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12 Angry Men Plot Diagram

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Braden Kubitz

on 14 April 2015

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Transcript of 12 Angry Men Plot Diagram

By Braden. K
12 Angry Men Plot Diagram
Opening Scene, Introduction Of Characters
Setting begins in a Jury Box, and then proceeds to fade into the "Jury Room" where the rest of the play is held. We are introduced to 12 men without names, only referred to by their Jury numbers.

Major Events:
1. Given the list and descriptions of the Jurors.
2. We are given the setting in stage directions.

Fade in on a jury box. Twelve men are seated in it, listening intently to the voice of the judge as he charges them. We do not see the judge. He speaks in slow, measured tones, and his voice is grave. The camera drifts over the faces of the jurymen as the judge speaks, and we see that most of their heads are turned to camera's left. NO. 7 looks down at his hands. NO. 3 looks off in another direction, the direction in which the defendant would be sitting. NO. 10 keeps moving his head back and forth nervously. The judge drones on. - Act 1, Stage Directions.
JUROR NO. 8: A quiet, thoughtful, gentle man. A man who sees all sides of every question and constantly seeks the truth. A man of strength tempered with compassion. Above all, he is a man who wants justice to be done and will fight to see that it is.
Set Up
Initiating Event, Exposition
The Set Up is the forerunner to the plot that follows it.
In the case of
Twelve Angry Men
, the set up is when all 12 jurors are in court and after hearing from the Judge, they leave for the jury room after hearing the arguments and testimonies.
Major Points:
1. The 12 jurors hear about their responsibilities and the expectations of this case.

JUDGE: "Murder in the first degree—premeditated homicide—is the most serious charge tried in our criminal courts. You've heard a long and complex case, gentlemen, and it is now your duty to sit down to try and separate the facts from the fancy. One man is dead. The life of another is at stake. If there is a reasonable doubt in your minds as to the guilt of the accused . . . then you must declare him not guilty. If, however, there is no reasonable doubt, then he must be found guilty. Whichever way you decide, the verdict must be unanimous. I urge you to deliberate
honestly and thoughtfully. You are faced with a
grave responsibility.
Thank you, gentlemen."
ising Action
Internal Response, Attempt, Complications, Conflict, Sub-Climaxes, or Turning Points.
The Rising Action begins when the first vote is taken and it is 11 vs. 1 for Guilty. No. 8 is the only one who votes "Not Guilty" and this creates complications within the jury as now they must make it unanimous and talk it over. Most of the jury just wants to get it over with and go home, but now they have to deal with one "lost lamb" and convince it to join the flock. No. 8 does not have a solid reason as to why the boy is not guilty except that he should be given a reasonable doubt, or a chance.

Main Points:
1. When No. 8 raises his hand for "Not Guilty."
2. When No. 12 proposes that they have to convince No. 8 that the boy is guilty by each providing a reason.

FOREMAN: "Nine... ten ... eleven... That's eleven for guilty. Okay. Not guilty? (NO. 8's hand is raised.) One. Right. Okay. Eleven to one, guilty. Now we know where we are."
NO. 12: :I may have an idea here. I'm just thinking out loud now but it seems to me that it's up to us to convince this gentleman (indicating NO. 8) that we're right and he's wrong. Maybe if we each took a minute or two, you know, if we sort of try it on for size."
ising Action: 2
Internal Response, Attempt, Complications, Conflict, Sub-Climaxes, or Turning Points.
The second rising action occurs when No. 3 talks about his past with his son. This presents some back story for No. 3's behavior and foreshadowing in the future of the play. No. 3 has a form of prejudice against the young man that stems from having "worked his heart out" for his son, and having his son turn on him.

Main Points:
1. When No. 3 reveals his past with his son and this explains the actions of his character against the accused boy.

NO. 3: "You’re right. It's the kids. The way they are—you know? They don't listen. (Bitter) I've got a kid. When he was eight years old, he ran away from a fight. I saw him. I was so ashamed, I told him right out, "I'm gonna make a man out of you or I'm gonna bust you up into little pieces trying." When he was fifteen he hit me in the face. He's big, you know. I haven't seen him in three years. Rotten kid! You work your heart out.... (Pause) All right, let's get on with it."
ction: 3
Internal Response, Attempt, Complications, Conflict, Sub-Climaxes, or Turning Points.
The third piece of rising action occurs when the scales are evened and the votes become 6-to-6. This happens because of the following main points:

Main Points:
1. No. 8 plays out the old man's testimony.
2. No. 8 proves his earlier point that people say "I'll kill you!" even when they don't mean it when No. 3 has a fit of rage.

NO. 8: "Do you mind if I try it? According to you, it'll only take fifteen seconds. We can spare that. (He walks over to the two chairs now and lies down on them.)"
NO. 2: "Fifteen...twenty...thirty...thirty-one seconds exactly."
NO. 3: (screaming). Let me go. I'll kill him. I’ll kill him! -- NO. 8: (softly). You don't really mean you'll kill me, do you?
The climax of
Twelve Angry Men
is when No. 8 explains to the rest that the woman across the street couldn't have seen the crime just casually looking out her window from her bed without her glasses as common sense would dictate that nobody wears their glasses to bed.
Major Points:
1. When No. 6 notices No. 2 squinting at the clock after taking his glasses off.
2. When No. 8 says that the woman only saw a blur when looking out the window.
NO. 6: (to NO. 2). "Pardon me. Can't you see the clock without your glasses?"

NO. 8: "Listen, she wasn't wearing them in bed. That's for sure. She testified that in the midst of her tossing and turning she rolled over and looked casually out the window. The murder was taking place as she looked out, and the lights went out a split second later. She couldn't have had time to put on her glasses. Now maybe she honestly thought she saw the boy kill his father. I say that she saw only a blur."
Falling Action
The falling action occurs when No. 8 corners No. 3 because now he is alone in his opinion that the boy is guilty.

Main Points:
1. No. 4 changes his vote to "Not guilty" after being convinced by the glasses testimony.
2. No. 8 confronts No. 3 and relays the obvious where he is now alone in his opinion.

NO. 8: Does anyone think there still is not a reasonable doubt?
[He looks around the room, then squarely at NO. 10. NO. 10 looks down and shakes his head no] NO. 3: (loudly). I think he's guilty!
NO. 8: (calmly). Does anyone else?
NO. 4: (quietly). No. I'm convinced.

NO. 8: (to NO. 3). You're alone.
NO. 3: I don't care whether I'm alone or not! I have a right.
NO. 8: You have a right.
The resolution of Twelve Angry Men, is that when the majority of the 12 jurors started with the boy being guilty and then by the end, the tables were turned. At the end of the play, through much discussion; argument; tears; and perseverance, the boy was decided by all 12 jurors to be: "Not guilty".

Main Points:
1. No. 3 desperately tries to convince the rest that the boy is still a murderer through a futile final effort, and eventually breaks down.
2. No. 3 and No. 8 are the last ones to exit and have a final "confrontation" where No. 3 hands No. 8 the knife.

NO. 3: (pleading)." Listen. What's the matter with you? You're the guy. You made all the arguments. You can't turn now. A guilty man's gonna be walking the streets. A murderer. He's got to die! Stay with me."
NO. 3 turns his back on them. There is silence for a moment and then the foreman goes to the door and knocks on it. It opens. The guard looks in and sees them all standing. The guard holds the door for them as they begin slowly to file out. NO. 8 waits at the door as the others file past him. Finally he and NO. 3 are the only ones left. NO. 3 turns around and sees that they are alone. Slowly he moves toward the door. Then he stops at the table. He pulls the switch knife out of the table and walks over to~ with it. He holds it in the approved knife fighter fashion and looks long and hard at NO. 8, pointing the knife at his belly. (NO .8 stares back. Then NO. 3 turns the knife around. NO. 8 takes it by the handle. NO. 3 exits. NO. 8 closes the knife, puts it away and taking a last look around the room, exits, closing the door. The camera moves in close on the littered table in the empty room, and we clearly see a slip or crumpled paper on which are scribbled the words "Not guilty. "
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