems to slip through the safety ropes between the cars. The woman screams. People leap from their seats. A flash: the lights go out, the subway stops. An isolated flashlight and occasionally lighted matches allow the camera to show that the short circuit has been cause by the vacuum cleaner which has fallen onto the rails. (An accident of this kind has recently been reported in the New York Post.) The woman herself, caught by the safety ropes, is dragged into the car and cared for by a doctor who happens to be among the passengers. She is more shocked than hurt. |
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We can see immediately that the accident was not dangerous after all. This is done to mitigate the shock effect, so that the racial prejudices will not be overshadowed by other reactions. |
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The man with the newspaper, undisturbed, makes a futile attempt to continue reading with the aid of kitchen matches. |
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Mass hysteria and a general fight develop. |
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Suddenly the lights go on again. |
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Two cops, accompanied by a subway guard, enter the car by the door opposite the door of the accident and push through the crowd toward the four men. Each of the four men is accused by some member of the crowd. |
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The man with the newspaper is seen absorbed again in reading. |
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(From this point on the film has to be split into two variants)2 |
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Variant I: implies that one of the Gentiles is guilty; claiming indemnity, the hurt woman expresses the definite opinion that she was pushed out of the door not by the Jew, but by one of the Gentiles—the tough guy. The crowd seems to adopt her opinion. Only the one-legged man is dissatisfied.
Variant II: implies that the Jew is guilty: The woman loudly claims indemnity, without being interested in the problem of guilt. The antisemitic atmosphere predominates. The one-legged man remains the accepted leader.
The film ends, in both variants, with the cops taking down the addresses of the four men and the eyewitnesses. While they are doing this, the camera pans over the crowd—an extended shot including a close-up of the one-legged man.
Slow fade-out.
Caption: You, too, have been eyewitnesses of the accident. What is your opinion?
Now the questionnaires are distributed among the audience. They include many questions regarding the cause of the accident and each character involved.
One question is:
The purpose of the two variants: Both variants are shown to a sample of the social group whose racial reactions are studied. But, variant I is shown to a sample composed of other individuals than the sample confronted with variant II.
The sample shown variant I may be called sample I.
The sample shown variant II may be called sample II.
The degree to which the answers of sample I tend to be fairer to the suspected man than the answers of sample II—if such a difference can be observed at all—would provide us with an index of the amount of prejudice.
A Test Film Prepared for the
American Jewish Committee for
selected showings in connection
with questionnaire.
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An impressive view of lower Manhattan, looking down from an elevation. Camera pans across Broadway, which is relatively empty, and stops close on clock tower as the hands reach six o’clock. There follows a brief montage of New Yorkers quitting work for the day and starting home, including: |
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Office workers getting up from desks— Looking at watches— Covering typewriters— Powdering noses in the washroom mirror— Slipping on hats and coats— A factory whistle blows and we see factory workers down tools— Pick up lunch pails and coats— Punch out through the time clock— |
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A close view of the tower clock reveals that it is now a couple of minutes after six, and as we pan from it to the original scene of Broadway, it is now crowded, with more people pouring out of offices, bound for a subway kiosk. Dissolve to— |
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Interior, car of a New York subway express, northbound from lower Manhattan, evening rush hour. The train is in motion. It is already fairly full of homegoing types, and the establishing shots will give the impression of average Americans at the end of the day’s work, tired and slumping, swaying in hard-packed, involuntary contiguity, each isolated with his or her own reading matters, his or her own thoughts. |
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A pan of close-ups starts well up towards vestibule with (seated) an OLD GENTLEMAN WITH FINANCIAL PAGE, on which he has started to check stock reports. Ad lib, a young STENOGRAPHER chewing gum and deep in a “Confessions” magazine. In any case, neither of these will speak or take active part, their value throughout being only as figures of persistent disinterest. |
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Camera moves in close to A WOMAN WITH A VACUUM CLEANER. She is standing in vestibule, against end door, the handle of the half-wrapped bundle over her shoulder and leaning against the door’s pane. She is a mousey, puritanical little woman, middle-aged, middle-class, clutching her too-big burden with an air of frustration. As camera moves so close that it excludes everyone else, we begin to hear her thoughts, as given by her own voice with special effect in re-recording. |
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As she unwraps little corner of bundle and peeks in: |
VACUUM CLEANER WOMAN’S THOUGHTS All right, now it’s repaired. Now I can get to work tonight cleaning up the house again. All that dust and dirt, infection, disease … I won’t have them in my house. Clara always laughs at me—calls it silly. But it isn’t what you do that counts—it’s how you do it! (indicating cleaner) Might start on the rugs tonight— |
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Pan to TWO SHIPYARD WORKERS, standing. They are in work clothes, grimed, weary. They share a newspaper, but neither really reads it as, with far-away expressions, their voices—via similar technique—give their thoughts. |
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Both pretend dumbly they are reading paper. |
FIRST SHIPYARD WORKER’S THOUGHTS Oh, boy, corned-beef tonight—that’s what she promised. And after that shipyard all day! But the old Gal won’t let my stomach down. She knows what’s what—knows a woman’s place is in the home—not in the shipyard. She’ll have it all ready to dish up, smoking hot: good, chunky, fatty red corned-beef! |
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First worker goes through elaborate dumb show of asking whether second is through with page. First nods yes. First turns page. Both continue gesture of reading. |
SECOND SHIPYARD WORKER’S THOUGHTS Spaghetti tonight—out of a can! Don’t expect anything else. Spaghetti last night—spaghetti the night before. And don’t kid yourself, it’ll be spaghetti again tomorrow. Don’t know what she spends my money on—certainly ain’t on my stomach. Rivettin’ all and then—spaghetti! |
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Camera moves to a middled-aged WOMAN IN FUR COAT, seated. She is a stout creature, and the conspicuous mink makes her look even more so. She is looking around car, much enjoying her lack of enjoyment, her gaze ultimately settling on a NEGRO youth in a Harlem zoot suit who is standing near. |
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As she watches NEGRO: |
FUR COAT WOMAN’S THOUGHTS All that company to prepare for tonight—and I couldn’t get a taxi home. Well, we all have to make sacrifices nowadays—and I’m no snob. I like people all—like this, mixed together. Even colored people! Though I must say, the way that maid walked out on me just because of tonight’s party … After all I’ve done for her, the dresses I gave her. No gratitude, Negroes … no loyalty. The minute you treat them like equals—you just can’t do it! But—she did make such darling canapes! Do hope I can manage … |
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Camera moves to a policeman. |
POLICEMAN’S THOUGHTS O.K., Sadie, I’m on my way home right now! Kin hardly wait to get there. I’ll be |
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NEGRO VERSION |
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Pan to TWO SHIPYARD WORKERS, standing. They are in work clothes, grimed, weary. They share a newspaper, but neither really reads it as, with faraway expressions, their voices—via similar technique—give their thoughts. |
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Both pretend dumbly they are reading paper. |
FIRST SHIPYARD WORKER’S THOUGHTS Oh, boy, corned beef tonight—that’s what she promised. And after that shipyard all day! But the old gal won’t let my stomach down. She knows what’s what—knows a woman’s place is in the home—not in the shipyard. She’ll have it all ready to dish up, smoking hot: good, chunky, fatty red corned beef! |
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First worker goes through elaborate dumb show of asking whether second is through with page. Second nods yes. First turns page. Both continue gesture of reading. |
SECOND SHIPYARD WORKER’S THOUGHTS Spaghetti tonight—out of a can! Don’t expect anything else. Spaghetti last night—spaghetti the night before. And don’t kid yourself, it’ll be spaghetti again tomorrow. Don’t know what she spends my money on—certainly ain’t on my stomach. Rivettin’ all day and then—spaghetti! |
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Camera moved to a middle-aged WOMAN IN FUR COAT, seated. She is a stout creature, and the conspicuous mink makes her look even more so. She whisks her coat away from contact with the JEW, and looks around the car, much enjoying her lack of enjoyment, her gaze ultimately settling on a NEGRO youth in Harlem zoot suit who is standing near. |
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making a beeline down the block, and up the stairs—to where Sadie’ll be waiting—with a tub o’ hot water that I’ll put these poor old Staten Island feet into and just let ’em soak there all evenin! Good old Sadie! Kin hardly wait! |
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Camera moves to close-up of a man’s fat paunch in tight vest, with a gold watch-chain strung from pocket to pocket. Then to figure of a PICKPOCKET, a slick ratty little chap, standing next to man with vest and eyeing the watch-chain intently. |
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PICKPOCKET’S THOUGHTS Fat jewelry on a fat man … it depresses me. |
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Camera returns to the vest of the bystander. The watch-chain has disappeared. |
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PICKPOCKET’S THOUGHTS Wonder how many other chances I’ll have this evening to rebuke society’s bad taste. |
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Camera moves on to a dowdy OLD WOMAN, with satchel on her lap. |
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OLD WOMAN’S THOUGHTS Wanna be home—safe. Something’s gonna happen. The stars said so for today. Folks can make fun of it, but astrology explains a lot of things. I’ll just set for the evening—safe. |
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Out of open lid of satchel pushes the snout and cocked eye of a PUPPY. A kid’s hand comes into scene—stops before patting puppy. Camera now includes LITTLE GIRL, gazing at the puppy longingly. |
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She makes a move to pet dog, but is restrained by glare from owner. |
LITTLE GIRL’S THOUGHTS Oh, dear, wish I was going home to a dog—’stead of just a baby brother. I think I like dogs better than people. Look at that. Now, dogs, they wag their tails and you know they want to be friends with you. And you can’t scratch people’s stomachs, mostly, either! |
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Pan to TOUGH GUY. He is a huge, surly brute, Prussian type. He is thumbing through a collection receipt-book, grim satisfaction on his jaw: |
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Turning to next pages: |
TOUGH GUY’S THOUGHTS Morrisey, two installments, paid—yeah, they paid all right, all right—sure tried to get out of it. Greenwald, one installment. Smith—they didn’t get away with anything, either. That old gag about meeting hospital bills first—nuts! A good day’s work. |
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Shuts book away. A grin of anticipatory bliss: |
And now home to Mama. My ol’ Mama. A guy who don’t feel real love and respect for his parents is a heartless mut—an’ no American, besides! |
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His elbow jogs WISE GUY, a small, wiry, grizzled type with ironical expression, slightly too good manners, and an evening tie and shirt-bosom visible under his turned-up light overcoat. |
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He shrugs—smiles whimsically. |
WISE GUY’S THOUGHTS Everyone else going home except me. Upside-down me, I go to work. Still, nothing like work in a nightclub for getting to know human nature at a glance. |
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Eyeing WOMAN IN FUR COAT: |
Now there’s a sure dollar tip. Millionaires in subways … this is certainly a democracy. |
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Camera moves with his eyes to WOMAN WITH VACUUM CLEANER. He shakes his head. |
Uh-uh. Strictly cafeteria! |
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His gaze moves on to INTELLECTUAL. Speculatively: |
HM! Big shot? Or just wishes he was? |
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Close-up of INTELLECTUAL standing in vestibule corner: a large, impressive, health-radiating type in good tweeds and ribboned glasses. He glances at some notes and then looks up, delivering a speech in his imagination. |
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Then, in quieter vein, |
INTELLECTUAL’S THOUGHTS “Gentlemen, it’s a privilege to speak here tonight to your distinguished membership of—may I say ‘Doers’!—businessmen and other red-blooded men of action.’ ” Good—they mustn’t put me down as a freshwater college professor! |
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Resuming the speech, in his imagination: |
“Admitted, gentlemen, that’s what I am by vocation, yes, but not by instinct! I’m the first to protest against our colleges’ emphasis on intellectual theory instead of the solid virtues—There are problems too important to be understood by the mind alone. Problems which call for fewer laws and for courageous leaders, instead of beaurocrats {sic} …* |
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Seeing SOLDIER further down car: |
…real leaders, who won’t be afraid to keep the younger generation in training. After all, human nature being what it is, there’ll always be war … And military training makes young folks think about the important things in life. |
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During above Camera has centered on SOLDIER, a tall, good-looking kid in uniform, pfc. {private first class}. |
SOLDIER’S THOUGHTS (in slow Vermont twang) She sure has the trimmest ankle … and the rest of her fits the ankle! |
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In gangly position and melancholy Jimmy Stewart mood, he is looking wistfully across aisle through gap in standees at: |
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Close shot CADET NURSE. At first she appears to look away, as if annoyed by his gaze. |
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But, as the camera comes very close, we see that out of the corner of her eyes she is looking back at the SOLDIER with an interest that matches his. |
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NURSE’S THOUGHTS Well, I made him look at me, anyway. Though, a lot of good it does to have him look! He won’t try to pick me up … the nice ones never do. |
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Intercut between them during following: |
SOLDIER’S THOUGHTS Look, soldier, don’t be a Vermont jokel {sic}. How far do you think you could get with a slick society dame as pretty as—gee, she sure is, all right, she sure is pretty! Wish I could show her I think so! |
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Giving SOLDIER a quiet once-over: |
NURSE’S THOUGHTS Five foot eleven, I’d say. No extra fat. Nice straight nose. Won’t go bald before he’s fifty. But what would he want with just plain run-of-the-mill Bronx goods like me? Times Square, Chorus Girl Land, that’s where he’ll get off. |
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SOLDIER’S THOUGHTS Okay, even supposing you did get to know her … |
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A SUBWAY GUARD enters car at lower end, and comes forging through towards vestibule. |
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She has a Red Cross First Aid Manual in her lap. |
NURSE’S THOUGHTS I—I wish he’s {sic} pick it up. No, not me, just—it! |
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The little manual plops to floor. SOLDIER leans awkwardly forward to pick it up, but gets his finger caught under somebody’s heel. |
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The SUBWAY GUARD swoops up the manual, returns it to the NURSE, and passes on. In vestibule, the WOMAN WITH VACUUM CLEANER has to make way for him to open end door and exit through. As she inches back against door, the handle of the cleaner over her shoulder catches in the crack and, unnoticed by anybody, prevents a complete closing of door. Camera back to NURSE and SOLDIER. |
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As she crams manual into pocket: |
NURSE’S THOUGHTS Of all the cheap tricks—and I played it! Serves me right. |
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Sits nursing his finger: |
SOLDIER’S THOUGHTS Serves y’ right for thinkin’ she did it a-purpose! Wonder how good she is at bindin’ up …? |
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NURSE’S THOUGHTS Wonder if he’d let me bind it? |
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His eye on his wrist watch: |
SOLDIER’S THOUGHTS Gosh, take y’ two whole hours, probably, to get up nerve to ask her to have supper … that’d be eight o’clock. |
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NURSE’S THOUGHTS Doesn’t anything ever happen to—to anybody, ever? |
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SOLDIER’S THOUGHTS 9:30 before she’d even think of asking you home— |
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NURSE’S THOUGHTS I guess not. Not on a subway, ever. |
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SOLDIER’S THOUGHTS —and by the time you really got under way it’d be midnight, and you’d have to beat it back to camp. |
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As she looks reluctantly away: |
NURSE’S THOUGHTS Well, five foot eleven, I—I guess it’s goodbye. |
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Ditto, in other direction: |
SOLDIER’S THOUGHTS Well, so long, ankles. |
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The train clanks on. A resume-shot gives another general impression of the carful as the shadow mechanism behind window closest to vestibule slows down and indicates station stop. Through window or door-pane, as vestibule side-door slides open, group-shot of waiting passengers in cluster around pillar. |
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One passenger pushes out, the waiting crowd pushes on. Among these, most prominently, a JEW and a CLUB-FOOTED PEDDLER. The JEW is stocky, prosperous-looking, open-faced but slightly over-bearing. CLUB-FOOT is fairly elderly, tall, dominant in spite of his affliction, his face a mixture of piety, truculence, and dormant fanaticism. He is poorly clad, and is having trouble with his peddler’s tray of shoelaces, pencils, etc. He tries to barge aboard ahead of JEW, who, with plausible indignation, elbows him off and gets there first. As they come onto train: |
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Jostled aside: |
CLUBFOOT (aloud) Look out, where are you—? |
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Turning in vestibule, with that curt constrained politeness of the subway code: |
JEW (aloud) All right, I’m sorry. |
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CLUBFOOT looks up toward INTELLECTUAL, against whom he has been pushed. He’s about to apologize, but INTELLECTUAL has evidently seen part of incident and sides with CLUB-FOOT, for he volunteers |
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NEGRO VERSION |
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SOLDIER’S THOUGHTS —and by the time you really got underway it’d be midnight, and you’d have to beat it back to camp. |
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As she looks reluctantly away: |
NURSE’S THOUGHTS Well, five foot eleven, I—I guess it’s goodbye. |
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Ditto, in other direction: |
SOLDIER’S THOUGHTS Well, so long, ankles. |
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The train clanks on. A resume-shot gives another general impression of the carful as the shadow mechanism behind window closest to vestibule slows down and indicates station stop. Through window or door-pane, as vestibule side-door slides open, group-shot of waiting passengers in cluster around pillar. |
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One passenger rushes out, the waiting crowd pushes on. Among these, most prominently, a NEGRO and a CLUB-FOOTED PEDDLER. The NEGRO is a good-natured, carelessly mannered chap with too fresh a grin, and is dressed in a Harlem zoot suit, loud tie, etc. CLUB-FOOT is fairly elderly, tall, dominant in spite of his affliction, his face a mixture of piety, truculence, and dormant fanaticism. He is poorly clad, and is having trouble with his peddler’s tray of shoelaces, pencils, etc. He tries to barge aboard ahead of NEGRO, who, with gleeful determination, elbows him and gets there first. As they come onto train: |
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Jostled aside: |
CLUB-FOOT (aloud) Look out, where are you—? |
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WHITE COLLAR VERSION |
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SOLDIER’S THOUGHTS —and by the time you really got under-way it’d be midnight, and you’d have to beat it back to camp. |
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As she looks reluctantly away: |
NURSE’S THOUGHTS Well, five foot eleven, I—I guess it’s goodbye. |
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Ditto, in other direction: |
SOLDIER’S THOUGHTS Well, so long, ankles. |
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The train clanks on. A resume-shot gives another general impression of the carful as the shadow mechanism behind window closest to vestibule slows down and indicates station stop. Through window or door-pane, as vestibule side-door slides open, group-shot of waiting passengers in cluster around pillar. |
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One passenger rushes out, the waiting crowd pushes on. Among these, most prominently, a WHITE-COLLAR WORKER and a CLUB-FOOTED PEDDLER. The WHITE-COLLAR WORKER is a sallow, somewhat cranky, worried man, bookkeeper type, distinctly Protestant. CLUB-FOOT is fairly elderly, tall, dominant in spite of his affliction, his face a mixture of piety, truculence, and dormant fanaticism. He is poorly clad, and is having trouble with his peddler’s tray of shoelaces, pencils, etc. He tries to barge aboard ahead of WHITE-COLLAR MAN who elbows him petulantly and gets there first. As they come onto train: |
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Jostled aside: |
CLUB-FOOT (aloud) Look out, where are you—? |
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Turning in vestibule, with an ineffectual show of spite: |
WHITE COLLAR (aloud) Very well, I’m sorry. |
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CLUBFOOT looks towards INTELLECTUAL, against whom he has been pushed. He’s about to apologize, but INTELLECTUAL has evidently seen part of incident, and sides with CLUBFOOT, volunteering the ironic comment. |
INTELLECTUAL (aloud) “Sorry”—but after he pushed you, of course! |
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CLUBFOOT Sure, sneakin’ right in—ahead o’ me—not mindin’ anything—a gentleman! |
||
|
WHITE COLLAR has not heard this bitter but quiet comment. However, glancing down, he notices CLUBFOOT’S affliction and murmurs to himself, as if in understanding of the man’s bitterness: |
||
|
The ironic comment: |
INTELLECTUAL (aloud) “Sorry”—but after he pushed you, of course! |
|
|
CLUBFOOT Sure, always pushing in first, always grabbing the profits! |
||
|
JEW has not heard this bitter but quiet comment. However, glancing down, he notices CLUB-FOOT’S affliction, and murmurs to himself, as if in understanding of the man’s bitterness: |
||
|
JEW Oh!… |
||
|
Looking up, he senses their hostility, but shrugs it off and is soon absorbed in searching for something in his pocket. Camera returns to CLUB-FOOT. He has evidently been encouraged by a sympathetic audience. |
||
|
CLUB-FOOT (quiet but ominous) It’s time folks woke up to lots of things going on in this country! |
||
|
CLUB-FOOT stomps on further into car, using his tray to cleave a passage. In doing so he grazes against POLICEMAN, who winces and nurses his sore feet. Interlude shots of SOLDIER and NURSE sneaking looks at each other, of TOUGH GUY lurching against WISE GUY as, indicated by swing of upheld newspapers, etc., the train begins to take a curve. |
||
|
In vestibule, shot of WOMAN WITH VC as the door behind her slides back under leverage of the cleaner handle. Next to her the JEW has his wallet out and is searching for something therein, when the lurch of the train causes him partially to lose his balance. Now we see a longer shot of lurch and melee, with the movement of people in foreground partially obscuring the action in vestibule at background. However, we are able to discern that the JEW has lost his wallet as he exclaims: |
||
|
JEW My pocket-book! Gone! |
||
|
We see him elbowing about. Then there is a woman’s scream, and we barely glimpse the VC WOMAN falling—then disappearing through the door’s empty blackness. There is a small electric flash—then total darkness, as all the train lights go out, and the train slows down to a quick stop. During this there is a second’s silence. Then: |
||
|
NEGRO VERSION |
||
|
Turning in vestibule, with flip, rather offensive cheerfulness: |
NEGRO (aloud) Okay, boss, sorry. |
|
|
CLUBFOOT looks toward INTELLECTUAL, against whom he has been pushed. He is about to apologize, but INTELLECTUAL has evidently seen part of incident, and sides with CLUBFOOT, for he volunteers the ironic comment: |
||
|
INTELLECTUAL (aloud) “Sorry”—but after he pushed you, of course! |
||
|
CLUBFOOT Sure, pushing in first—nowadays—as if they owned the earth! |
||
|
NEGRO has not heard this bitter but quiet comment. However, glancing down, he notices CLUBFOOT’S affliction, and murmurs to himself, as if in understanding of the man’s bitterness: |
||
|
NEGRO Oh … |
||
|
Looking up, he senses their hostility, but shrugs it off and is soon absorbed in searching for something in his pocket. Camera returns to CLUBFOOT. He has evidently been encouraged by a sympathetic audience. |
||
|
CLUBFOOT (quiet but ominous) It’s time folks woke up to lots of things going on in this country! |
||
|
CLUBFOOT stomps on further into car, using his tray to cleave a passage. In doing so he grazes against POLICEMAN, who winces and nurses his sore feet. Interlude shots of SOLDIER and NURSE sneaking looks at each other, of TOUGH GUY lurching against WISE GUY as, indicated by swing of upheld newspapers, etc., the train begins to take a curve. |
||
|
In vestibule, shot of WOMAN WITH VC as the door behind her slides back under leverage of the cleaner handle. Next to her the NEGRO has his wallet out and is searching for something therein, when the lurch of the train causes him partially to lose his balance. Now we see a longer shot of lurch and melee, with the movement of people in foreground partially obscuring the action in vestibule at background. However, we are able to discern that the NEGRO has lost his wallet as he exclaims: |
||
|
NEGRO My dough—pocket book! Gone! |
||
|
WHITE COLLAR VERSION |
||
|
WHITE COLLAR Oh … |
||
|
Looking up, he senses their hostility, but shrugs it off and is soon absorbed in searching for something in his pocket. Camera returns to CLUBFOOT. He has evidently been encouraged by a sympathetic audience. |
||
|
CLUBFOOT (quiet but ominous) It’s time folks woke up to lots of things going on in this country! |
||
|
CLUBFOOT stomps on further into car, using his tray to cleave a passage. In doing so he grazes against POLICEMAN, who winces and nurses his sore feet. Interlude shots of SOLDIER and NURSE sneaking looks at each other, of TOUGH GUY lurching against WISE GUY as, indicated by swing of upheld newspapers, etc., the train begins to take a curve. |
||
|
In vestibule, shot of WOMAN WITH VC as the door behind her slides back under leverage of the cleaner handle. Next to her the WHITE-COLLAR MAN has his wallet out and is searching for something therein, when the lurch of the train causes him partially to lose his balance. Now we see a longer shot of lurch and melee, with the movement of people in foreground partially obscuring the action in vestibule at background. However, we are able to discern that the WHITE-COLLAR MAN has lost his wallet as he exclaims: |
||
|
WHITE COLLAR My pocket book! Gone! |
||
|
We see him elbowing about. Then there is a woman’s scream, and we barely glimpse the VC WOMAN falling—then disappearing through the door’s empty blackness. There is a small electric flash—then total darkness, as all the train lights go out, and the train slows down to a quick stop. During this there is a second’s silence. Then: |
||
|
JEW My God! |
||
|
Simultaneously: |
WISE GUY She’ll be run over. Help! |
|
|
Down the dark car, matches are being struck by indistinctly milling figures. |
VOICES FROM ALL AROUND CAR What’s the matter? Lights! Get away from me! Here’s a match! etc. |
|
|
WHITE COLLAR My wallet! It had money in it. It— |
||
|
NEGRO Lawdy, God! |
||
|
WISE GUY (simultaneously) She’ll be run over. Help! |
||
|
Down the dark car, matches are being struck by indistinctly milling figures. |
VOICES FROM ALL AROUND CAR What’s the matter? Lights! Get away from me! Here’s a match! etc. |
|
|
JEW’S VOICE My wallet! It had money in it. It— |
||
|
The POLICEMAN is tugging out flashlight. We get his silhouette fitfully against a series of weird short-circuit showers of sparks seen through open vestibule door. |
||
|
As he pushes down through crowd, with lighted flash: To INTELLECTUAL: To JEW: |
POLICEMAN Now, now, keep calm, everybody—’n’ off my feet, besides! Whoa, there. You—what’s the trouble? All right, then, you—what happened? |
|
|
JEW Somebody took my money! |
||
|
Roughly, to JEW: |
TOUGH GUY Never mind your damn money. |
|
|
WISE GUY A woman. A woman with— |
||
|
TOUGH GUY Out—like that—out there! |
||
|
The CADET NURSE leaps from her seat, rushes down aisle into crowd. The SOLDIER is up and after her, gets his lank body ahead and pushes way through for her. |
||
|
SOLDIER Gangway! |
||
|
NURSE Thanks. Officer, I’m a nurse. |
||
|
NEGRO VERSION |
||
|
We see him elbowing about. Then there is a woman’s scream, and we barely glimpse the VACUUM CLEANER WOMAN falling—then disappearing through the door’s empty blackness. There is a small electric flash—then total darkness, as all the train lights go out, and the train slows down to a quick stop. During this there is a second’s silence. Then: |
||
|
JEW My God! |
||
|
Simultaneously: |
WISE GUY She’ll be run over. Help! |
|
|
Down the dark car, matches are being struck by indistinctly milling figures. |
VOICES FROM ALL AROUND CAR What’s the matter: Lights! Get away from me! Here’s a match! etc. |
|
|
NEGRO’S VOICE My wallet! It had dough in it. Ah want mah— |
||
|
The POLICEMAN is tugging out flashlight. We get his silhouette fitfully against a series of weird short-circuit showers of sparks seen through open vestibule door. |
||
|
As he pushes down through crowd, with lighted flash: To INTELLECTUAL: To NEGRO: |
POLICEMAN Now, now, keep calm, everybody—an’ off my feet, besides! Whoa, there— You—what’s the trouble? All right, then you—what happened? |
|
|
NEGRO Somebody took mah dough! |
||
|
Roughly, to NEGRO: |
TOUGH GUY Never mind your damn dough! |
|
|
WISE GUY A woman. A woman with— |
||
|
TOUGH GUY Out—like that—out there! |
||
|
WHITE COLLAR VERSION |
||
|
The POLICEMAN is tugging out flashlight. We get his silhouette fitfully against a series of weird short-circuit showers of sparks seen through open vestibule door. |
||
|
As he pushes down through crowd, with lighted flash: To INTELLECTUAL: To WHITE COLLAR: |
POLICEMAN Now, now, keep calm, everybody—an’ off my feet, besides! Whoa, there! You—what’s the trouble? All right, then, you—what happened? |
|
|
WHITE COLLAR Somebody took my money! |
||
|
Roughly, to WHITE COLLAR: |
TOUGH GUY Never mind your damn money. |
|
|
WISE GUY A woman. A woman with— |
||
|
TOUGH GUY Out—like that—out there! |
||
|
The CADET NURSE leaps from her seat, rushes down aisle, into crowd. The SOLDIER is up an after her, gets his lank body ahead and pushes way through for her. |
||
|
SOLDIER Gangway! |
||
|
POLICEMAN Yes ’m. Stand by. |
||
|
SUBWAY GUARD reenters car, forges through to vestibule with emergency grappling apparatus. Ahead of him SOLDIER plunges into pitchy opening and then down out of sight. |
||
|
POLICEMAN Atta boy! |
||
|
To INTELLECTUAL, as he shoves him aside: |
Look out, mister. |
|
|
Off-scene, shouting: |
SOLDIER Here she is. |
|
|
Ditto: |
GUARD Careful. Lift her— |
|
|
POLICEMAN Back up, everybody. Here. Look out, soldier—look out for that third rail stuff. |
||
|
Dark shot of SOLDIER and GUARD lifting muffled object back, former down on ground and unmindful of vacuum cleaner fallen to rails, sizzling and crackling there. |
||
|
Anxious for SOLDIER: As VC WOMAN’S body is being hauled in: |
NURSE Oh please.… Let me— |
|
|
Leaping from seat and barging to vestibule: |
WOMAN IN FUR COAT Don’t let her down on that dirty metal—here! |
|
|
With impetuous motherliness, starts ripping off her mink coat. |
||
|
NURSE All right, officer. We’ll take care of her. |
||
|
Arms spread up over crowd: |
POLICEMAN Yes’m. ’N’ pipe down, everybody. If you really want to help, keep your shirts on ’ n’ tell me what happened. |
|
|
In spite of his efforts, general hubbub. CLUB-FOOT starts pegging furiously back toward vestibule. As he passes LITTLE GIRL, who is crying with fright, and the yelping PUPPY: |
||
|
CLUB-FOOT Shut up, you! |
||
|
Crowd in vestibule closes around POLICEMAN, masking the bent-down NURSE and the victim with head in lap of FUR COAT WOMAN. The SOLDIER is forcing the circle larger, POLICEMAN has his notebook out—is interrogating. |
||
|
POLICEMAN So what makes her fall out? |
||
|
Knowingly, as he looks toward JEW: |
CLUB-FOOT I’ve got a pretty good idea. |
|
|
TOUGH GUY Maybe she didn’t. Maybe somebody— |
||
|
CLUB-FOOT Pushed her. That’s it, pushed her! |
||
|
To WISE GUY: |
POLICEMAN Who? You! What’d you see? |
|
|
WISE GUY Me? Why—nothing. |
||
|
NEGRO Me, neither, boss. |
||
|
CLUBFOOT Well, somebody did it! |
||
|
During above the OLD LADY has lighted up with an air of triumphant prophecy. Abandoning her yelping pup, she leaps from seat, pushed out into vestibule crowd: |
||
|
OLD LADY And I know who! |
||
|
NEGRO VERSION |
||
|
To WISE GUY: |
POLICEMAN Who? You! What’d you see? |
|
|
WISE GUY Me? Why—nothing. |
||
|
JEW Neither did I. |
||
|
CLUBFOOT Well, somebody did it! |
||
|
During above the OLD LADY has lighted up with an air of triumphant prophecy. Abandoning her yelping pup, she leaps from seat, pushed out into vestibule crowd: |
||
|
OLD LADY And I know who! |
||
|
POLICEMAN Spill it. |
||
|
OLD LADY I knew it all along! |
||
|
POLICEMAN What? Who? |
||
|
OLD LADY In the stars for today. It just had to happen. Exactly like this. |
||
|
POLICEMAN Like what? |
||
|
OLD LADY The way it did. It had to. He did it just— |
||
|
POLICEMAN He? Who? |
||
|
POLICEMAN Spill it. |
||
|
OLD LADY I knew it all along! |
||
|
POLICEMAN What? Who? |
||
|
OLD WOMAN In the stars for today. It just had to happen. Exactly like this. |
||
|
POLICEMAN Like what? |
||
|
OLD LADY The way it did. It had to. He did it just— |
||
|
POLICEMAN He? Who? |
||
|
Pointing wildly at JEW: |
OLD WOMAN Him, of course! He was standing right next to her, and — |
|
|
Bewildered: |
JEW Me? I—I certainly did not. |
|
|
CLUB-FOOT You weren’t next to her? |
||
|
JEW Yes, but— |
||
|
CLUB-FOOT So—you admit it! |
||
|
JEW Yes—I mean no! I mean—I was next to her—but I didn’t push anybody! |
||
|
NEGRO VERSION |
||
|
Pointing wildly at NEGRO: |
OLD LADY Him, of course! He was standing right next to her, and— |
|
|
NEGRO Me? I—I sure didn’t do no such— |
||
|
CLUBFOOT You weren’t next to her? |
||
|
NEGRO Yeah, sure, but Ah— |
||
|
CLUBFOOT So—you admit it! |
||
|
NEGRO Sure—Ah mean no! Ah mean—I was next to her, yeah, but Ah didn’ push nobody! |
||
|
Imitating NEGRO’s action during accident: |
OLD LADY Oh, yes, he did. I seen him, officer. Swingin’ his hands—like so! |
|
|
With growing alarm: |
NEGRO Shucks, Ah—was was jus’ tryin’ to find mah wallet, that’s all. I felt it—all of a sudden—it was gone! |
|
|
INTELLECTUAL shows a passing interest, but affects scientific objectivity: |
||
|
INTELLECTUAL Ah! So he did swing his hands. Point one—admitted. |
||
|
NEGRO No, only for mah wallet! Listen, you—all o’ you—Lawdy God, Ah didn’ have a thing to do with it! |
||
|
Imitating NEGRO’s dialect with coarse delight: |
TOUGH GUY Lawdy, Lawdy, oh, no—he didn’t done a thing! |
|
|
WHITE COLLAR VERSION |
||
|
OLD WOMAN The way it did. It had to. He did it just— |
||
|
POLICEMAN He? Who? |
||
|
Pointing wildly at WHITE COLLAR: |
OLD WOMAN Him, of course! He was standing right next to her, and— |
|
|
Bewildered: |
WHITE COLLAR Me? I—I certainly did not. |
|
|
CLUBFOOT You weren’t next to her? |
||
|
WHITE COLLAR Why, yes, but— |
||
|
CLUBFOOT So—you admit it! |
||
|
WHITE COLLAR Yes—I mean, no! I mean—I was next to her, yes, but I didn’t push anybody! |
||
|
Imitating WHITE COLLAR’S action during accident: |
OLD WOMAN Oh, yes, he did. I seen him, officer. Swingin’ his hands—like so! |
|
|
With growing alarm: |
WHITE COLLAR Sure, but I was trying to find my wallet. I felt it—suddenly it was gone! |
|
|
INTELLECTUAL shows a passing interest, but affects scientific objectivity: |
||
|
INTELLECTUAL Ah! So he did swing his hands. Point one—admitted. |
||
|
WHITE COLLAR No, only for my wallet! Officer, I—absolutely did not have a thing to do with it. |
||
|
Imitating JEW’S action during accident: |
OLD WOMAN Oh, yes, he did. I seen him, officer. Swingin’ his hands—like so! |
|
|
With growing alarm: |
JEW Sure, but I was trying to find my wallet. I felt it—suddenly it was gone! |
|
|
INTELLECTUAL shows a passing interest, but affects scientific objectivity: |
||
|
INTELLECTUAL Ah! So he did swing his hands. Point one—admitted. |
||
|
JEW No, only for my wallet! Officer! I—didn’t haf a t’ing t’ do vit it. |
||
|
Imitating JEW’S accent with coarse delight: |
TOUGH GUY Oi- sure—he didn’t haf a t’ing t’— |
|
|
OLD WOMAN He did, too! The stars don’t lie! |
||
|
Demanding around group: |
POLICEMAN I’m askin’ you, not the stars. Anybody else see him? You? or you? |
|
|
WISE GUY They couldn’t. It went dark. |
||
|
POLICEMAN Oh—exactly. |
||
|
INTELLECTUAL Easy, don’t make any statement that might be discredited. |
||
|
CLUB-FOOT We don’t have to see what we know. We got proofs enough already to— |
||
|
NEGRO VERSION |
||
|
OLD LADY He did, too! The stars don’t lie! |
||
|
Demanding around group: |
POLICEMAN I’m askin’ you, not the stars. Anybody else see him? You? or you? |
|
|
CLUBFOOT How could they? It went dark. |
||
|
POLICEMAN Uh-huh. |
||
|
CLUBFOOT But that don’t matter. We don’t have to see what we know. We got proofs enough to— |
||
|
To NEGRO: |
POLICEMAN Afterwards. Names first. Come on. |
|
|
With defiant swagger he thrusts forward his wrist and shows a gold identification bracelet: |
NEGRO Me? Yassur … That’s me—middle name, address ’n’ all. |
|
|
TOUGH GUY Yeah, solid gold. It would be. |
||
|
As POLICEMAN writes: |
NEGRO Ask anybody up in Harlem about me, boss. |
|
|
To WISE GUY: |
INTELLECTUAL Doesn’t sound precisely humble, does he? |
|
|
NEGRO Mah jazz-band’s famous—an’ nobody pins nothin’ on me, no, sir! |
||
|
The SUBWAY GUARD climbs aboard again from below, with the blackened, half-melted remains of the vacuum cleaner in his grappler. |
||
|
WHITE COLLAR VERSION |
||
|
Imitating WHITE COLLAR with coarse delight: |
TOUGH GUY Absolutely not a thing—oh, no! |
|
|
OLD WOMAN He did, too! The stars don’t lie! |
||
|
Demanding around group: |
POLICEMAN I’m askin’ you, not the stars. Anybody else see him? You? Or you? |
|
|
CLUBFOOT How could they? It went dark. |
||
|
POLICEMAN Uh-huh. |
||
|
CLUBFOOT But that don’t matter. We don’t have to see what we know. We got proofs enough to— |
||
|
POLICEMAN Afterwards. Names first. |
||
|
Takes out gold fountain pen and, at POLICEMAN’S nod, proceeds to write it in notebook. With spiteful glance around: |
WHITE COLLAR Me? Certainly. Here, I’ll … write it out for you. As head bookkeeper for a Wall Street firm, I happen to have an excellent handwriting— And don’t care to shout my bosses’ business address to the whole world. |
|
|
Eyeing WHITE COLLAR’S pen: |
TOUGH GUY Yeah, solid gold. It would be. |
|
|
With smug complacency, as he writes: |
WHITE COLLAR Exactly—and why not? For a twentieth Christmas bonus? |
|
|
To WISE GUY: |
INTELLECTUAL Doesn’t sound precisely starving, does he? |
|
|
POLICEMAN Afterward. Names first. |
||
|
Takes out gold fountain pen and, at POLICEMAN’S nod, proceeds to write it in notebook. |
JEW Me? Certainly. Here, I’ll … write it out for you. |
|
|
TOUGH GUY Yeah, solid gold. It would be. |
||
|
INTELLECTUAL Doesn’t sound precisely starving, does he? |
||
|
Overhearing: |
JEW No, I … even though I have been giving up three days a week to government work. See? |
|
|
Ironically: |
INTELLECTUAL Oh, yes … I believe there are a great many—of your people—in the Federal agencies nowadays. |
|
|
The SUBWAY GUARD climbs aboard again from below, with the blackened, half-melted remains of the vacuum cleaner in his grappler. |
||
|
Halting behind cluster around VC WOMAN: |
GUARD Hurt bad? Conscious? |
|
|
NURSE Ssh! Not yet. |
||
|
To POLICEMAN: |
GUARD Here’s all about her on this repair tag … what’s left of it. |
|
|
He hands damaged tag to POLICEMAN. |
POLICEMAN Need any help to get started again? |
|
|
GUARD Could be. |
||
|
NEGRO VERSION |
||
|
Halting behind cluster around VACUUM CLEANER WOMAN: |
GUARD Hurt bad? Conscious? |
|
|
NURSE Ssh! Not yet. |
||
|
To POLICEMAN: He hands damaged tag to POLICEMAN. |
GUARD Here’s all about her on this repair tag … what’s left of it. |
|
|
POLICEMAN Need any help to get started again? |
||
|
GUARD shakes his head—starts through train. As he opens door to next car sounds of excitement well up. Turning back to POLICEMAN: |
||
|
GUARD But you might try to keep the tourist trade quiet. |
||
|
POLICEMAN grins—follows GUARD —disappearing down train. People are crowding excitedly round group with VACUUM CLEANER WOMAN. |
||
|
To CLUBFOOT: |
SOLDIER Gosh—give ’em room, folks. You heard me—fall back! |
|
|
Bitterly: |
CLUBFOOT What? And let him get away with it? |
|
|
WISE GUY Who? |
||
|
Staring vindictively at NEGRO. Then, appealing to TOUGH GUY: |
CLUBFOOT Who? Him that did it. Pushed her out. That dinge there, him. Right? |
|
|
TOUGH GUY Right, I’ll say— |
||
|
OLD WOMAN He did it, he did it! |
||
|
WHITE COLLAR VERSION |
||
|
Overhearing: |
WHITE COLLAR No, I … even though I have been giving up three evenings a week to draft board work, for instance! |
|
|
INTELLECTUAL Oh, yes … Wall Street has undoubtedly done its part … a great patriotic part, I’m sure. |
||
|
The SUBWAY GUARD climbs aboard again from below, with the blackened, half-melted remains of the vacuum cleaner in his grappler. |
||
|
Halting behind cluster around VACUUM CLEANER WOMAN: |
GUARD Hurt bad? Conscious? |
|
|
NURSE Ssh! Not yet. |
||
|
To POLICEMAN: He hands damaged tag to POLICEMAN. |
GUARD Here’s all about her on this repair tag … what’s left of it. |
|
|
POLICEMAN Need any help to get started again? |
||
|
GUARD shakes his head—starts through train. As he opens door to next car sounds of excitement well up. Turning back to POLICEMAN: |
||
|
GUARD But you might try to keep the tourist trade quiet. |
||
|
POLICEMAN grins—follows GUARD —disappearing down train. People are crowding excitedly around group with VACUUM CLEANER WOMAN. |
||
|
To CLUBFOOT: |
SOLDIER Gosh—give ’em room, folks. You heard me—fall back! |
|
|
Bitterly: |
CLUBFOOT What? And let him get away with it? |
|
|
He starts through train. As he opens door to next car sounds of excitement well up. Turning back to POLICEMAN: |
||
|
GUARD AND you might try to keep the tourist trade quiet. |
||
|
Before following GUARD, POLICEMAN bends over group round VC WOMAN— asks: |
||
|
POLICEMAN Managing all right? |
||
|
NURSE’S head appears as she looks up for a moment from ministering to patient. She nods. |
||
|
NURSE If we could have a little more room |
||
|
POLICEMAN OK—back up everybody—don’t crowd! |
||
|
People ease back, and he exits toward next car from which we again hear irated {sic} clamour. As soon as he is gone, crowd closes in again. |
||
|
To CLUBFOOT: |
SOLDIER Gosh—give ’em room, folks! Fall back! |
|
|
Bitterly: |
CLUBFOOT What? And let him get away with it? |
|
|
WISE GUY Who? |
||
|
Staring vindictively at JEW. Then, appealing to TOUGH GUY: |
CLUBFOOT Who! Him that did it. Pushed her out. Right? |
|
|
TOUGH GUY Right! I’ll say— |
||
|
OLD WOMAN He did it, he did it! |
||
|
Crowd’s mood grows distinctly threatening as it tightens around JEW. The PUPPY adds to the confusion by running wildly around in dimness, yelping at legs, howling for its mistress. Above the din it makes, people must scream to be heard. Even the WISE GUY, coming for a moment to half-hearted, ineffectual defense of the JEW, goes high-pitched and squeaky. |
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WISE GUY Oh, but … I say, after all, we haven’t really proved it, have we? |
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TOUGH GUY No? |
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WISE GUY Why, no, not— |
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TOUGH GUY An’ that proves he didn’t do it—yeah? |
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CLUB-FOOT And you want to testify, is that it? Against us? |
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TOUGH GUY Make liars outer us, yeah? You— |
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|
His one little spurt of bravery subsiding fast as he looks around: |
WISE GUY Why, er—I didn’t mean—except I couldn’t say one way or the other, that’s— |
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OLD WOMAN Well, I can! |
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JEW But I didn’t do it. I tell you I— |
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CLUBFOOT Sure, you tell ’em! Tell ’em how you pushed me before! |
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The TWO SHIPYARD WORKERS have been drawn down into the crowd. One of them, with burly kindness, starts to interfere: |
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NEGRO VERSION |
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Crowd’s mood grows distinctly threatening as it tightens around NEGRO. The PUPPY adds to the confusion by running wildly around in the dimness, yelping at legs, howling for its mistress. Above the din it makes, people must scream to be heard. Even the WISE GUY, coming for a moment to half-hearted, ineffectual defense of the NEGRO, goes high-pitched and squeaky. |
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|
WISE GUY Oh, but … I say, after all, we haven’t really proved it, have we? |
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TOUGH GUY No? |
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|
WISE GUY Why, no, not — |
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|
TOUGH GUY An’ that proves he didn’t do it—yeah? |
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|
CLUBFOOT And you want to testify, is that it? Against us? |
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TOUGH GUY Make liars outer us, yeah? You— |
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|
His one little spurt of bravery subsiding fast as he looks around: |
WISE GUY Why, er—I didn’t mean—except I couldn’t say one way or the other, that’s — |
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OLD WOMAN Well, I can! |
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NEGRO But Ah didn’ do it. Listen, you-all, Ah’m tellin’ you— |
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CLUBFOOT Sure, you tell ’em! Tell ’em how you pushed me before! |
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WHITE COLLAR VERSION |
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WISE GUY Who? |
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Staring vindictively at WHITE COLLAR. Then appealing to TOUGH GUY: |
CLUBFOOT Who? Him that did it. Pushed her out. Right? |
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TOUGH GUY Right! I’ll say— |
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OLD WOMAN He did it, he did it! |
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|
Mood of one faction grows distinctly threatening as it tightens around WHITE COLLAR. The PUPPY adds to the confusion by running wildly around in the dimness, yelping at legs, howling for its mistress. Above the din it makes, people must scream to be heard. Even the WISE GUY, coming for a moment to half-hearted, ineffectual defense of the WHITE COLLAR, goes high-pitched and squeaky. |
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|
WISE GUY Oh, but … I say, after all, we haven’t really proved it, have we? |
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|
TOUGH GUY No? |
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|
WISE GUY Why, no, not— |
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|
TOUGH GUY An’ that proves he didn’t do it—yeah? |
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|
CLUBFOOT And you want to testify, is that it? Against us? |
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|
TOUGH GUY Make liars outer us, yeah? You— |
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|
His one little spurt of bravery subsiding fast as he looks around: |
WISE GUY Why, er—I didn’t mean—except I couldn’t say one way or the other, that’s— |
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|
SHIPYARD WORKER Hey, look, brother— |
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|
At JEW’S confusion: |
CLUB-FOOT He pushed me. He can’t deny it. He doesn’t deny it. See? Him and his kind, they glory in it—they’re always pushing! |
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JEW But, my God— |
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TOUGH GUY You leave God out of it, you! |
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|
CLUBFOOT Stickin’ together to push all the rest of us out o’ their way—up! To shove—and shyster and—get away with it, every time you can. |
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|
Several more passengers have pushed in close behind CLUB-FOOT, murmuring agreement. |
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|
SECOND SHIPYARD WORKER Hold it there, Mister. You better go sit down! |
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|
Other passengers murmur assent to this, aligning themselves against CLUBFOOT’S faction. |
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|
CLUB-FOOT Sit down? While his kind get away with it? Oh, no, I don’t! If that poor woman’s been killed— |
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|
JEW Killed? |
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TOUGH GUY You heard us! |
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FIRST SHIPYARD WORKER (to TOUGH GUY) Sit down, you too, yu’ scab— Or do you want me to knock your block off! |
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|
NEGRO VERSION |
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|
The TWO SHIPYARD WORKERS have been drawn down into the crowd. One of them, with burly kindness, starts to interfere. |
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|
SHIPYARD WORKER Hey, look, brother — |
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|
At NEGRO’S confusion: |
CLUBFOOT He pushed me. He can’t deny it. He doesn’t deny it. See? Him and his kind, they can get away with anything these days, sassing back, rioting, mugging— |
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|
NEGRO Lawdy, God— |
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|
TOUGH GUY You leave God out of it, you! |
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|
CLUBFOOT Defying all the rest of us to keep ’em in their place—to preserve ourselves from their impudence, an’ filth an’ crazy ways … To take our streets an’ houses, snatch our jobs … |
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|
Several more passengers have pushed in close behind CLUBFOOT, murmuring agreement. |
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|
SECOND SHIPYARD WORKER Hold it there, Mister, you better go sit down! |
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|
Other passengers murmur assent to this, aligning themselves against CLUBFOOT’S faction. |
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|
CLUBFOOT Sit down? While dinges like him get away with it? Oh, no, I don’t. If that poor woman’s been killed— |
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|
NEGRO Killed? |
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|
TOUGH GUY You heard us! |
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|
WHITE COLLAR VERSION |
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|
OLD WOMAN Well, I can! |
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|
WHITE COLLAR Ridiculous! I didn’t do it. I tell you I— |
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|
CLUBFOOT Sure, you tell ’em! Tell ’em how you pushed me before. |
||
|
The TWO SHIPYARD WORKERS have been drawn down into the crowd. One of them, with burly kindness, starts to interfere. |
||
|
SHIPYARD WORKER Hey, look, brother— |
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|
At WHITE COLLAR’S confusion: |
CLUBFOOT He pushed me. He can’t deny it. He doesn’t deny it. See? Him and his smart kind, they glory in it—they’re always pushing! |
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|
WHITE COLLAR But, my God— |
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|
TOUGH GUY You leave God out of it, you! |
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|
CLUBFOOT Thinkin’ themselves so much better than us with their bookkeepin’ ‘n’ bankin’—‘n’ jugglin’ their figures to keep us broke ‘n’ get away with it, every time they can! |
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|
Several more passengers have pushed in close behind CLUBFOOT, murmuring agreement. |
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|
SECOND SHIPYARD WORKER Hold it there, Mister, you better go sit down. |
||
|
Other passengers murmur assent to this, aligning themselves against CLUBFOOT’S faction. |
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|
CLUB-FOOT Scab? |
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|
SECOND SHIPYARD WORKER Sure, stooge for the bosses—wait till we’re on top! |
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|
Brandishing fist: |
CLUB-FOOT You don’t have to wait that long! |
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|
Murmurs from both factions, as crowd takes sides. |
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|
JEW Honest—all I was doing was— |
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|
CLUBFOOT Reaching for your money, sure! For your dirty money, and not givin’ a damn what else so long you get it. Shove, hurt, kill— |
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|
SECOND SHIPYARD WORKER Aw, shut your dirty mouth! |
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|
FIRST SHIPYARD WORKER I’ll give you ten seconds to sit down. |
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|
CLUB-FOOT Sit down, sure—and turn it all over to Reds like you? To Jews and Niggers and the like of them, the hell we will. There’s times when us plain, decent, God-lovin’ Christians—us white Americans—has got to take the law in our own hands and clean things up. Come on! |
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|
During above speech FIRST SHIPYARD WORKER has begun counting ominously, while tension and hostility mount within the crowd, emphasized by rising excitement in camera treatment and cutting. Thus, breaking in after first view {sic, few?} words above comes: |
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|
CLOSE SHOT—of group round CLUBFOOT pressing in closer. |
FIRST SHIPYARD WORKER’S VOICE (grimly) One— |
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|
CLOSE SHOT GROUP aligned with FIRST SHIPYARD WORKER also presses in towards potential opponents. |
Two— |
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NEGRO VERSION |
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|
To TOUGH GUY: |
FIRST SHIPYARD WORKER You sit down, too—before I knock your block off! |
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|
Murmurs from both factions, as crowd takes sides. |
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|
NEGRO Honest, boss, all I was doing was— |
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|
CLUBFOOT Reaching for your money, sure! For your Harlem jazz band money, and not giving a damn what else … shove, mug, razor, kill— |
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|
WISE GUY Why not let the law handle it? |
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FIRST SHIPYARD WORKER I’ll give you ten seconds to sit down. |
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|
CLUBFOOT Sit down and wait? What for? To turn it all over the Reds like you? To Niggers and Jews and the likes of them, the hell we will. There’s times when us plain, decent, God-lovin’ Christians— |
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WHITE COLLAR VERSION |
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|
CLUBFOOT Sit down? While smarties like him get away with it? Oh, no, I don’t. If that poor woman’s been killed— |
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|
WHITE COLLAR Killed? |
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|
TOUGH GUY You heard us! |
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|
To TOUGH GUY: |
FIRST SHIPYARD WORKER You sit down, too—before I knock your block off! |
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|
WHITE COLLAR See here, all I was doing was— |
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|
CLUBFOOT Reaching for your money, sure! For your dirty money, and not giving’ a damn what else so long as you get it. Sneak, shove, outsmart, hurt, kill— |
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|
WISE GUY Why not let the law handle it? |
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|
FIRST SHIPYARD WORKER I’ll give you ten seconds to sit down. |
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|
CLUBFOOT Sit down—for what? What for? To turn it all over the Reds like you? To the Wall Street bankers and Jews and Niggers and the likes of them? The hell we will. There’s times when us plain, decent, God-lovin’ Christians— |
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|
BIG HEAD CLOSE-UP for CLUB-FOOT, continuing his speech defiantly, with mounting emotion. |
Three— |
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BIG HEAD CLOSE-UP of FIRST WORKER, delivering his fourth count of warning with quiet grimness. |
Four— |
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CLOSE-UP—a hand clenching into a menacing fist. |
Five— |
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CLOSE-UP—corresponding fist action of opponent. |
Six— |
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CLOSE-UP—a hand grasps a dinner pail, preparing to wield it as a weapon. |
Seven— |
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CLOSE-UP—an opposing hand draws a knife slowly from pocket. |
Eight— |
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CLOSE-UP—a hand smashes bottle against opened dinner pail and holds jagged glass menacingly. |
Nine— |
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|
Suddenly the car lights flare on again. |
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|
Long-shot of the mob frozen into an ugly, sustained tableau. The antagonists still stand immobile, hate-bound. Pan to group in protective ring around JEW, who is nursing a bruised forehead. |
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|
The train starts again. Its motion relieves the tension of the rooted crowd. Behind the SOLDIER, a small stir as the NURSE rises, chuckling: |
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|
She leans down again, helps VC WOMAN to her feet, with FUR COAT WOMAN’S aid: |
NURSE A crime, was it? Well, here’s your victim—without one broken bone—or more than a six-inch bruise. Come on dear. Dazed? Sure, but— |
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|
To SOLDIER: |
You helped save her. |
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|
SOLDIER Me? Gosh, no, the guard-chains got there first. |
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|
VACUUM CLEANER WOMAN I’m all right, really. |
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|
SOLDIER They kept her from slipping through as neat as— |
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|
Bewildered but regathering wits: |
VACUUM CLEANER WOMAN Thank you, everybody, but I’m fine again … It was God’s decision I should be spared. |
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|
Desperately: |
CLUB-FOOT But who pushed you? |
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VACUUM CLEANER WOMAN Pushed me? Did somebody—? |
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|
Pointing to JEW: |
CLUB-FOOT Of course they did. Him? Who? You mean to tell us you don’t—? |
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|
SOLDIER Leave her alone. |
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|
The WOMAN looks around for her vacuum cleaner. They show her the sad remains. She gives a long, dry sigh—stares wearily down the car. |
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|
NURSE Don’t worry, darling, the subway people will give you a new one. |
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|
OLD WOMAN WITH PUPPY has recovered her animal and pauses to assure VC WOMAN. |
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|
She trundles on, to resume her seat. |
OLD WOMAN WITH PUPPY Unlucky day, that’s what. There’s those that scoffs at astrology, oh, yes, but— |
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|
JEW and CLUB-FOOT exchange a look and move off toward opposite ends of train. POLICEMAN re-enters car. |
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|
We hold for brief punctuation on a few people getting on and off. Then Camera comes close to SOLDIER and NURSE. |
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|
NURSE Well … that’s that. |
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|
NEGRO VERSION |
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|
She trundles on, to resume her seat. |
those that scoffs at astrology, oh, yes, but— |
|
|
NEGRO and CLUBFOOT exchange a look, move off toward opposite ends of train. POLICEMAN re-enters car. |
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|
We hold for brief punctuation on a few people getting on and off. Then Camera comes close to SOLDIER and NURSE. |
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|
NURSE Well … that’s that. |
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|
SOLDIER Yes, I reckon it is. |
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|
Looking around: |
NURSE Funny, a minute ago everybody was all excited and—now— |
|
|
SOLDIER Now they’re right back where they started from. Us too. Where we started. |
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|
Nodding glumly; neither can think of anything to say. After an awkward pause: |
NURSE Er—did we? Well, goodbye. |
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|
SOLDIER Goodbye. Yeah. |
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|
She moves off toward seat. He turns in opposite direction. |
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|
The train settles down to a steady clanking, the passengers back in the same moods and occupations they had when first seen. Camera travels slowly among their faces, past the still absorbed MAN WITH THE FINANCIAL PAGE and STENOGRAPHER with “Confessions,” picking up their thoughts as before. |
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|
TOUGH GUY’S THOUGHTS Well, anyway, Niggers are Niggers—pretty much alike. Me, I’m glad to be getting’ home to Mama.… |
||
|
Camera moves successively to following: |
||
|
He smiles whimsically. |
WISE GUY’S THOUGHTS Home—all going home—while I start to work! |
|
|
WHITE COLLAR VERSION |
||
|
She trundles on, to resume her seat. |
those that scoffs at astrology, oh, yes, but— |
|
|
WHITE COLLAR MAN and CLUBFOOT exchange a look and move off toward opposite ends of train. POLICEMAN re-enters car. |
||
|
We hold for brief punctuation on a few people getting on and off. Then Camera comes close to SOLDIER and NURSE. |
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|
NURSE Well … that’s that. |
||
|
SOLDIER Yes, I reckon it is. |
||
|
Looking around: |
NURSE Funny, a minute ago everybody was all excited, and—now— |
|
|
SOLDIER Now they’re right back where they started from. Us too. Where we started. |
||
|
Nodding glumly; neither can think of anything to say. After an awkward pause: |
NURSE Er—did we? Well, goodbye. |
|
|
SOLDIER Goodbye. Yeah. |
||
|
She moves off toward seat. He turns in opposite direction. |
||
|
The train settles down to a steady clanking, the passengers back in the same moods and occupations they had when first seen. Camera travels slowly among their faces, past the still absorbed MAN WITH THE FINANCIAL PAGE and STENOGRAPHER with “Confessions,” picking up their thoughts as before. |
||
|
TOUGH GUY’S THOUGHTS Well, anyway, the smart-allicks {sic}—the Wall Street hanger-ons—are pretty much all alike. Me, I’m glad to be gett’n home to Mama— |
||
|
Camera moves successively to following: |
||
|
SOLDIER Yes, I reckon it is. |
||
|
Looking around: |
NURSE Funny, a minute ago everybody was all excited and—now— |
|
|
SOLDIER Now they’re right back where they started from. Us too. Where we started. |
||
|
Nodding glumly; neither can think of anything to say. After an awkward pause: |
NURSE Er—did we? Well, goodbye. |
|
|
SOLDIER Goodbye. Yeah. |
||
|
She moves off toward seat. He turns in opposite direction. |
||
|
The train settles down to a steady clanking, the passengers back in the same moods and occupations they had when first seen. Camera travels slowly among their faces, past the still absorbed MAN WITH THE FINANCIAL PAGE and STENOGRAPHER with “Confessions,” picking up their thoughts as before. |
||
|
TOUGH GUY’S THOUGHTS Well, anyway, Jews are Jews—pretty much all alike. Me, I’m glad to be gettin’ home to Mamma— |
||
|
Camera moves successively to following: |
||
|
He smiles whimsically. |
WISE GUY’S THOUGHTS Home—all going home—while I start to work! |
|
|
INTELLECTUAL’S THOUGHTS This everlasting racial problem!… “Face it, gentlemen, we need strong leaders—doers, like Henry Ford …” |
||
|
VC WOMAN’S THOUGHTS That old dust and dirt still won’t get the better of me! Just take some extra elbow-grease. That’s not much, to show thanks for my deliverance. Might start on the rugs tonight— |
||
|
FIRST SHIPYARD WORKER’S THOUGHTS Corned beef—juicy, red corned beef! |
||
|
SECOND SHIPYARD WORKER’S THOUGHTS Spaghetti. I can’t escape it—spaghetti! |
||
|
FUR COAT WOMAN’S THOUGHTS Now I won’t even have time to dress, let alone fix the flowers … that ungrateful girl! |
||
|
POLICEMAN’S THOUGHTS Home to Sadie—an’ that big steamin’ tub o’ hot water! |
||
|
Camera moves to LITTLE GIRL. She looks gravely around at all the rest of the people in the car—then down towards puppy next to her. |
||
|
LITTLE GIRL’S THOUGHTS You see, puppy … people are such children, sometimes! |
||
|
The train slows to a stop for the next station. Nothing seems to have been changed by the accident, not even the status between SOLDIER and NURSE, for she is still seated and apparently looking elsewhere as he moves towards exit. The door slides open—a few people start out … SOLDIER among them. But suddenly she rises—moves toward him. And almost simultaneously he turns—pushes back against the stream of other people. |
||
|
Simultaneously: |
SOLDIER Look, there’s no law against talking! |
|
|
NURSE You know, if you’d rather not get off at Times Square— |
||
|
SOLDIER Not if you’re free tonight. |
||
|
NURSE Free—and hungry. |
||
|
SOLDIER Well, of course! Supper comes with the invitation! |
||
|
A lurch of the train brings them closer together. |
||
|
NURSE You know—if you don’t mind eating in the kitchen— |
||
|
SOLDIER Mind? Say! |
||
|
In the midst of his enthusiasm he looks suddenly at his wrist-watch. |
||
|
NURSE Worrying about the time? |
||
|
He grins happily, shakes his head in response to her quizzical smile. |
SOLDIER We’re three hours ahead of schedule already! |
|
|
Camera pulls back to FULL SHOT of train as we: |
||
|
FADE OUT |
||
NOTES
1. To increase the usefulness of this film as an instrument of detecting (and measuring) emotional reactions, we suggest producing several versions in which the Jew may be replaced by (a) a Negro, (b) a German, (c) an Englishman.
2. Of course, similar variants have to be provided in the versions suggested in the footnote, p. 2.
* [This is spelled incorrectly in the original text. The editors are unsure if the misspelling is intentional.]