The Incident 1967
Directed by
Larry Peerce
Made by
Moned Associated
The Incident Plot Summary
Read the complete plot summary and ending explained for The Incident (1967). From turning points to emotional moments, uncover what really happened and why it matters.
On a late Sunday evening in the Bronx, two troublemakers, Artie Connors and Joe Ferrone, roam with a reckless hunger for trouble. After roughing up a pool hall owner for closing early, they torment a passing couple, then mug an elderly man for eight dollars and beat him into unconsciousness, setting a violent rhythm that will echo through the rest of the night.
Bill Wilks, his wife Helen Wilks, and their sleeping 4-year-old daughter board a southbound 4 train at the Mosholu Parkway station in the Bronx, around 2:15 AM. Bill refuses a cab ride home to Queens, preferring to stay on the rails, and the family slips into the last car, which has just one functioning door and a sleeping derelict as its lone other passenger. The scene establishes a tense contrast between ordinary family life and the looming threat aboard the car.
As the car fills, a procession of riders joins the journey: at Bedford Park Boulevard–Lehman College, Alice Keenan and her date Tony Goya step aboard; at Kingsbridge Road, Bertha Beckerman and her husband Sam Beckerman join after arguing about the younger generation’s responsibilities; at Fordham Road, soldiers Phillip Carmatti and his Oklahoma friend Felix Teflinger come in, after dining with Phillip’s Italian-American parents, the Carmattis.
Beyond them, Muriel Purvis boards with her husband Harry Purvis, a middle-aged couple worried about money and ambition, and on 176th Street, recovering alcoholic Douglas McCann hops aboard, accompanied by Kenneth Otis Kenneth Otis, a man who finds himself drawn into a tense, uneasy social moment. At Mt. Eden Avenue, Arnold Robinson Arnold Robinson and his wife Joan Robinson board after a charity event for inner-city youths, adding another layer to the car’s microcosm of society.
Joe and Artie board at 170th Street and unleash a sustained, corrosive harassment of every adult passenger. They systematically terrorize, humiliate, and degrade those on board as the train rattles through the city’s arteries, leaving a wake of disdain and fear. The derelict, Douglas, Kenneth, and the rest—all are pressed and prodded by the two thugs, who seem to revel in the power of the crowd and the fear it generates. Even when the car stops at a handful of stations, their control persists, and at each stop Joe blocks doors or shoves a shoe into an opening to keep people from exiting.
The Wilks parents are thrust into their most terrifying moment when Joe’s attention turns to their sleeping daughter. Bill and Helen grip their child protectively, slamming hands against Joe’s attempts to touch her, their panic crystallizing the stakes of the night.
Felix Teflinger finally rises and directly challenges Joe, refusing to be cowed. He delivers a blunt, if unsteady, warning: “Stop! Or I’ll put you down!” The confrontation spirals into violence, with Joe drawing a switchblade. Despite a broken arm, Felix fights back with tenacity, using his cast as a weapon and eventually overpowering Joe, who collapses to the car floor. Artie, stripped of his bravado, tries to flee, but Felix’s assault proves too formidable; a decisive knee to the groin sends Joe to the floor in agony.
The car’s tension culminates at Grand Central–42nd Street, where Phillip Carmatti activates the emergency brake. He moves to his injured friend and, in a moment of weary practicality, asks, “Where were you buddy?” as the car erupts into chaos and the police flood in. The officers, without hesitation, arrest the car’s most visible aggressor, Joe, while the conductor helps the wounded Artie off the floor and out of the car. Felix, badly injured, is left behind for medical attention, as Carmatti shifts his concern to the fallen fighter.
Passengers in the car remain motionless, stunned into silence. The train’s human currents finally loosen as the sleeping drunk shifts and, one by one, the passengers begin to leave, stepping over the unconscious victim as they go toward the door. The night’s violence has ended, but its imprint lingers in the eyes and memories of those who rode that car, a stark snapshot of fear, power, and the fragile defenses of everyday life.
The Incident Timeline
Follow the complete movie timeline of The Incident (1967) with every major event in chronological order. Great for understanding complex plots and story progression.
Bronx troublemakers sow trouble before boarding the train
On a late Sunday evening in the Bronx, Joe Ferrone and Artie Connors look for trouble. They harass a pool hall owner, briefly hassle a passing couple, mug an old man for eight dollars, and beat him into unconsciousness.
Family boards the southbound 4 train at Mosholu Parkway
Bill Wilks, his wife Helen, and their sleeping 4-year-old daughter board the southbound 4 train at Mosholu Parkway at 2:15 AM after Bill refuses to take a cab. They enter the last car, which has only one working door, making their journey feel precarious. The stage is set for the car’s ensuing chaos.
Alice Keenan and Tony Goya board at Bedford Park Boulevard
Teenage Alice Keenan and her date Tony Goya get on at Bedford Park Boulevard–Lehman College, joining a car already filled with a cross-section of riders. Their arrival adds to the texture of ordinary lives just before things spiral out of control. The tension in the car quietly builds as more passengers settle in.
Beckerman couple boards at Kingsbridge Road
Elderly Bertha and Sam Beckerman board at Kingsbridge Road, often sparring about the younger generation. Their presence reflects the generational clash existing among the riders. They are among the many ordinary people who will soon be subjected to Joe and Artie’s intimidation.
Carmatti and Teflinger join at Fordham Road
Pfc. Phillip Carmatti and his friend Pfc. Felix Teflinger, who has a broken arm, board after dinner with Carmatti’s Italian-American parents. Their arrival adds a pair of sturdy, everyday men into the crowd just as the train becomes a stage for menace. They become part of the vulnerable mix of passengers.
Purvis couple boards Burnside Avenue
Muriel Purvis and her husband Harry board after leaving a cocktail party. Muriel’s resentment over money and ambition underscores the social tensions surrounding the riders. Their presence highlights the broad spectrum of people who will be affected by the oncoming ordeal.
McCann and Otis board at 176th Street
Douglas McCann, a recovering alcoholic, boards the car at 176th Street, joined by Kenneth Otis, a homosexual man who had previously tried to befriend McCann. Their arrival adds another layer to the car’s diverse cast of riders. The atmosphere becomes crowded with varied personalities about to collide with danger.
Arnold and Joan board at Mt. Eden Avenue
Arnold Robinson and his long-suffering wife Joan board after attending a charitable event for inner-city youth. Their quiet, everyday existence stands in contrast to the looming threat from the two attackers. They, like the others, become unwitting participants in the car’s crisis.
Joe and Artie board at 170th Street and begin terrorizing
Joe Ferrone and Artie Connors board at 170th Street and immediately unleash psychological terror on the passengers. They degrade and threaten everyone as the train rolls through the next 15 stops, never allowing anyone to gain the upper hand. The car becomes a theatre of fear and control.
Harassment escalates on the train
The torment shifts from derelict to Douglas and then to Kenneth, with the attackers physically blocking exits and wearing down their targets with taunts. The audience of riders remains frozen, powerless to intervene as the violence escalates inside the car.
125th Street: spectators watch
As the train crosses into Manhattan, 125th Street appears and Arnold seems to revel in the spectacle of white people tormenting each other. Joan watches with a mixture of curiosity and fear, a reminder of how the train’s drama pulls in observers as well as participants.
86th Street: Beckermans blocked from exiting
At an unspecified stop, Joe blocks the doorway to prevent two women from boarding. At 86th Street, he prevents the Beckermans from exiting and, in a crude act, jams a derelict man’s shoe into the door to stop it from opening further. The crude control mirrors the broader chaos gripping the car.
Felix confronts Joe and the fight begins
Felix Carmatti directly challenges Joe with the warning Stop! Or I’ll put you down. Despite his broken arm, Felix uses his cast to strike and overpower Joe, knocking him unconscious. Artie loses his nerve and tries to flee, ending the pair’s brutal facade for the moment.
Grand Central: emergency brake and arrest
The train stops at Grand Central–42nd Street after Carmatti pulls the emergency brake. Police board and arrest the bloodied Joe, while Arnold is taken away as the proof of the car’s chaos. Felix is left moaning on the floor, and Carmatti helps him off the train as the violence finally subsides.
Passengers finally exit after the shock
The remaining riders, stunned, slowly begin to exit the car, stepping over the unconscious derelict and the remnants of the night’s violence. They leave the train as the night’s tension gives way to uneasy silence and the reality of what just happened sinks in.
The Incident Characters
Explore all characters from The Incident (1967). Get detailed profiles with their roles, arcs, and key relationships explained.
Joe Ferrone (Tony Musante)
A volatile mugger who derives power from humiliating others. He taunts passengers and escalates confrontations, treating the train as his stage for dominance. His bravado hides a brittle confidence that cracks when real resistance arrives, leaving him prone to panic and flight.
Artie Connors (Martin Sheen)
Joe’s partner in menace, less physically imposing but just as eager to project toughness. He relies on the facade of the ‘tough guy’ and fluttering bravado, which dissolves into fear as Felix and Carmatti push back. He is a follower who struggles to maintain control under actual danger.
Phillip Carmatti (Robert Bannard)
An Italian-American passenger who steps into leadership when danger escalates. He initiates intervention by pulling the emergency brake and vocally challenging the aggressors. His actions catalyze the shift from harassment to harm and ultimately lead to police involvement.
Felix Teflinger (Beau Bridges)
Pfc. Felix is the film’s moral counterweight, a physically vulnerable man whose courage exceeds his injuries. He confronts Joe head-on, using his broken arm and a knee strike to disable the attacker. His decisive action demonstrates that restraint can turn to resistance under extreme pressure.
Bill Wilks (Ed McMahon)
A blunt, protective father whose priority is his family’s safety. He verbalizes disdain for perceived frivolity and class difference, yet he becomes a focal point of parental concern during the crisis. His reactions reveal how personal grievances intersect with public danger.
Arnold Robinson (Brock Peters)
A Black passenger whose presence becomes a flashpoint for racial tension as the cops act against him. He endures suspicion and scrutiny in the crowded car, highlighting how prejudice can influence perception and action under stress. His experience underlines the film’s critique of crowd mentality and law enforcement bias.
Muriel Purvis (Jan Sterling)
A middle-aged passenger whose resentment about money and ambition colors her perspective on the events. She embodies a social critique of suburban values colliding with urban desperation. Her presence adds a layer of generational tension to the car’s dynamics.
Bertha Beckerman (Thelma Ritter)
An elderly passenger who represents a bridge between generations, commenting on responsibilities of the younger generation. Her interactions with Sam Beckerman illuminate the film’s focus on moral duty versus personal comfort. She adds a humane, idiosyncratic perspective amid escalating fear.
The Incident Settings
Learn where and when The Incident (1967) takes place. Explore the film’s settings, era, and how they shape the narrative.
Time period
The events occur over a single night on a New York City subway, where social tensions boil to the surface in the claustrophobic space of a moving car. The tension is less about a specific date and more about a moment in urban life when anonymity turns into exposure. The narrative uses this confined timeframe to intensify fear, power dynamics, and moral choices under pressure.
Location
Bronx, New York, New York City Subway
The action unfolds aboard a southbound 4 train winding through the Bronx into Manhattan, turning a cramped public transit car into a pressure cooker of fear and confrontation. The last car, with a single functioning door, becomes a stage where everyday commuters are pressed into roles of aggressor, witness, or defender. The setting highlights the grit and unpredictability of urban life and how strangers become a temporary community in crisis.
The Incident Themes
Discover the main themes in The Incident (1967). Analyze the deeper meanings, emotional layers, and social commentary behind the film.
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Mob Psychology
The film illustrates how fear and aggression can spread through a crowd when authority feels distant. Joe and Artie’s taunts ignite a chain reaction of anxiety among diverse adults, revealing how social norms erode under threat. Passengers oscillate between indifference and alarm, highlighting the fragility of civil behavior in the face of chaos. The subway car becomes a microcosm for collective panic and complicity.
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Courage and Responsibility
Felix Teflinger’s brave stand against Joe, despite a broken arm, embodies personal courage and a sense of responsibility to protect others. Phillip Carmatti and Bill Wilks attempt to intervene in different ways, showing how individuals can assert moral agency under pressure. The moment tests whether bravery is loud or quiet, and whether intervention can break the cycle of intimidation. Small acts of resolve create a fissure in the attackers’ dominance.
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Race, Class, and Bias
The passengers’ reactions reveal entrenched social prejudices that surface under stress. The police intervention centers on arresting Arnold, the Black passenger, rather than the white aggressor, exposing bias and crowd dynamics in real time. The incident becomes a critique of how fear and stereotypes shape perceptions of danger and guilt. The film asks whether justice can be administered fairly when panic grips a crowded car.
The Incident Spoiler-Free Summary
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In the dead‑hours of a Bronx night, a southbound subway car becomes a moving stage for the city’s raw, unfiltered pulse. The cramped, dimly lit carriage is a micro‑cosm of New York—its rattling tracks echo the restless energy of a metropolis that never truly sleeps, while the flickering lights and the metallic sigh of the doors set a mood that feels both intimate and ominous.
Into this confined world glide two restless figures, Artie Connors and Joe Ferrone, whose restless hunger for trouble turns the ordinary commute into something far more menacing. Their presence spreads a quiet dread that settles over the passengers, drawing the eyes of everyone in the car to the growing sense that this night will be remembered. Across the aisle, a small family—Bill Wilks, his wife Helen Wilks, and their sleepy four‑year‑old daughter—embark on what should be a routine ride home, their ordinary hopes and fears starkly contrasted with the looming threat nearby.
The carriage quickly fills with a mosaic of lives: a nervous couple arranging a first date, an aging pair arguing over generational responsibilities, soldiers returning from an evening meal, a middle‑aged couple worrying about money, an recovering alcoholic, and charity‑going participants whose laughter now feels fragile. Each newcomer adds a layer to the social tapestry, making the car feel like a pressure cooker where disparate stories press together, their personal anxieties amplified by the claustrophobic setting.
The film’s tone is unapologetically gritty and tense, bathing the audience in the gritty realism of inner‑city terror. The interplay between the looming menace of the two troublemakers and the vulnerable, everyday people around them creates a relentless undercurrent of suspense. As the train slides through the night‑shrouded tunnels, the audience is left with a palpable feeling that something inevitable is building, hidden just beneath the flicker of fluorescent lights and the muted conversations of strangers sharing a fleeting, uneasy journey.
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