person or book cover
Script cover page (Crawford Collection at the AFI Research Collection)
form y separately published work icon Homicide Trial single work   film/TV   crime  
Alternative title: Trial; From the Top
Issue Details: First known date: 1971... 1971 Homicide Trial
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AbstractHistoryArchive Description

This is the script for the second half of a Homicide episode called 'From the Top'. Such 'special' episodes (which cover first the investigation and second the trial) are usually described as two-hour episodes, but Storey notes that 'Due to the length of the episode requiring it to be split over two reels of 2" video tape, it was officially listed as two separate episodes, 319 "From The Top" and 319A "Trial".' This script only includes the trial portion.


The script held in the Crawford Collection in the AFI Research Collection contains the following character notes (excluding regular characters):

'JUDGE: Late forties. A youngish, business-like, efficient judge of the Victorian Supreme Court. Before his appointment to the bench, he himself was a leading barrister in criminal cases. He has a reputation for 'cutting through the red tape,' and 'keeping things moving' in his court. He is the antithesis of the 'old fogey' type of judge seen in some English productions. He has a good Australian accent.

'DEFENCE COUNSEL: Barrington. Aged 35 - classed as a young barrister. He is a very purposeful contender. A quick thinker, he is a remorseless cross-examiner, with an outstanding flair for bursts of rapid fire questioning. In this case - because he knows the outlook of the presiding judge - he does not go in for any theatrical display whatever.

'As Inspector Fox will be the viewers' troubled hero in his trial, Def's role must be regarded in a sense as that of the 'villain', but this professional does not make the mistake of adopting a 'nasty' manner. He knows that such an attitude would prejudice the Jury and damage his client's case. Therefore, even when attacking Fox full out, he gives the impression that he is fighting to have the truth revealed.

'PROSECUTOR: Middle forties. A thoroughly experienced barrister employed by the Crown Law Department. In this case, he is performing the duties that he carries out more or less every working day. Although more restrained than Defence Counsel, he is capable of applying pressure when necessary. However, he would never attempt to brow-beat an accused man, as it is important for him to give an impression of absolute fairness. Like the Judge and the Defence Counsel, he is an efficient officer of the court.

'MRS. SPENCER: Has developed an 'escapist psychosis' consistent with her character in 'From the Top'.

'IRVINE: Pathologist attached to the Coroner's court. A confident expert, accustomed to giving evidence in court. Has appeared in several murder cases, and hundreds of inquests that didn't make the headlines.

'WALKER: Police photographer. Another experienced formal witness.

'SURVEYOR: Has previously appeared in a few cases, and gives his evidence with straight-forward matter-of-factness.

'SPENCER: Character established in 'From the Top'. Is now concerned for his wife.

'FORSTER: Character established in 'From the Top'.

'GEORGINA: " " " " " "

'JOAN: " " " " " "

'OTHER COURT PERSONNEL: CRIER, JUDGE'S ASSOCIATE, POLICE GUARD FOR FORSTER, TWO UNIFORM POLICEMEN, DEFENCE SOLICITOR, PROSECUTION SOLICITOR.'

Notes

  • This entry has been compiled from archival research in the Crawford Collection (AFI Research Collection), undertaken by Dr Catriona Mills under the auspices of the 2012 AFI Research Collection (AFIRC) Research Fellowship.

Publication Details of Only Known VersionEarliest 2 Known Versions of

      1971 .
      person or book cover
      Script cover page (Crawford Collection at the AFI Research Collection)
      Extent: 73p.
      (Manuscript) assertion
      Note/s:
      • The script has not been assigned a Crawfords episode designation, and the episode number has not been written on the cover.
      • According to a notation in red felt pen in the top right-hand corner of the cover page, this copy of the script was designated for John Jacob: beneath this is written 'Blocking'.

        Crawford Productions tribute website (crawfordproductions.tv) indicates that Jacob worked for Crawfords from 1960, first as a sound supervisor, then as a director.
      • The script includes a wardrobe list:
        'DETECTIVES: SUITS.
        'JUDGE: JUDGE'S WIG AND GOWN.
        'PROS. AND DEF: BARRISTER'S WIGS AND GOWNS, SUITS.
        'CRIER: UNIFORM.
        'POLICE GUARD FOR FORSTER: UNIFORM.
        'JUDGE'S ASSOCIATE: SUIT AND GOWN.
        'TWO POLICEMEN: UNIFORM.
        'DEFENCE SOLICITOR: SUIT, BUSINESS SHIRT AND TIE.
        'PROS. SOLICITOR: " " " " "

        'GEORGINA: SIMPLE FROCK, "WHITE" BANDETTE.
        'MRS SPENCER: FROCK, OVERCOAT, HAT.
        'JOAN: SMARK FROCK AND HAT.
        'FORSTER: SUIT, BUSINESS SHIRT, "RESTRAINED" TIE.
        'SURVEYOR: SUIT, BUSINESS SHIRT AND TIE.
        'IRVINE: " " " " "
        'WALKER: UNIFORM, POLICE DUSTCOAT.

        'FILM SEQUENCE:
        'FOX AND MACKAY: SUITS AND HATS.
        'POLICEMAN: UNIFORM.
        'WOMAN: WELL-DRESSED IN FROCK AND OVERCOAT, HANDBAG.
        'MAN: SUIT.'
      • The script is heavily annotated in red felt pen, lead pencil, blue ink, and black ink.
      • The red felt pen annotations include music cues (no details, just a notation for 'music').
      • The blue ink annotations are also blocking notes. Blue ink takes over from lead pencil after the first commercial. In some instances, the blue ink has been crossed out in black ink. It’s possible that the lead pencil and blue ink annotations are in the same hand, but it’s notable that the blue ink annotations are less detailed and that this section of the script includes no sketches at all.
      • The lead pencil annotations are blocking notes. For example, on page 1, a note reads, 'LS push in on Fox after he picks up notes. Holds loose MCU. Let him exit shot as he moves to door'. Some sketches showing the blocking of scenes have been drawn on the reverse of pages. The lead pencil notes are absent from the script between the first commercial and the third commercial. In some instances, the lead pencil annotations have been crossed out in blue ink.
      • The black ink annotations are minimal and confined to the second half of the script.
      • All annotations lessen towards the end of the script.

      Holdings

      Held at: AFI Research Collection
      Local Id: SC HOM : 319
Note: Storey suggests that Emanuel was credited as director and Lee as film director.
Last amended 29 May 2013 14:53:39
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