<script>
  <scene>
    <stage_direction>EXT. PRISON CEMETERY -- DAY</stage_direction>
    <scene_description>A handful of people are gathered in an open field under a fierce Mississippi sun . A couple of young inmates , JAKE and LEON , lean on their shovels . They are waiting to bury two identical CASKETS with inmate numbers stenciled on the pinewood lids . A GUARD rests the butt of his rifle on the ground and takes a long , healthy pull from his canteen . He offers it to the PRISON CHAPLAIN , who is much obliged . SUPERINTENDENT BILL BURKE , a 40 - year - old black man , glances at his watch and loosens his tie . Sure is hot . MARY HUMPHRIES , an elderly white woman in a nurse 's uniform , stands behind WILLIE LONG , an ancient inmate sleeping peacefully in a wheelchair . She readjusts an umbrella to shield the old black man from the blistering sun . Burke dabs his forehead with a handkerchief . He gives the nod to the chaplain , who steps forward and cracks his bible . The men remove their hats .</scene_description>
    <character>CHAPLAIN</character>
    <dialogue>In accordance with the regulations of the State of Mississippi, we gather here today to lay to rest the remains of inmates R. Gibson, number 4316, and C. Banks, number 4317. Ashes to ashes, dust to dust. May God have mercy on their souls.</dialogue>
    <character>BURKE</character>
    <dialogue>Go ahead, fellas.</dialogue>
    <scene_description>The young inmates plunge their shovels into the dirt . One by one , the mourners head back toward a prison van parked on a nearby dirt road .</scene_description>
    <character>NURSE HUMPHRIES</character>
    <dialogue>I'll come back for you in a little while, Willie.</dialogue>
    <scene_description>She leaves Willie alone with Jake and Leon . He rolls his chair up to the edge of the graves and gazes at the pinewood caskets .</scene_description>
    <character>JAKE</character>
    <dialogue>These two guys friends of yours, old man?</dialogue>
    <character>WILLIE</character>
    <dialogue>We spent some time together.</dialogue>
    <character>LEON</character>
    <dialogue>Why do I get the feeling when you say some time, you mean some time.</dialogue>
    <character>WILLIE</character>
    <dialogue>I was already here a good many years when they came in in 1932.</dialogue>
    <character>LEON</character>
    <dialogue>1932? That's like, that's like.</dialogue>
    <character>WILLIE</character>
    <dialogue>Sixty - five years ago. They always said the farm could n't hold'em forever. Looks like you're finally free, boys.</dialogue>
    <scene_description>Willie pulls a bottle of moonshine from his jacket and takes a swig in their honor .</scene_description>
    <character>JAKE</character>
    <dialogue>Hey, the dude's holdin'.</dialogue>
    <character>LEON</character>
    <dialogue>Come on, old - timer, hook the brothers up.</dialogue>
    <scene_description>Willie passes the bottle to Leon , who takes a swig and winces from the unexpected kick .</scene_description>
    <character>LEON</character>
    <dialogue>Hell of a way to get out. Heard they burned up in that fire yesterday.</dialogue>
    <character>JAKE</character>
    <dialogue>I seen the bodies before they sealed'em up. Them fellas sizzled up good. Looked like some shit from the X - Files.</dialogue>
    <parenthetical>( taking a swig from the bottle . )</parenthetical>
    <dialogue>Damn, that shit's nasty.</dialogue>
    <character>WILLIE</character>
    <dialogue>Ray's special recipe. He always had exacting standards where the hooch was concerned.</dialogue>
    <character>LEON</character>
    <dialogue>What were they, bootleggers?</dialogue>
    <scene_description>Willie holds up the bottle , checking the clarity of the liquor .</scene_description>
    <character>WILLIE</character>
    <dialogue>Something like that.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SPANKY'S BACK ALLEY (1932) -- NIGHT</stage_direction>
    <scene_description>RAY GIBSON holds up a similar bottle of liquor to a light over a door . Music comes from within . He takes a swig and stashes the bottle in his belt . He adjusts his tie , polishes his shoes on the back of his pants and raps on the door .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SPANKY'S -- NIGHT</stage_direction>
    <scene_description>The speakeasy is jumping , jammed with people . Up on stage a hot JAZZ BAND is playing backup for a seductive CHANTEUSE . Well - heeled PATRONS enter through doors near the stage . In the back , at the end of a long hallway , a BOUNCER cracks open the door and Ray squeezes inside .</scene_description>
    <character>BOUNCER</character>
    <dialogue>Oh, no, Ray. Not tonight. Spanky's not happy with you.</dialogue>
    <character>RAY</character>
    <dialogue>Is Spanky here?</dialogue>
    <character>BOUNCER</character>
    <dialogue>No, but.</dialogue>
    <character>RAY</character>
    <dialogue>Then what's the problem?</dialogue>
    <character>BOUNCER</character>
    <dialogue>Do yourself a favor and find another place where they let you in the front door.</dialogue>
    <character>RAY</character>
    <dialogue>But this is where the action is and I have to be where the action is. Look, when your old lady wanted those alligator shoes, did n't I come through for you? Ai n't she stepping in style now?</dialogue>
    <character>BOUNCER</character>
    <dialogue>Yeah.</dialogue>
    <character>RAY</character>
    <dialogue>Well, alright then. What do you think about this new tie?</dialogue>
    <character>BOUNCER</character>
    <dialogue>Sharp.</dialogue>
    <character>RAY</character>
    <dialogue>I look good tonight. And I feel lucky, too.</dialogue>
    <scene_description>Ray heads inside .</scene_description>
    <character>BOUNCER</character>
    <dialogue>Anyone asks, it was n't me who let you in.</dialogue>
    <scene_description>Ray slides through the crowd , pausing at the bar to nibble on the neck of a COCKTAIL WAITRESS .</scene_description>
    <character>COCKTAIL WAITRESS</character>
    <dialogue>Do n't even try it.</dialogue>
    <character>RAY</character>
    <dialogue>When do you get off?</dialogue>
    <character>COCKTAIL WAITRESS</character>
    <dialogue>I get off at two, but you ai n't never getting off.</dialogue>
    <scene_description>She carries a tray of drinks into the crowd . Ray shakes his head in wonderment at her departing form . The BARKEEP steps up as Ray pulls out his bottle .</scene_description>
    <character>BARKEEP</character>
    <dialogue>You ca n't drink that in here, Ray.</dialogue>
    <character>RAY</character>
    <dialogue>I sure ca n't drink that watered - down swill you're serving. Give me a glass of ice.</dialogue>
    <character>BARKEEP</character>
    <dialogue>I ca n't give you a glass of ice. I ca n't give you anything until you pay your damn tab.</dialogue>
    <scene_description>Disregarding the warning , Ray tilts the bottle back . Shaking his head , the barkeep moves on to a paying customer . Ray 's eyes follow a bottle of French Champagne as it is delivered to a nearby table . Here sits the straight - laced CLAUDE BANKS with his girlfriend , DAISY . She 's enjoying the show . He 's polishing the silverware . The WAITER pours two glasses of champagne and leaves the bottle on ice . Claude regards his glass skeptically .</scene_description>
    <character>CLAUDE</character>
    <dialogue>For the kind of money they charge here, you'd think they could hire somebody to actually wash the dishes.</dialogue>
    <character>DAISY</character>
    <dialogue>Claude. Here's to your new job down at the bank. I always knew you'd make something of yourself.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Know what I'm going to buy with my first pay check?</dialogue>
    <scene_description>Daisy thinks she does . She leans in , eyes twinkling .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Season tickets to the Yankees. Right there on the first base line.</dialogue>
    <parenthetical>( off her disappointment . )</parenthetical>
    <dialogue>What's wrong, baby?</dialogue>
    <character>DAISY</character>
    <dialogue>I was hoping you were gon na say an engagement ring, Claude.</dialogue>
    <scene_description>French Champagne shoots out of Claude 's nose .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Engagement ring!</dialogue>
    <character>DAISY</character>
    <dialogue>That's what respectable folks do. Get a job, get married, start having babies. That's what you want, is n't it?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Sure it is. I just do n't see any reason to rush into things. Damn, look at this shirt. I'll be right back.</dialogue>
    <scene_description>Claude leans in to kiss Daisy on the lips . She offers her cheek . He departs . OVER BY THE BAR Ray watches Claude make a beeline for the men 's room .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MEN'S ROOM -- NIGHT</stage_direction>
    <scene_description>Claude steps into the bathroom and approaches the sink . A big hand falls on his shoulder and yanks him backwards into a stall .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. STALL -- NIGHT</stage_direction>
    <scene_description>Claude is shoved down on the toilet by two BAG MEN in suits . Suddenly , it 's crowded in here .</scene_description>
    <character>BAG MAN #1</character>
    <dialogue>Congratulations, Claude. We understand you finally got yourself a job.</dialogue>
    <character>BAG MAN #2</character>
    <dialogue>Guess that means you can pay Mr. Riley the fifty bucks you owe him.</dialogue>
    <scene_description>They rifle through Claude 's jacket and quickly find his wallet .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Now wait a second, guys. I've got a bill to pay out there.</dialogue>
    <character>BAG MAN #1</character>
    <dialogue>Twenty - two dollars. Not bad for a start.</dialogue>
    <scene_description>They toss back his empty wallet .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Come on, fellas, that's two weeks pay. I'm here with my girl. You got ta leave me something.</dialogue>
    <character>BAG MAN #2</character>
    <dialogue>How about your legs?</dialogue>
    <character>CLAUDE</character>
    <dialogue>My legs? Those are good, I'll keep the legs.</dialogue>
    <scene_description>The stall door swings shut as the bag men depart .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SPANKY'S -- NIGHT</stage_direction>
    <scene_description>On his way into the Men 's Room , Ray squeezes past the bag men on their way out .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MEN'S ROOM -- NIGHT</stage_direction>
    <scene_description>Glancing around , Ray spots Claude 's feet under the stall door . He steps up to the sink , washes his hands and takes a towel from the ATTENDANT . Scanning the assortment of grooming products , he selects a bottle of cologne and takes a sniff .</scene_description>
    <character>RAY</character>
    <parenthetical>( displeased . )</parenthetical>
    <dialogue>You have any of that French stuff?</dialogue>
    <scene_description>As the attendent bends down to retrieve a bottle of the good stuff , Ray palms a coin from the tip basket .</scene_description>
    <character>ATTENDENT</character>
    <dialogue>Here you go.</dialogue>
    <scene_description>Ray offers the quarter , a gesture of uncommon generosity .</scene_description>
    <character>RAY</character>
    <dialogue>Keep the change.</dialogue>
    <character>ATTENDENT</character>
    <dialogue>Why, thank you, sir!</dialogue>
    <scene_description>Ray pats the cologne on his face . A toilet flushes and Claude steps over to the sink . Ray catches his eye in the mirror .</scene_description>
    <character>RAY</character>
    <dialogue>Do n't I know you?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I do n't think so.</dialogue>
    <character>RAY</character>
    <dialogue>Sure I do. What's your name again?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Claude Banks.</dialogue>
    <character>RAY</character>
    <dialogue>Claude Banks. How could I forget that? You've got to remember me. Ray Gibson. We went to high school together.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You went to Monroe?</dialogue>
    <character>RAY</character>
    <parenthetical>( beaming . )</parenthetical>
    <dialogue>That's right! Good old Monroe.</dialogue>
    <scene_description>Ray throws his arms around Claude , deftly snatching his wallet . Claude extracts himself from Ray 's embrace .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Well, I went to Jefferson, so you must have a different Claude Banks in mind.</dialogue>
    <scene_description>Claude straightens his jacket and heads for the door . Ray stashes the stolen wallet in his jacket .</scene_description>
    <character>RAY</character>
    <dialogue>Sorry, man. My mistake.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SPANKY'S -- NIGHT</stage_direction>
    <scene_description>On the stage , the chanteuse has downshifted into a sultry number about back - door lovers and broken dreams . Ray steps out of the men 's room and is instantly collared by BULLETHEAD , a man who makes his living being large and threatening .</scene_description>
    <character>RAY</character>
    <dialogue>Watch the threads, Bullethead. If this is about my tab, I've got it covered.</dialogue>
    <scene_description>Pressed up against the wall , Ray reaches into his jacket and produces Claude 's wallet . Bullethead snatches it , inspects it and is not impressed .</scene_description>
    <character>BULLETHEAD</character>
    <dialogue>This ai n't about your tab, Ray. You've got bigger problems than that.</dialogue>
    <scene_description>He stuffs the wallet back into Ray 's jacket and hustles Ray out the back door past the bouncer who let him in .</scene_description>
    <character>BOUNCER</character>
    <dialogue>Is that Ray Gibson? Who the hell let him in here?</dialogue>
    <scene_description>BACK AT CLAUDE 'S TABLE Claude returns to the table where Daisy is sipping champagne . He takes the glass out of her hand .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Come on, honey, let's get out of here.</dialogue>
    <character>DAISY</character>
    <dialogue>But I'm having a good time.</dialogue>
    <character>WAITER</character>
    <dialogue>Excuse me, sir, I believe you forgot this.</dialogue>
    <scene_description>The waiter presents Claude with the bill .</scene_description>
    <character>CLAUDE</character>
    <dialogue>The bill. Of course, the bill. We could n't leave without paying the bill. Especially such an incredibly large bill.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. VAN -- NIGHT</stage_direction>
    <scene_description>Claude is shoved into the back of the van and the doors are slammed behind him . He bangs and shouts , but it 's no use .</scene_description>
    <character>RAY</character>
    <dialogue>Save your energy, Claude. You're gon na need it.</dialogue>
    <scene_description>Ray is stretched out against the back wall . Claude is knocked to the floor as the van lurches into motion .</scene_description>
    <character>RAY</character>
    <dialogue>Here, this belongs to you.</dialogue>
    <parenthetical>( tossing Claude his wallet . )</parenthetical>
    <dialogue>It was empty when I found it.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Good old Monroe.</dialogue>
    <scene_description>Ray swigs from his bottle and offers it to Claude , who is n't interested .</scene_description>
    <character>RAY</character>
    <dialogue>What I want to know is what happened to your cush between the time that you got up from the table and when I caught up with you in the Johnny?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I do n't see where that's any of your business.</dialogue>
    <character>RAY</character>
    <dialogue>Did those two muscle heads shake you down? Swear I've seen them down at the track with Sure - shot Riley. That's it, ai n't it? A gambling debt.</dialogue>
    <scene_description>Busted , Claude snatches the bottle and carefully wipes off the neck before tilting it high . Ray gets a good chuckle out of this straight cat in the bow tie .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Where they taking us, anyway?</dialogue>
    <character>RAY</character>
    <dialogue>Probably to Spanky's headquarters down at the pier.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Good, I'm looking forward to meeting this Spanky. Give me a chance to straighten out this whole mess.</dialogue>
    <character>RAY</character>
    <dialogue>I ca n't wait to see that. You slay me, man.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PIER -- NIGHT</stage_direction>
    <scene_description>The van pulls into a the loading bay of a warehouse at the end of a short pier on the Harlem River .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. WAREHOUSE -- NIGHT</stage_direction>
    <scene_description>Bullethead and a HENCHMAN pull Ray and Claude from the back of the van . They find themselves in a dark warehouse filled with crates of contraband .</scene_description>
    <character>CLAUDE</character>
    <parenthetical>( sotto . )</parenthetical>
    <dialogue>What are they gon na do to us?</dialogue>
    <character>RAY</character>
    <dialogue>You? Dine and ditch, right?</dialogue>
    <parenthetical>( Claude nods . )</parenthetical>
    <dialogue>Over ten bucks?</dialogue>
    <parenthetical>( he nods again . )</parenthetical>
    <dialogue>You're probably looking at a thumb.</dialogue>
    <character>CLAUDE</character>
    <dialogue>A thumb? What do you mean, like cut it off? For ten bucks?</dialogue>
    <parenthetical>( Ray nods . )</parenthetical>
    <dialogue>That include the tip?</dialogue>
    <scene_description>Claude shoves his hands under his armpits at the sound of approaching FOOTSTEPS echoing across the vast space . Claude and Ray peer into the darkness .</scene_description>
    <character>SPANKY</character>
    <parenthetical>( from the darkness . )</parenthetical>
    <dialogue>You picked the wrong night to fuck with me, Ray. I just lost three men and a truck full of Canadian whiskey. You know what that kind of thing does to my business? It makes me want to lash out and hurt somebody.</dialogue>
    <scene_description>SPANKY JOHNSON emerges into the light . He uses a small silver spoon to take an ample snort of cocaine into each nostril . He glances at Claude .</scene_description>
    <character>SPANKY</character>
    <dialogue>Who's he? Friend of yours, Ray?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I never saw this man before tonight. He's a lowlife degenerate who lurks in bathrooms. I'm a professional man, an upstanding citizen. I go to church on Sunday.</dialogue>
    <character>SPANKY</character>
    <dialogue>Then what are you doing here?</dialogue>
    <character>BULLETHEAD</character>
    <dialogue>Failure to pay.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( rattled . )</parenthetical>
    <dialogue>Look, Mr. Johnson, you seem like a reasonable man. I got a good job starts Monday. I'll pay you back with my first pay check. With interest. I do n't want to tell you how to conduct your business, but if you cut off my finger you wo n't get jack. Working an adding machine, I got ta be whole.</dialogue>
    <parenthetical>( his fingers dancing over imaginary keys . )</parenthetical>
    <dialogue>I need my thumbs and all my fingers for praying and doing good.</dialogue>
    <scene_description>Spanky holds up a hand , silencing Claude .</scene_description>
    <character>SPANKY</character>
    <dialogue>The choirboy wants to keep his fingers. Who am I to argue? Drop him.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Drop him? What does drop him mean?</dialogue>
    <scene_description>Claude protests loudly as Bullethead and the henchman bind his hands and feet . Spanky turns to Ray .</scene_description>
    <character>SPANKY</character>
    <dialogue>You got ta lotta balls showing your face around my club. If a man's gon na run numbers on my side of Broadway, you think he'd have the common sense to keep a low profile. But not Ray Gibson.</dialogue>
    <scene_description>The goons hoist Claude up on another pulley and dangle him head first over a hole in the floor . Several feet down , the Harlem River laps against the wooden pylons .</scene_description>
    <character>CLAUDE</character>
    <dialogue>No, not down there! That water's filthy! Help me out here, man!</dialogue>
    <scene_description>Shrugging , Ray pinches his nose and puffs out his cheeks . The goons release the rope and Claude plunges into the water . Spanky turns back to Ray .</scene_description>
    <character>RAY</character>
    <dialogue>You do n't have to drown that fella, Spanky. You already scared him half to death. He did n't know who he was fucking with.</dialogue>
    <character>SPANKY</character>
    <dialogue>But you do. What does that say about you, Ray? What does that say about me? I've given you a lot of leeway over the years on account of your father. But he did n't last long enough to teach you the meaning of the word respect so I guess I'm gon na have to school you myself.</dialogue>
    <character>RAY</character>
    <dialogue>Come on, Spank, I'm just trying to get by here. You remember how it was when you were starting out.</dialogue>
    <scene_description>The henchman yanks on the rope . Claude emerges from the hole , gasping for breath .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I was supposed to wear this suit on Monday!</dialogue>
    <scene_description>The henchman releases the rope , sending Claude back into the water . Ray reaches into his jacket . Bullethead pulls a gun and presses it into Ray 's temple . Ray gives him a look and cautiously pulls out his bottle .</scene_description>
    <character>SPANKY</character>
    <dialogue>What's that, some of your bathtub brew?</dialogue>
    <character>RAY</character>
    <dialogue>Puerto Rican rum. See for yourself.</dialogue>
    <scene_description>Ray tosses him the bottle . Spanky uncorks , sniffs , samples the goods . He 's impressed .</scene_description>
    <character>SPANKY</character>
    <dialogue>Where'd you get this?</dialogue>
    <character>RAY</character>
    <dialogue>Comes up the Mississippi. I can get more. A lot more. I was thinking about going into business for myself, but under the circumstances, I'd be willing to take on a partner.</dialogue>
    <scene_description>Once again , the henchman yanks on the rope and Claude comes up sucking air desperately . He releases the rope , submerging Claude for a third time .</scene_description>
    <character>SPANKY</character>
    <dialogue>I'm interested. Keep talking.</dialogue>
    <character>RAY</character>
    <dialogue>All I need is the front money and a truck. I could be back in two, three days tops if I had somebody to share the driving.</dialogue>
    <scene_description>Spanky considers the terms . Can he afford to trust Ray ? Can he afford not to ?</scene_description>
    <character>SPANKY</character>
    <dialogue>If you fuck me on this one, I'll spare no expense.</dialogue>
    <character>RAY</character>
    <dialogue>Understood.</dialogue>
    <character>SPANKY</character>
    <dialogue>Alright, Ray, you've got a deal. Pick your man and get going.</dialogue>
    <scene_description>Ray glances around . The pulley rope is still twitching in the water .</scene_description>
    <character>RAY</character>
    <dialogue>I'll take the little choirboy, if you do n't mind.</dialogue>
    <character>SPANKY</character>
    <dialogue>If I was you, I'd want somebody who can handle himself in a tight spot.</dialogue>
    <character>RAY</character>
    <dialogue>I just want somebody who wo n't put a bullet in my back once the truck is full.</dialogue>
    <scene_description>Spanky sees Ray 's point . He nods to the henchman , who hoists Claude 's limp body out of the water and onto the cement . Spanky plants a foot on Claude 's chest and applies pressure . A geyser of Harlem River water shoots from Claude 's mouth as he sputters back to life .</scene_description>
    <character>SPANKY</character>
    <dialogue>For your sake, I hope you can drive. Somebody give him some dry clothes.</dialogue>
    <scene_description>THE SPINNING WHEEL OF A TRUCK The CAMERA MOVES UP the side of the old Ford truck to find Claude sitting pensively in the passenger seat .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRUCK (MOVING) -- NIGHT</stage_direction>
    <scene_description>Ray palms the wheel .</scene_description>
    <character>RAY</character>
    <dialogue>Tell me about that hot sketch you were hypin' last night. She was a choice bit of calico. You two been seeing each other a long time? Gon na slap the handcuffs on her and stroll down the aisle one of these days?</dialogue>
    <scene_description>Tight - lipped , Claude shifts in his seat .</scene_description>
    <character>RAY</character>
    <dialogue>Sometimes I wish I could find me a sheba to settle down with. Suppose I'm just a tomcat by nature.</dialogue>
    <parenthetical>( trying to fill the silence . )</parenthetical>
    <dialogue>This little rum run is gon na seriously improve my relationship with Spanky. He's a good man to have on your side. He's got the capital and the connections. That's what you got to have in that business. Spanky's place is pretty plush, but one of these days I'm gon na open up my own establishment. Ray's Boom - Boom Room. You like that? Ray's Boom - Boom Room. That's in the groove, do n't you think?</dialogue>
    <scene_description>If Claude does like it , he 's not letting on .</scene_description>
    <character>RAY</character>
    <dialogue>Come on, daddy - o. You have n't said a word since we started. Least you could do is make some friendly conversation.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Look, man, I do n't want friendly conversation. I do n't want to be your friend. I've seen your friends and I do n't like them. I just want to do this thing and get back to New York in time to start my job.</dialogue>
    <character>RAY</character>
    <dialogue>Start your job? What kind of job?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Well, if you must know, bank teller at First Federal of Manhattan. I'm responsible for keeping track of hundreds, occasionally thousands of dollars.</dialogue>
    <character>RAY</character>
    <dialogue>That's some long green.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Damn straight, it is. I got my own set of keys because I'm supposed to open up. So if I ai n't there 8 a.m. Monday morning, there's gon na be hell to pay.</dialogue>
    <scene_description>Beat of silence . Ray laughs to himself .</scene_description>
    <character>CLAUDE</character>
    <dialogue>What?</dialogue>
    <character>RAY</character>
    <dialogue>Nothing.</dialogue>
    <character>CLAUDE</character>
    <dialogue>No, tell me what's so funny.</dialogue>
    <character>RAY</character>
    <dialogue>I do n't know. Bank teller. Sounds like ladies work to me.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Well, maybe I should dig around in other people's clothes for money. It's obviously been highly successful for you.</dialogue>
    <character>RAY</character>
    <dialogue>Hey, you'd be surprised what you find in other people's pockets. Just got ta avoid them deadbeat bank tellers. Get you every time.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I did n't start out to be a bank teller. I was gon na be a ballplayer. Even had an offer to play short for the Newark Eagles.</dialogue>
    <character>RAY</character>
    <dialogue>Why did n't you take it?</dialogue>
    <character>CLAUDE</character>
    <dialogue>The Negro League do n't pay so good. And you're always on the road. That do n't wash with Daisy.</dialogue>
    <character>RAY</character>
    <dialogue>You gave up baseball to be a bank teller? I ca n't latch on to that.</dialogue>
    <character>CLAUDE</character>
    <dialogue>At some point a man's got to get serious about his future. I'm sure you have no idea what I'm talking about.</dialogue>
    <character>RAY</character>
    <dialogue>You're talking about giving up baseball to be a bank teller.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Bank teller's just a start. I got plans. Real plans. Not opening some Zoom - Boom Room. This time next year I'll be a loan officer.</dialogue>
    <character>RAY</character>
    <dialogue>A loan officer?</dialogue>
    <character>CLAUDE</character>
    <dialogue>That's right, a loan officer.</dialogue>
    <character>RAY</character>
    <dialogue>So you mean, if I needed some jack to get my nightclub up and running, I'd have to hype some square like you?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Uh - huh.</dialogue>
    <scene_description>Ray pulls out his pocket watch . A mechanical tune plays as he checks the time .</scene_description>
    <character>RAY</character>
    <dialogue>How would I get a loan, anyway?</dialogue>
    <character>CLAUDE</character>
    <dialogue>You need collateral.</dialogue>
    <character>RAY</character>
    <parenthetical>( re : watch . )</parenthetical>
    <dialogue>Like this?</dialogue>
    <character>CLAUDE</character>
    <dialogue>That thing? Who'd you steal it from?</dialogue>
    <character>RAY</character>
    <dialogue>My daddy gave me this watch.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Yeah? Who'd he steal it from?</dialogue>
    <character>RAY</character>
    <dialogue>My daddy is dead so watch your mouth. You can say what you want about me, but do n't be dragging my daddy into it. This watch means the world to me. Solid gold. Keeps perfect time.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Looks like a fake to me. Loan denied!</dialogue>
    <scene_description>Ray stuffs his daddy 's watch back in his pocket .</scene_description>
    <character>RAY</character>
    <dialogue>Ah, go chase yourself. I'll take my business elsewhere. And for future reference, you are no longer welcome at Ray's Boom - Boom Room.</dialogue>
    <character>CLAUDE</character>
    <dialogue>There is no Boom - Boom Room.</dialogue>
    <character>RAY</character>
    <dialogue>When there is, you can forget about it. And I swear to God, you ever talk about my daddy again I'm gon na kick your bank - telling, loan - denying ass, you got me?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Oooh.</dialogue>
    <character>RAY</character>
    <dialogue>I think I liked you better when you kept your trap shut.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ROADSIDE DINER -- DAY</stage_direction>
    <scene_description>The truck veers off the highway and jerks to a halt in front of the rundown establishment .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROADSIDE DINER -- DAY</stage_direction>
    <scene_description>A dozen WHITE FOLKS look up as Ray and Claude push through the door .</scene_description>
    <character>RAY</character>
    <dialogue>Man, something smells good in here. How's everybody doing?</dialogue>
    <scene_description>Nothing but sullen stares from all corners of the room .</scene_description>
    <character>CLAUDE</character>
    <parenthetical>( sotto . )</parenthetical>
    <dialogue>Maybe we oughta find another place.</dialogue>
    <character>RAY</character>
    <dialogue>Are you kidding? Tell me you do n't want a slice of that pie right over there.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I must have left my appetite outside, which is where I think we ought to be right now.</dialogue>
    <scene_description>Claude tugs Ray towards the door but Ray wo n't be dissuaded . He boldly addresses a YOUNG MAN in an apron behind the counter .</scene_description>
    <character>RAY</character>
    <dialogue>Good evening, Billy. We'd like some coffee and a couple of slices of that homemade pie you've got advertised.</dialogue>
    <character>BILLY</character>
    <dialogue>How you know my name's Billy?</dialogue>
    <character>RAY</character>
    <dialogue>It says so right there on your shirt.</dialogue>
    <character>BILLY</character>
    <parenthetical>( glancing down . )</parenthetical>
    <dialogue>That what that says?</dialogue>
    <scene_description>Billy 's MAMA sets a piping hot pie on the back counter and steps up next to her son . She casts a disparaging glance at Claude 's suit .</scene_description>
    <character>MAMA</character>
    <dialogue>If you boys can read so good, how come you missed that sign in the window?</dialogue>
    <scene_description>Claude considers the sign she 's pointing to .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You mean this sign? The one that says `` No Coloreds Allowed.'' That's a good question. Ray, how come we missed the sign?</dialogue>
    <character>RAY</character>
    <dialogue>Look, ma'am, we've been driving all day. We'd just like to purchase one of those pies and we'll be on our way.</dialogue>
    <character>MAMA</character>
    <dialogue>Those are whites - only pies.</dialogue>
    <character>RAY</character>
    <dialogue>Got any nigger pies?</dialogue>
    <scene_description>Claude jabs him .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Any fool could see those are whites - only, not - for - blacks, come - on - let's - get - the - fuck - outta - here pies. Thank you very much.</dialogue>
    <scene_description>Claude starts tugging Ray toward the door .</scene_description>
    <character>RAY</character>
    <parenthetical>( sotto . )</parenthetical>
    <dialogue>Thanks for backing me up here, Uncle Claude.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( sotto . )</parenthetical>
    <dialogue>Do n't Uncle Claude me. You get a load of those crackers? Could n't be a mouthful of teeth among the bunch of'em. Why you want to pick a fight with people like that for?</dialogue>
    <character>RAY</character>
    <dialogue>You're soft.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What'd you say?</dialogue>
    <scene_description>Diner patrons stare .</scene_description>
    <character>RAY</character>
    <dialogue>I said you're soft.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Hey, man, do n't ever call me that.</dialogue>
    <character>RAY</character>
    <dialogue>I call it like I see it, and what I see is definitely soft.</dialogue>
    <scene_description>Claude narrows his eyes .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Alright. You want some pie?</dialogue>
    <character>RAY</character>
    <dialogue>Yeah, I want some pie.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Okay then, I'm gon na walk over to that counter and get us some fucking pie.</dialogue>
    <scene_description>Resolved , Claude stomps over to the counter .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Excuse me, ma'am, I bet a brick will turn that one right there into a colored pie.</dialogue>
    <scene_description>Claude lays down a dollar bill . Mama casually pulls a shotgun from under the counter .</scene_description>
    <character>MAMA</character>
    <dialogue>And I bet this right here will turn you into a colored pie.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Okay, Ray, I think we can go now. Much obliged.</dialogue>
    <scene_description>Ray gives the whole place a cool once - over as Claude pulls him out the door . Mama turns to Billy , still studying the stitching on his shirt .</scene_description>
    <character>MAMA</character>
    <dialogue>Do n't be concentrating so hard, baby. You're liable to seize yourself again.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. DOCKS -- NIGHT</stage_direction>
    <scene_description>The truck rolls up to the waters edge . Ray kills the engine and flashes the lights twice . In the passenger seat , Claude is fast asleep . After a few moments , a FAT MAN appears , shining a flashlight into the cab .</scene_description>
    <character>RAY</character>
    <dialogue>How you doing? We're looking for Slim.</dialogue>
    <character>SLIM</character>
    <dialogue>You found him.</dialogue>
    <scene_description>Ray cocks an eyebrow .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DOCKS -- NIGHT</stage_direction>
    <scene_description>Under cover of darkness , a couple of MEN finish loading crates into the bed of the truck . Ray and Claude keep their eyes peeled for the law . Down by the river , they can see lights and hear music from a district of rowdy juke joints . SLIM steps up , wiping his hands .</scene_description>
    <character>SLIM</character>
    <dialogue>That's it, fellas. Thirty six cases of Puerto Rico's finest. At five bucks a case, that's $ 180.</dialogue>
    <scene_description>Ray pulls out a wad and slaps it in Slim 's sweaty palm . The fat man starts counting it out .</scene_description>
    <character>RAY</character>
    <dialogue>Man, that music is hot. What goes on down there, Slim?</dialogue>
    <character>SLIM</character>
    <dialogue>That's Natchez - under - the - Hill.</dialogue>
    <character>RAY</character>
    <dialogue>Blacks welcome there?</dialogue>
    <character>SLIM</character>
    <dialogue>Green's the only color that matters under the hill. They got gambling, girls. You oughta check it out.</dialogue>
    <character>RAY</character>
    <dialogue>Maybe we will. Nice meeting you.</dialogue>
    <scene_description>Slim slips into the shadows .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Nice meeting you? You've been here before, have n't you?</dialogue>
    <character>RAY</character>
    <dialogue>What gave you that idea?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Oh, I do n't know, maybe because our lives depend on it, I just sort of thought you knew what you were doing!</dialogue>
    <character>RAY</character>
    <dialogue>Do n't get all agitated on me. I bought a bottle of rum from a couple of dudes, I heard'em talking.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Let me get this straight. We drove all the way down to Klan country'cause you heard a couple of guys talking?</dialogue>
    <character>RAY</character>
    <dialogue>What are you complaining about? It worked out. Everything's cool. Now, come on, let's head down there and see what's shaking. We deserve a little reward.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( dubious . )</parenthetical>
    <dialogue>Reward?</dialogue>
    <character>RAY</character>
    <dialogue>There are people down there having fun. I want to be one of them. I want you to be one of them. On Monday you can be a bank teller if you want, but tonight you're a bootlegger with a truck full of Puerto Rican rum and a fistful of cash.</dialogue>
    <scene_description>A look of excitement crosses Claude 's face , but he quickly shakes it off .</scene_description>
    <character>CLAUDE</character>
    <dialogue>That's gas money.</dialogue>
    <scene_description>Exasperated , Ray stuffs a few bills into Claude 's pocket .</scene_description>
    <character>RAY</character>
    <dialogue>There's your gas money. You stay here and watch the truck. And do n't worry, I've got the keys.</dialogue>
    <scene_description>Left alone , Claude mutters and kicks at the dirt . He leans against the truck . UP AHEAD/EXT . JUKE JOINT - NIGHT Ray emerges from the woods and heads down the hill toward the juke joint . Claude hustles up next to him .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I'm just gon na keep an eye on you, make sure you do n't do nothing stupid.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JUKE JOINT -- NIGHT</stage_direction>
    <scene_description>A ramshackle den of iniquity on the banks of the Mississippi . The band is laying down some serious Delta blues , creating an inviting atmosphere for sin and moral corruption . On a far side of the room , Ray is playing poker with some LOCALS . He seems to be having a bad night . WINSTON HANCOCK , a formidable black man , sweeps in another big pot and puffs happily on his cigar . OVER AT THE BAR Perched on a stool , Claude shoots a dark look at Ray and motions for the door . Ray waves him off and returns to his game . Claude becomes aware of a soft , young female hand on his shoulder .</scene_description>
    <character>SYLVIA</character>
    <dialogue>I've never seen you in here before.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( staring at the hand . )</parenthetical>
    <dialogue>That's because I've never been here before.</dialogue>
    <character>SYLVIA</character>
    <dialogue>I'm Sylvia. What's your name?</dialogue>
    <scene_description>Against his better judgement , Claude 's gaze follows the long , slender arm up past a bare shoulder and settles on SYLVIA 'S angelic face . He is struck dumb .</scene_description>
    <character>SYLVIA</character>
    <dialogue>Ca n't you remember your own name?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I know it begins with a `` C''.</dialogue>
    <character>SYLVIA</character>
    <dialogue>Well, Mr. `` C'', how about buying a girl a drink?</dialogue>
    <parenthetical>( to the bartender . )</parenthetical>
    <dialogue>Two bourbons.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I really should n't. I got ta keep an eye on my friend.</dialogue>
    <character>SYLVIA</character>
    <dialogue>He looks like he can take care of himself.</dialogue>
    <scene_description>The drinks arrive . She places a shot glass in Claude 's reluctant hand . She winks provocatively and slowly pours the whiskey down her throat . Instinctively , Claude tosses back his shot .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Claude. That's my name. Claude. That's never happened before.</dialogue>
    <character>SYLVIA</character>
    <dialogue>You're cute. You have any money, Claude?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Ten dollars. But I need it to get home.</dialogue>
    <character>SYLVIA</character>
    <dialogue>Why would you want to go home? It's so early.</dialogue>
    <scene_description>The bartender refills their glasses . BACK AT THE POKER TABLE Winston considers his cards , hardly looking up as a WAITRESS lays down a cocktail napkin and sets a drink down on top of it . He glances at Ray , who casually considers his cards .</scene_description>
    <character>RAY</character>
    <dialogue>I'll take two.</dialogue>
    <scene_description>The dealer tosses Ray a couple of cards . INSERT - Ray fans his cards to reveal a full house . After considering the other players at the table , Ray pushes what 's left of his money into the center of the table . The three other PLAYERS fold with disgust . Winston squints long and hard at Ray , then pushes everything he has into the center of the table .</scene_description>
    <character>WINSTON</character>
    <dialogue>I'll see that.</dialogue>
    <scene_description>Winston reaches into his jacket and throws down some more money on the pile .</scene_description>
    <character>WINSTON</character>
    <dialogue>And while we're at it, let's sweeten the pot.</dialogue>
    <character>RAY</character>
    <dialogue>Looks like my sugar bowl's empty, Mr. Hancock.</dialogue>
    <character>WINSTON</character>
    <parenthetical>( reaching for the pot . )</parenthetical>
    <dialogue>That's just too damn bad, ai n't it?</dialogue>
    <character>RAY</character>
    <dialogue>Now, hang on, slick. I ai n't through with you yet.</dialogue>
    <scene_description>Ray checks his cards again . He looks at the pot , it 's a lot of money . With this hand , there 's no way he can lose . He places his daddy 's pocket watch on top of the pile . Winston checks the time piece .</scene_description>
    <character>WINSTON</character>
    <dialogue>That'll cover it.</dialogue>
    <scene_description>Ray lays down his hand .</scene_description>
    <character>RAY</character>
    <dialogue>Full boat, ladies doing the paddling.</dialogue>
    <character>WINSTON</character>
    <dialogue>Four threes.</dialogue>
    <scene_description>Ray sits back , stunned . Winston rakes in his winnings . The game is over for the night . The three other players head to the bar .</scene_description>
    <character>WINSTON</character>
    <dialogue>Do n't take it too hard, New York. Have a round on me.</dialogue>
    <scene_description>Winston tosses a silver dollar to Ray , who snatches it out of the air . Winston drops his hat on his head and moves through the crowd and out the door .</scene_description>
    <character>WAITRESS</character>
    <dialogue>Can I get you something?</dialogue>
    <scene_description>Ray shakes his head . Carefully , she begins to clear the table . Suddenly , he grabs her wrist . Winston 's glass tips over . Ray flips over the cocktail napkin to reveal an extra pile of cards .</scene_description>
    <character>RAY</character>
    <dialogue>Looks like he had a whole lot of nothing in his hand until you came along.</dialogue>
    <character>WAITRESS</character>
    <parenthetical>( wrenching free . )</parenthetical>
    <dialogue>You're hurting my arm.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. JUKE JOINT -- NIGHT</stage_direction>
    <scene_description>Ray dashes into the street , glancing both ways . No sign of Winston . Damn .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BACK ALLEY -- NIGHT</stage_direction>
    <scene_description>Winston produces Ray 's pocket watch and pops it open . A smile crosses his face as the mechanical tune plays . A sheriff 's sedan rounds a corner , illuminating Winston in its headlights . The car pulls up and SHERIFF WARREN PIKE steps out . Distinguished by a casual cruelness , he 's a young white man who loves his uniform .</scene_description>
    <character>PIKE</character>
    <dialogue>If it is n't Winston Hancock.</dialogue>
    <scene_description>Winston tries to move past Pike , but the sheriff blocks his path with a night stick . As Winston backs off , another squad car pulls up behind him . TWO DEPUTIES step from the car , guns drawn .</scene_description>
    <character>PIKE</character>
    <dialogue>I thought we agreed that you were gon na leave town.</dialogue>
    <character>WINSTON</character>
    <dialogue>I tried to leave, Sheriff Pike. But your wife begged me to stay.</dialogue>
    <scene_description>Pike slams Winston with his club , sending the black man to his knees . As Winston struggles back to his feet , a stiletto flashes and he lunges for the sheriff , slashing his cheek . The deputies grab Winston from behind , holding him by both arms . The long knife clatters to ground . Pike touches his face , examining the blood on his fingers .</scene_description>
    <character>PIKE</character>
    <dialogue>You just committed suicide, boy.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BORDELLO HALLWAY -- NIGHT</stage_direction>
    <scene_description>Ray walks slowly down the hallway to Room 13 . He is about to knock when he hears the sound of lovemaking from within .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SYLVIA'S BEDROOM -- NIGHT</stage_direction>
    <scene_description>Ray opens the door and peeks in . Sylvia 's on top and in charge . Claude is concentrating real hard . Ray smiles to himself and closes the door .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JUKE JOINT -- NIGHT</stage_direction>
    <scene_description>Claude hitches up his suspenders as he comes down the stairs . He finds Ray having a drink at the now - empty bar .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Hey, Ray. I've been looking for you.</dialogue>
    <character>RAY</character>
    <dialogue>Here I am.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Guess we better get going, huh?</dialogue>
    <character>RAY</character>
    <dialogue>Still got that ten dollars?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Well, not exactly. See, I met this girl. Real nice girl. God - fearing girl. Her name's Sylvia.</dialogue>
    <character>RAY</character>
    <dialogue>That jelly you were talking to right here?</dialogue>
    <character>CLAUDE</character>
    <dialogue>She's in a tight spot. Her mama needs this operation, and they ai n't got the money for it. Their church took up a collection but they were still short.</dialogue>
    <character>RAY</character>
    <dialogue>So you made a generous contribution.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What can I say? When the spirit moves me.</dialogue>
    <character>RAY</character>
    <dialogue>That was mighty charitable of you, Claude. Looks like we both got fucked tonight.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What are you talking about?</dialogue>
    <character>RAY</character>
    <dialogue>While you were upstairs doing God's work, I was getting jack - legged by a fool with four threes.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You lost all our money in a card game?</dialogue>
    <character>RAY</character>
    <dialogue>He even got my daddy's watch.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Fuck that cheap - ass watch -.</dialogue>
    <parenthetical>( off Ray 's glare . )</parenthetical>
    <dialogue>I mean, how the hell are we gon na get home without any money?</dialogue>
    <character>RAY</character>
    <dialogue>We've still got 36 cases of rum. That's better than money.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BACK ALLEY -- NIGHT</stage_direction>
    <scene_description>Ray and Claude head down the alley .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You sure the truck's this way?</dialogue>
    <parenthetical>( looking over his shoulder . )</parenthetical>
    <dialogue>I swear it was back that way.</dialogue>
    <scene_description>Suddenly , the bloodied figure of Winston Hancock lurches from the shadows and grabs Claude by the lapels . Claude is too scared to scream , staggering backward . But the man 's grip loosens and he slips to the ground .</scene_description>
    <character>CLAUDE</character>
    <parenthetical>( croaking . )</parenthetical>
    <dialogue>Ray. Yo, Ray!</dialogue>
    <scene_description>Ray turns back to find Claude trembling with fear and covered in blood . He just points down . Ray eyes widen . He kneels down and turns Winston 's body over .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I think he's hurt pretty bad.</dialogue>
    <character>RAY</character>
    <dialogue>He's dead.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Oh, man, I've never seen a dead body before!</dialogue>
    <scene_description>Much to Claude 's horror , Ray starts rifling through Winston 's pockets .</scene_description>
    <character>CLAUDE</character>
    <dialogue>What do you think you're doing?! The man's been dead for two seconds! Do n't you have any respect?</dialogue>
    <character>RAY</character>
    <dialogue>It ai n't here.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What ai n't there?</dialogue>
    <character>RAY</character>
    <dialogue>My daddy's watch. This is the dude I was telling you about -</dialogue>
    <scene_description>Suddenly , the glare of two bright headlights from a pickup truck freeze Ray and Claude in a guilty tableau . FIVE WHITE MEN appear at the end of the alley .</scene_description>
    <character>MAN WITH LANTERN</character>
    <dialogue>What's going on here?</dialogue>
    <scene_description>Ray gingerly releases Winston 's lifeless body .</scene_description>
    <character>MAN WITH LANTERN</character>
    <dialogue>What's wrong with that one?</dialogue>
    <character>RAY</character>
    <dialogue>Him? He's just drunk.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Yeah, nobody puts'em away like old what's - his - name.</dialogue>
    <character>RAY</character>
    <dialogue>Winston. His name's Winston.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Come on, Ray, better get Winston back to the truck.</dialogue>
    <scene_description>Claude and Ray hoist Winston 's body to its feet . The man raises his lantern , takes a closer look at Winston 's face .</scene_description>
    <character>MAN WITH LANTERN</character>
    <dialogue>This fella looks dead.</dialogue>
    <scene_description>Ray and Claude check for themselves .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Would you look at that, Ray. Winston up and died on us.</dialogue>
    <character>RAY</character>
    <dialogue>Hell with him then. If he ca n't share the driving, he ca n't ride in the truck.</dialogue>
    <character>MAN WITH LANTERN</character>
    <dialogue>He can ride with us.</dialogue>
    <scene_description>Suddenly , the men all have guns . And they 're pointed at Ray and Claude .</scene_description>
    <character>MAN WITH LANTERN</character>
    <dialogue>So can you.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NATCHEZ JAIL -- NIGHT</stage_direction>
    <scene_description>In a holding cell , Ray tests the window bars . Solid . Meanwhile , Claude sits on a cot brooding darkly . Through the bars , we see the rednecks laughing and passing around a bottle of bootleg rum with the DEPUTY on duty .</scene_description>
    <character>RAY</character>
    <dialogue>Man, this is gon na delay everything. Spanky's gon na be pissed.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Spanky's gon na be pissed? Poor Spanky. Fuck Spanky! What the hell kind of a name is Spanky, anyway? You're responsible for this situation. I blame you for everything. If it was n't for you, I'd be home having a hot meal right now.</dialogue>
    <character>RAY</character>
    <dialogue>If it was n't for me, you'd be washing up on the beach at Coney Island right now.</dialogue>
    <parenthetical>( mocking Claude . )</parenthetical>
    <dialogue>`` I need all my thumbs and fingers for praying and doing good.''</dialogue>
    <scene_description>The jailhouse door opens and Sheriff Pike walks in . He pauses to give the prisoners the once - over . There 's a fresh bandage over the cut on his cheek .</scene_description>
    <character>PIKE</character>
    <dialogue>What do we have here?</dialogue>
    <character>DEPUTY</character>
    <dialogue>Billy Bob and the boys found them down down under the hill with Winston Hancock. He was dead. Looks like murder.</dialogue>
    <character>PIKE</character>
    <dialogue>You do n't say.</dialogue>
    <character>DEPUTY</character>
    <dialogue>Looks like they was running rum. Got thirty six cases of evidence out back. You want I should call in the federal prosecutor?</dialogue>
    <character>PIKE</character>
    <dialogue>Let's not drag the feds into this. I can think of better uses for that rum than letting it collect dust in some government warehouse up in Nashville.</dialogue>
    <scene_description>Pike winks at his deputy , then turns to regard the prisoners .</scene_description>
    <character>PIKE</character>
    <dialogue>Besides, why bother with bootlegging when we got us a clear cut case of murder?</dialogue>
    <character>RAY</character>
    <dialogue>Excuse me, sheriff. As we explained to your associate here, there's been a mistake. We did n't kill anybody. Now, as for the bootlegging, we happen to work for a very important man in New York.</dialogue>
    <character>CLAUDE</character>
    <dialogue>That's right. Does the name Spanky Johnson mean anything to you?</dialogue>
    <character>PIKE</character>
    <dialogue>Afraid not.</dialogue>
    <character>RAY</character>
    <dialogue>Mr. Johnson is very well connected. If you were to let us go, I guarantee he would show you his appreciation, if you know what I mean.</dialogue>
    <character>PIKE</character>
    <dialogue>Are you offering me a bribe?</dialogue>
    <character>RAY</character>
    <dialogue>I'm just trying to pay the toll on the road to justice.</dialogue>
    <character>PIKE</character>
    <dialogue>You may be able to buy your way out of trouble up in New York City, but down here we take murder seriously.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Look, man, how many times we got ta tell you people, we did n't kill that guy!</dialogue>
    <character>PIKE</character>
    <dialogue>Well, if that's the case, then you do n't have anything to worry about, do you?</dialogue>
    <scene_description>Pike turns his back on the prisoners and checks the time on a gold pocket watch - Ray 's pocket watch . But from his cell , Ray ca n't hear the mechanical tune .</scene_description>
    <character>PIKE</character>
    <dialogue>Time to get home to the missus. See y' all in the morning.</dialogue>
    <scene_description>In the cell , Claude turns to Ray .</scene_description>
    <character>CLAUDE</character>
    <dialogue>The man's got ta point. We're innocent, after all. I just got ta get a good night's sleep on this filthy mattress. Keep our heads on straight, stay cool, what's the worst thing that could happen to us?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. COURTROOM -- DAY</stage_direction>
    <scene_description>The CAMERA Scorseses in on the JUDGE 'S face .</scene_description>
    <character>JUDGE</character>
    <dialogue>Life!</dialogue>
    <scene_description>The gavel comes down with a thundering crash . Stunned , Ray and Claude resist the BAILIFFS ' efforts to remove them from the courtroom .</scene_description>
    <character>RAY</character>
    <dialogue>Life?! How long is life? We were just walking back to the truck. We did n't do nothing! Fuck life!</dialogue>
    <character>CLAUDE</character>
    <dialogue>Life?! What's life mean? There's no way I can do life. I got a job starts Monday morning!</dialogue>
    <scene_description>They continue to protest loudly as they are dragged bodily through the door .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COUNTRYSIDE -- DAY</stage_direction>
    <scene_description>Blues music kicks in as a prison transport bus rolls down a dirt road cutting through the bleak Mississippi Delta .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUS (MOVING) -- DAY</stage_direction>
    <scene_description>LONG - CHAIN CHARLIE , a white prison sergeant , sits behind the wheel . A shot gun hangs within easy reach . The CAMERA MOVES BACK past grim - faced PRISONERS with their hands and feet shackled . We arrive at Ray and Claude sitting in grim silence as the bus lurches along .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRISON -- DAY</stage_direction>
    <scene_description>The bus veers off the country road and passes under a sign : MISSISSIPPI STATE PENITENTIARY . Sgt. Dillard 's voice PLAYS OVER .</scene_description>
    <character>DILLARD</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>Welcome to the farm. Here you will be provided with ample opportunity to repay your debt to society through the rigors of hard labor.</dialogue>
    <scene_description>Ray and Claude stare out the window , getting their first look at the harsh reality that awaits them . Cotton fields stretch to the horizon in every direction . HOE - GANGS till the earth under the watchful gaze of TRUSTY SHOOTERS .</scene_description>
    <character>DILLARD</character>
    <parenthetical>( V.O . )</parenthetical>
    <dialogue>In between harvest and planting season we got fields need clearing, roads need building and ditches need digging. You will eat only what you can grow. Your crop do n't come in, you'll go hungry. If you die, do n't worry ` bout us none. We'll find somebody to replace you.</dialogue>
    <scene_description>Along the road , CONVICTS cast hard looks at the new men as the cart passes . A WHITE SERGEANT on horseback shifts his rifle and casually spits tobacco juice in the dirt .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 -- DAY</stage_direction>
    <scene_description>A low - slung , single - story bunkhouse surrounded by a dirt yard . Two shooter shacks sit at diagonal corners of the yard . In each shack , two trusties with rifles keep vigilant watch over the camp . SGT. FRED DILLARD paces down the line of new men as HOPPIN ' BOB , an uncommonly ugly trusty , unlocks their leg irons .</scene_description>
    <character>DILLARD</character>
    <dialogue>This here is Camp 8. Camp 8 is for incorrigibles, so whatever you've done to get here, believe me, we're not impressed. You new men are probably noticing that we have no fences here at Camp 8. We do n't need no fences, we have the gun line. It runs from shack to shack clear around the yard. You are now inside the gun line. If you step outside the gun line without my permission, you will be shot. If you trip and fall over the gun line, you will be shot. If you spit, if you pee, if you stick your ass out and take a dump over the gun line, you will be shot.</dialogue>
    <scene_description>Dillard plucks a hat off one of the new prisoners and tosses it over the gun line . SHOTS ring out from the nearest shack . The hat is torn to shreds .</scene_description>
    <character>DILLARD</character>
    <dialogue>One of my trusties puts a bullet in you when you're trying to run, I'm liable to give him a pardon for saving me the trouble of tracking you down, so you can bet their aim is true.</dialogue>
    <scene_description>Dillard puts a cigarette in his mouth . Hoppin ' Bob is right there with the flame .</scene_description>
    <character>DILLARD</character>
    <dialogue>My name is Sgt. Dillard. In the unlikely event that you need to address me, you call me boss. You already met this handsome fella right here. Hoppin' Bob's my ace boon coon. You run afoul of Hoppin' Bob, you run afoul of me.</dialogue>
    <scene_description>Nodding to Bob , Dillard saunters off .</scene_description>
    <character>HOPPIN' BOB</character>
    <dialogue>New men, strip down!</dialogue>
    <scene_description>Ray and Claude share a look . Self - consciously , the men begin to undress .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE -- DAY</stage_direction>
    <scene_description>Double bunks line the walls , with a footlocker for each inmate . As usual , there 's a poker game going on .</scene_description>
    <character>HOPPIN' BOB</character>
    <dialogue>Okay, ladies, got some fresh meat for ya!</dialogue>
    <scene_description>All activity comes to a halt as the new men shuffle into the cage wearing their prison - issue `` ring - arounds . '' Hoppin ' Bob slams the metal doors shut behind them .</scene_description>
    <character>HOPPIN' BOB</character>
    <dialogue>We ai n't got no wallflowers at Camp 8. Everybody got ta dance eventually. But do n't worry, they wo n't try nothing tonight. That would take all of the fun outta the courtship.</dialogue>
    <scene_description>The INCORRIGIBLES hungrily eye the new men in total silence . Claude sticks close to Ray as they shuffle toward their assigned bunks . The CAMERA SETTLES on a much younger WILLIE LONG .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COUNTRY ROAD -- MORNING</stage_direction>
    <scene_description>The inmates jump down from the mule cart and grab hoes and shovels . Because he ca n't count , Hoppin ' Bob keeps track of the men using a system all his own - a PEBBLE in his pocket for each man . Dillard stands by with his shotgun .</scene_description>
    <character>DILLARD</character>
    <dialogue>Got three miles of ditch to clear today. Let's keep it moving!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. DITCH -- DAY</stage_direction>
    <scene_description>The men of Camp 8 labor under the brutal mid - day sun . JANGLE LEG , a handsome , muscular man , sings a verse to set the work tempo . Up and down the line , a mighty chorus responds . The CAMERA FINDS Ray and Claude swinging pick axes , sweating profusely .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I do n't believe this before Abe jive. I did n't go to night school to sing in no Mississippi Boys Choir!</dialogue>
    <scene_description>Claude stops to catch his breath and take off his shirt .</scene_description>
    <character>RAY</character>
    <dialogue>I would n't do that if I was you.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Shut up. It's too damn hot. What do you know, anyway?</dialogue>
    <scene_description>A SHOT rings out . Claude hits the ground as a bullet kicks up some dust nearby .</scene_description>
    <character>RAY</character>
    <dialogue>Told ya.</dialogue>
    <scene_description>Claude looks up to see Dillard cracking pistachio nuts as Hoppin ' Bob puts another round in the chamber of his rifle .</scene_description>
    <character>DILLARD</character>
    <dialogue>Why ai n't his pick swinging?</dialogue>
    <character>HOPPIN' BOB</character>
    <parenthetical>( echoing . )</parenthetical>
    <dialogue>Why ai n't that pick swinging?</dialogue>
    <character>CLAUDE</character>
    <dialogue>It's too hot, boss. I'm tired.</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>He says it's too hot, boss.</dialogue>
    <character>DILLARD</character>
    <dialogue>Too hot, huh? Well, you tell that lazy jiggaboo the state of Mississippi ai n't interested in his meteorological assessments.</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>Listen up, jiggaboo! State of Mississippi ai n't interested in your. in your.</dialogue>
    <parenthetical>( off Dillard 's look . )</parenthetical>
    <dialogue>metropolitan assets!</dialogue>
    <character>DILLARD</character>
    <dialogue>Tell him the state of Mississippi is only interested in getting this ditch cleared by sundown.</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>State of Mississippi wants this ditch cleared by sundown. You got that?!</dialogue>
    <character>CLAUDE</character>
    <dialogue>I got it. boss.</dialogue>
    <character>DILLARD</character>
    <dialogue>He do n't sound like he's from ` round here.</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>He's from New York City. That one, too.</dialogue>
    <character>DILLARD</character>
    <dialogue>New York. That's up north, ai n't it? They'll find we do things different down here.</dialogue>
    <character>RAY</character>
    <dialogue>We noticed.</dialogue>
    <scene_description>Annoyed , Dillard jabs the butt of his rifle into Ray 's solar plexus . Ray sinks to his knees in the dirt .</scene_description>
    <character>DILLARD</character>
    <dialogue>Looks like we got a couple of live ones. How long these boys in for?</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>Judge gave'em the long ride.</dialogue>
    <character>DILLARD</character>
    <dialogue>Life, huh? They step outta line again, we'll shorten up that sentence real fast.</dialogue>
    <scene_description>Dillard swaggers off , dogged at the heels by the ever faithful Hoppin ' Bob . Resigned , Ray and Claude return to their labor .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DITCH -- DAY</stage_direction>
    <scene_description>The men rest in the ditch as BISCUIT , a slight inmate with a red bandanna tied around his head , dispenses water , one ladle per man .</scene_description>
    <character>BISCUIT</character>
    <dialogue>Drink it up!</dialogue>
    <scene_description>Willie exchanges two cigarettes for a second ladle . POKER FACE pulls a crumpled envelope from his shirt . His expression never changes , hence the name .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Either of you new fellas know how to read? I've had this letter four months now.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You ca n't read? None of these guys can read?</dialogue>
    <character>WILLIE</character>
    <dialogue>Last fella who could read made parole ` round Christmas.</dialogue>
    <character>POKER FACE</character>
    <dialogue>I do n't even know who this is from.</dialogue>
    <character>RAY</character>
    <dialogue>Here, gim me that.</dialogue>
    <scene_description>Ray unfolds the letter and scans it .</scene_description>
    <character>RAY</character>
    <dialogue>It's from your mama's neighbor, Mrs. Tidwell. She thought you oughta know that your second cousin Bo died.</dialogue>
    <scene_description>The prisoners express their condolences . `` Sorry , man . '' `` That 's some bad news . '' `` I know you loved Bo like a brother . ''</scene_description>
    <character>RAY</character>
    <dialogue>And your other cousin, Sally, on your daddy's side, she died.</dialogue>
    <scene_description>More sympathy from the men . `` Ooh . Twice in one letter . '' `` Rough break , Poker Face . ''</scene_description>
    <character>RAY</character>
    <dialogue>Apparently, your sister died.</dialogue>
    <character>POKER FACE</character>
    <dialogue>Jenny?</dialogue>
    <character>RAY</character>
    <dialogue>No, it says Marleen here.</dialogue>
    <scene_description>Relief all around . `` Thank goodness . ''</scene_description>
    <character>RAY</character>
    <dialogue>Oh, wait, looks like Jenny died, too.</dialogue>
    <scene_description>`` Bad luck , man . '' `` That 's harsh . ''</scene_description>
    <character>RAY</character>
    <dialogue>Then it goes on for a while about how the crop did n't come in on accounta the frost.</dialogue>
    <parenthetical>( flips over the page . )</parenthetical>
    <dialogue>She finishes up with something about a tornado and how your mama and your daddy died in that. But do n't worry none. She'll take care of the dog. That is, if it gets over the worms.</dialogue>
    <scene_description>The prisoners share dark looks . Ray folds up the letter and hands it back to Poker Face .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Appreciate it.</dialogue>
    <character>RAY</character>
    <dialogue>Anybody else need anything read?</dialogue>
    <scene_description>`` No , man , we 're good . '' The men shake their heads and return letters and cards to their pockets . Jangle Leg nods and switches places with one of the convicts , parking next to Claude .</scene_description>
    <character>JANGLE LEG</character>
    <dialogue>How you doin'?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'm all right.</dialogue>
    <character>JANGLE LEG</character>
    <dialogue>You ever done time before?</dialogue>
    <character>CLAUDE</character>
    <dialogue>You kidding? I've been in and out of prison my entire life. Mostly in. I'm hard - core.</dialogue>
    <character>JANGLE LEG</character>
    <dialogue>Then you wo n't have no problem making the adjustment. You need anything, help of any kind, gim me a holler. Name's Jangle Leg.</dialogue>
    <character>CLAUDE</character>
    <dialogue>` Preciate it. Claude.</dialogue>
    <scene_description>As they shake , Jangle Leg inspects Claude 's hand thoroughly .</scene_description>
    <character>JANGLE LEG</character>
    <dialogue>Soft and supple. Like a lady's.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( eyes narrowing . )</parenthetical>
    <dialogue>I try to moisturize regularly.</dialogue>
    <character>HOPPIN' BOB</character>
    <parenthetical>( over his shoulder . )</parenthetical>
    <dialogue>Hey, Jangle Leg, what'd I tell you about pitching woo on the job?</dialogue>
    <character>JANGLE LEG</character>
    <dialogue>Sorry, Cap'n.</dialogue>
    <scene_description>Claude snatches back his hand and gives Jangle Leg a hard look .</scene_description>
    <character>HOPPIN' BOB</character>
    <dialogue>Break's over! Back to work!</dialogue>
    <scene_description>As the men grab their tools and return to work , Claude leans over to Ray .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Why do you think they call him Jangle Leg?</dialogue>
    <character>RAY</character>
    <dialogue>Somebody just told me he wins the three - legged race every year.</dialogue>
    <character>CLAUDE</character>
    <dialogue>So?</dialogue>
    <character>RAY</character>
    <dialogue>He does it all by himself.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MESS HALL -- DUSK</stage_direction>
    <scene_description>Wincing with each movement and covered in grime from the day 's labors , the new men bring up the back of the chow line . COOKIE , the grub - slinger , slaps a large dollop of an unidentifiable substance onto Ray 's tray .</scene_description>
    <character>RAY</character>
    <dialogue>What is that?</dialogue>
    <character>COOKIE</character>
    <dialogue>Creamed chip beef on toast. Except we're outta beef, so I had to improvise.</dialogue>
    <character>RAY</character>
    <dialogue>Ca n't I get one of those steaks you got grilling back there?</dialogue>
    <character>COOKIE</character>
    <dialogue>Those are for trusties, unless you got thirty cents or two packs of cigs.</dialogue>
    <scene_description>Another prisoner lays down some tobacco and gets a juicy steak . Ray grabs a hunk of corn bread and makes his way to the back of the room . Claude steps up , holds out his tray for Cookie .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Excuse me, I do n't like it when the food touches each other, so if you could just -.</dialogue>
    <parenthetical>( SPLAT ! )</parenthetical>
    <dialogue>- keep everything separate.</dialogue>
    <scene_description>Disappointed , Claude turns to discover that the only seat left is next to Ray . Scowling , he limps toward it . Jangle Leg 's eyes follow Claude as he approaches the table . Biscuit smacks him .</scene_description>
    <character>BISCUIT</character>
    <dialogue>Eyes front, mister!</dialogue>
    <scene_description>Claude sits down and promptly goes to work scraping his burnt toast with his knife . The irritating sound slowly brings the entire room to dead silence . All eyes fall on Claude . Scratch , scratch , scratch .</scene_description>
    <character>COOKIE</character>
    <parenthetical>( stepping up . )</parenthetical>
    <dialogue>Problem with the toast?</dialogue>
    <character>CLAUDE</character>
    <dialogue>It's fine now.</dialogue>
    <scene_description>Cookie glowers and takes a seat .</scene_description>
    <character>RAY</character>
    <dialogue>Stop aggravating people. Just eat your food.</dialogue>
    <scene_description>As the room returns to normal , Claude starts polishing his fork with his shirttail . Irritated , Ray shoots him a look .</scene_description>
    <character>CLAUDE</character>
    <dialogue>This fork is filthy.</dialogue>
    <character>RAY</character>
    <dialogue>The fork is the least of your worries, Claude.</dialogue>
    <scene_description>Undeterred , Claude breathes on his fork and polishes it some more . Disgusted , Ray pushes aside his plate .</scene_description>
    <character>RAY</character>
    <dialogue>What's your name?</dialogue>
    <character>WILLIE</character>
    <dialogue>Me? Willie Long.</dialogue>
    <character>RAY</character>
    <dialogue>What are you in for, Willie?</dialogue>
    <character>WILLIE</character>
    <dialogue>That's a long story.</dialogue>
    <character>RADIO</character>
    <dialogue>When he was 13 years old he killed a son - of - a - bitch with a claw hammer.</dialogue>
    <character>WILLIE</character>
    <dialogue>They never proved that.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What a second, you've been in here since you were thirteen?</dialogue>
    <character>RAY</character>
    <dialogue>What about you, Radio?</dialogue>
    <character>RADIO</character>
    <dialogue>Armed robbery.</dialogue>
    <character>JANGLE LEG</character>
    <dialogue>Damn liar. Bitch killed his sister with an axe.</dialogue>
    <character>RADIO</character>
    <dialogue>She was my half - sister. Shit, I ai n't the son - of - a - bitch who poisoned my own parents.</dialogue>
    <character>BISCUIT</character>
    <parenthetical>( protective . )</parenthetical>
    <dialogue>They deserved it. Very strict.</dialogue>
    <character>POKER FACE</character>
    <dialogue>What about you, Biscuit? You nearly skinned your poor old landlady alive.</dialogue>
    <character>COOKIE</character>
    <dialogue>At least he did n't kill Santa Claus with his bare hands.</dialogue>
    <character>RAY</character>
    <dialogue>You killed Santa Claus?</dialogue>
    <character>BISCUIT</character>
    <parenthetical>( scolding . )</parenthetical>
    <dialogue>On Christmas Eve.</dialogue>
    <character>POKER FACE</character>
    <dialogue>He was n't the Santa Claus, he was just wearing the suit and ringing a bell.</dialogue>
    <character>WILLIE</character>
    <dialogue>What did you guys do?</dialogue>
    <scene_description>The whole table waits expectantly for their reply .</scene_description>
    <character>RAY</character>
    <dialogue>I kinda lost track of how many people we killed that night. Must have been 15 or twenty - not counting women and children. It was a real bloodbath. All that screaming.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Pack of lies. Do n't listen to him. We did n't kill nobody. We were railroaded. And we gon na prove that.</dialogue>
    <character>RAY</character>
    <dialogue>He just blocked it out. Nigger's crazy. He's the one who did all the stabbing. He's capable of some heinous shit.</dialogue>
    <parenthetical>( thumbing down the table . )</parenthetical>
    <dialogue>How ` bout him down there?</dialogue>
    <scene_description>At the end of the table , GOLDMOUTH , a hulking specimen , snarls menacingly , flashing a glittering set of teeth .</scene_description>
    <character>WILLIE</character>
    <dialogue>Goldmouth? They say he was born out back behind the shithouse. That's what they say.</dialogue>
    <character>RAY</character>
    <dialogue>You all been here a long time. Does n't anybody ever escape from this place?</dialogue>
    <character>WILLIE</character>
    <dialogue>They run but they never get too far.</dialogue>
    <character>RADIO</character>
    <dialogue>Couple years back, Cookie made it clear to Greenville.</dialogue>
    <character>RAY</character>
    <dialogue>Greenville, that the nearest town?</dialogue>
    <character>WILLIE</character>
    <parenthetical>( nodding . )</parenthetical>
    <dialogue>It's a two - day walk if you do n't get lost. Take a mighty cagey country boy to navigate the woods and bayous between here and there.</dialogue>
    <character>BISCUIT</character>
    <dialogue>Those dogs they got can sniff a skid mark in your underpants from a half - mile off.</dialogue>
    <character>RAY</character>
    <dialogue>Alright, well, let's say you make it to Greenville. What's there, anyway?</dialogue>
    <character>COOKIE</character>
    <dialogue>Grandma Dodi's Pork Rib Joint.</dialogue>
    <character>POKER FACE</character>
    <dialogue>That's where they nabbed him.</dialogue>
    <character>COOKIE</character>
    <dialogue>Did n't even get to have my peach cobbler.</dialogue>
    <character>WILLIE</character>
    <dialogue>The most important thing they got in Greenville is a train that heads up north.</dialogue>
    <scene_description>Just then , Goldmouth stands up , casting a shadow over Claude .</scene_description>
    <character>GOLDMOUTH</character>
    <dialogue>Hey, girl, you gon na eat your corn bread?</dialogue>
    <scene_description>Claude looks up , considering his options .</scene_description>
    <character>CLAUDE</character>
    <dialogue>No, man. I want you to have it.</dialogue>
    <character>RAY</character>
    <dialogue>Wait up there, Claude. You give that guy your corn bread and the next thing you know you'll be ironing his shirts and clipping his toenails.</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>Maybe I oughta eat your corn bread.</dialogue>
    <character>RAY</character>
    <dialogue>My corn bread? Oh no, my friend. I love corn bread.</dialogue>
    <scene_description>Ray picks up his corn bread and takes a huge bite out of it , rolling his eyes with enthusiasm .</scene_description>
    <character>RAY</character>
    <dialogue>I thought my mama made good corn bread but this is really something special.</dialogue>
    <scene_description>Ray looks at the faces around the room , smiles broadly . Goldmouth is getting embarrassed .</scene_description>
    <character>RAY</character>
    <dialogue>Who knew I'd have to come all the way down to this here prison, deep in the asshole of the great state of Mississippi, to find such a tasty piece of corn bread?</dialogue>
    <scene_description>The prisoners begin to laugh . Ray 's got them now .</scene_description>
    <character>RAY</character>
    <dialogue>And who knew that in this great corn bread - making institution I'd come face to face with the biggest, ugliest, stinkiest, ugliest gold - mouthed negro in the entire world. Now get out of my face before I lose my appetite!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DUSK</stage_direction>
    <scene_description>A punch sends Ray sprawling in the dust . Goldmouth looms over him . The incorrigibles form a circle around the combatants . Poker Face , the camp bookie , is taking all bets .</scene_description>
    <character>GOLDMOUTH</character>
    <dialogue>How you like your corn bread now, New York?</dialogue>
    <scene_description>Goldmouth and Ray square off . Goldmouth swings , Ray ducks and counters with a swift jab to the gut . Goldmouth just flashes a shiny grin and clobbers Ray with a fist the size of a Thanksgiving turkey . Ray sinks to the dust . Radio drops down near him .</scene_description>
    <character>RADIO</character>
    <dialogue>Come on, New York, you can do better than that! Get up and show him how they do it in Harlem!</dialogue>
    <scene_description>Ray shakes his head and staggers back to his feet . He circles the big man and gets in a couple of good shots , much to the crowd 's approval . Goldmouth shakes his head and wipes the blood from his nose . Now he 's mad . He grabs Ray by the shirt and delivers a crushing blow . Ray reels backward into Cookie 's arms .</scene_description>
    <character>COOKIE</character>
    <dialogue>I appreciate you going to all this trouble over my corn bread. I do n't get a lot of compliments in my line of work.</dialogue>
    <scene_description>Cookie shoves Ray back into the ring for more punishment . Claude emerges from the mess hall , munching on a piece of corn bread . He squeezes in between Poker Face and Willie .</scene_description>
    <character>WILLIE</character>
    <dialogue>Your pal's getting the tar whipped out of him on your account.</dialogue>
    <character>CLAUDE</character>
    <dialogue>How many times I got to tell you? He ai n't my pal. Besides, he looks like he knows what he's doing.</dialogue>
    <scene_description>Just then Claude winces as Goldmouth delivers a jaw - crushing uppercut that knocks Ray on his back . Claude bristles under the incriminating looks coming at him from all directions .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Alright, alright.</dialogue>
    <scene_description>Claude crouches down as Ray rolls over on his stomach and pushes himself up onto all fours . His eyes are swollen shut , his face covered with blood .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Hey, Ray, I think you made your point, whatever that is. Maybe now's a good time to throw in the towel. You know what I'm saying?</dialogue>
    <scene_description>Ray manages a smile and staggers to his feet .</scene_description>
    <character>RAY</character>
    <parenthetical>( slurring . )</parenthetical>
    <dialogue>Shit, Goldmouth. Back in New York, I know bitches who hit harder than you.</dialogue>
    <scene_description>Goldmouth pulls back his fist and lets it fly . Ray hurtles through the crowd , collapsing in the dust . Willie steps in .</scene_description>
    <character>WILLIE</character>
    <dialogue>The man's taken enough of a beating. Let's get him inside.</dialogue>
    <scene_description>Cookie , Radio and Poker Face raise Ray to his feet . Goldmouth slings him over his shoulder and carries him toward the bunkhouse . Dazed , Ray catches Claude 's eye .</scene_description>
    <character>RAY</character>
    <dialogue>Got him good, huh, Claude? He wo n't be bothering us anytime soon.</dialogue>
    <scene_description>A quick elbow jab from Goldmouth and Ray is out for good . Disgusted with himself , Claude tosses what 's left of the corn bread to the mangy dog , who makes short work of it .</scene_description>
    <character>BISCUIT</character>
    <parenthetical>( wagging a finger . )</parenthetical>
    <dialogue>Shame, shame, that's your name.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MESS HALL -- DAY</stage_direction>
    <scene_description>On Sundays , the mess hall also serves as a chapel . From a makeshift pulpit , the blind REVEREND CLAY and his DAUGHTER lead the congregation of convicts in a rousing chorus of `` Down by the Riverside . ''</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>The gospel music filters into the yard , where the prisoners mingle with kinfolk .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SGT. DILLARD'S HOUSE -- DAY</stage_direction>
    <scene_description>MRS. DILLARD hums along with the gospel music as she places a couple of freshly - baked pies on the window sill to cool .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>The CAMERA FINDS Claude and Daisy walking hand in hand toward a simple shack just beyond the gun line . This is the TONK HOUSE and Dillard is the gate keeper .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Request permission to go to the tonk, boss.</dialogue>
    <scene_description>Dillard considers Daisy .</scene_description>
    <character>DILLARD</character>
    <dialogue>I do n't see no wedding ring, Banks. Conjugal visits are for married prisoners only.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You think you could make an exception just this once, boss? She came all the way down from New York.</dialogue>
    <character>DILLARD</character>
    <dialogue>I do n't need the Baptists on my back, but I suppose I could issue a temporary marriage license for a nominal fee.</dialogue>
    <scene_description>Daisy gets the picture . She reaches into her purse and hands Dillard a couple of dollars .</scene_description>
    <character>DILLARD</character>
    <dialogue>I now pronounce you man and wife.</dialogue>
    <parenthetical>( calling to the shooter shack . )</parenthetical>
    <dialogue>Claude Banks going to the tonk!</dialogue>
    <scene_description>Claude takes Daisy 's hand and leads her over the gun line . ACROSS THE YARD Ray watches Claude and Daisy step into the tonk house . Then he returns to a game of horseshoes , tossing a ringer . Nearby , Biscuit gives Jangle Leg a haircut .</scene_description>
    <character>RAY</character>
    <dialogue>Biscuit, when you're done with Jangle Leg, you think you could squeeze me in?</dialogue>
    <character>BISCUIT</character>
    <dialogue>Thought you'd never ask. Biscuit needs some gravy.</dialogue>
    <character>RAY</character>
    <dialogue>I'm talking about a haircut.</dialogue>
    <character>BISCUIT</character>
    <dialogue>Cost you a pair of nylons.</dialogue>
    <character>POKER FACE</character>
    <dialogue>Hey, Ray, Goldmouth do n't believe me. Ai n't it so they got trains up in New York City that run under the streets?</dialogue>
    <character>RAY</character>
    <dialogue>They're called subways. A nickel will take you from one end of Manhattan to the other. Helluva ride, too.</dialogue>
    <scene_description>Radio looks up from a vacuum tube receiver he 's busy repairing .</scene_description>
    <character>RADIO</character>
    <dialogue>Hey, Ray, you ever been to the Cotton Club?</dialogue>
    <character>RAY</character>
    <dialogue>Sure I've been to the Cotton Club. It's pretty sweet. But it do n't hold a candle to the Boom Boom Room. That's where the real action is.</dialogue>
    <character>WILLIE</character>
    <dialogue>What's the Boom Boom Room?</dialogue>
    <character>RAY</character>
    <dialogue>That's my joint. The swinginest nightclub in town.</dialogue>
    <character>COOKIE</character>
    <dialogue>You got your own nightclub?</dialogue>
    <character>RAY</character>
    <dialogue>Well, not yet. It's still in the planning stages.</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>So it do n't exist.</dialogue>
    <character>RAY</character>
    <dialogue>Just because it's in my mind, Goldmouth, do n't mean it ai n't real. Everything worth anything starts with a dream.</dialogue>
    <scene_description>Hoppin ' Bob calls to Ray from the gun line .</scene_description>
    <character>HOPPIN' BOB</character>
    <dialogue>Gibson! Got yourself a visitor!</dialogue>
    <scene_description>Ray turns to find his MOTHER , a handsome woman in a floral dress , coming toward him .</scene_description>
    <character>RAY</character>
    <dialogue>Mama?</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>Rayford!</dialogue>
    <scene_description>The incorrigibles elbow each other and repeat the name `` Rayford '' as Mama Gibson envelops her son in a fleshy embrace , smothering him with kisses .</scene_description>
    <character>RAY</character>
    <dialogue>What are you doing here, mama?</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>I heard some things so I went to see Spanky Johnson. He told me what happened and gave me some money to get down here. What happened to your face?</dialogue>
    <character>RAY</character>
    <dialogue>Do n't worry about that. Hey, fellas, this here is my mama. These are some of my friends. That's Willie, there's Poker Face, Radio, Cookie, Goldmouth, Biscuit, Jangle Leg.</dialogue>
    <scene_description>The motley crew gathers around , nodding politely . Goldmouth flashes a golden grin . Willie gallantly doffs his cap .</scene_description>
    <character>WILLIE</character>
    <dialogue>Mrs. Gibson. Shame on Rayford here for failing to mention that he had such a beautiful mama.</dialogue>
    <scene_description>Mama manages a half - hearted smile , clutching her bag .</scene_description>
    <character>MAMA GIBSON</character>
    <dialogue>Nice to meet you all.</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>How was your train ride?</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>Quite comfortable, thank you.</dialogue>
    <character>COOKIE</character>
    <dialogue>Them cookies in there?</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>Yes, oatmeal.</dialogue>
    <character>RADIO</character>
    <dialogue>` Scuse me, you got any batteries on you?</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>No. No I do n't.</dialogue>
    <scene_description>Biscuit sides up , fingering her dress .</scene_description>
    <character>BISCUIT</character>
    <dialogue>That's a lovely dress. Make it yourself?</dialogue>
    <character>MAMA GIBSON</character>
    <parenthetical>( vaguely unsettled . )</parenthetical>
    <dialogue>Yeah.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PORCH -- DAY</stage_direction>
    <scene_description>Ray and his mama sit in the shade .</scene_description>
    <character>RAY</character>
    <dialogue>This is a big surprise, mama. I sure did n't expect to see you down here.</dialogue>
    <scene_description>A long , uncomfortable beat . Mama 's lip starts to tremble .</scene_description>
    <character>MAMA GIBSON</character>
    <dialogue>Rayford, I wanted so much more for you than this.</dialogue>
    <character>RAY</character>
    <dialogue>Do n't cry, mama. This place ai n't so bad as it looks. Sure, we work hard, but there's plenty fresh air and sunshine. And you know something else, I've taken to going to church regular. They got services every Sunday right there in the mess hall.</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>Do n't you lie to me, Rayford.</dialogue>
    <parenthetical>( composing herself . )</parenthetical>
    <dialogue>You still have your daddy's watch?</dialogue>
    <parenthetical>( Ray shakes his head . )</parenthetical>
    <dialogue>Well, this is all I can give you. I wish it was more.</dialogue>
    <scene_description>She puts some money in his hand .</scene_description>
    <character>RAY</character>
    <dialogue>I ca n't take that, mama.</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>Do n't argue with me. You need it more than I do. I know how a little money can help in a place like this.</dialogue>
    <scene_description>Reluctantly , Ray stashes the money in his pocket .</scene_description>
    <character>RAY</character>
    <dialogue>I ca n't believe this. I always said I'd never end up like this. I thought I'd make something of myself, do something with my life. You know, be successful. Have a big house, a family. Now I'm gon na end up just like daddy.</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>Do n't say that, Rayford. Do n't ever say that. He gave up hope. That's where you got ta be different.</dialogue>
    <character>RAY</character>
    <dialogue>They gave me life, mama.</dialogue>
    <character>MAMA GIBSON</character>
    <dialogue>I gave you life. And they ca n't take it away from you. Remember that. You'll get outta here someday. I believe that. You got ta believe it, too.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TONK HOUSE -- DAY</stage_direction>
    <scene_description>Reclining on a straw mattress , Claude watches intently as Daisy gets dressed . The rickety door reverberates with a loud pounding .</scene_description>
    <character>HOPPIN' BOB</character>
    <parenthetical>( off . )</parenthetical>
    <dialogue>Time's up, Banks! We got a crowd gathering out here!</dialogue>
    <scene_description>Claude leaps from the bed and slams his fist against the door .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Woman came all the way from New York, goddamnit! We'll come out when we're good and ready!</dialogue>
    <scene_description>Daisy quickly buttons up her dress .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Did you go see my cousin Maynard like I asked you in my letter?</dialogue>
    <character>DAISY</character>
    <dialogue>Of course I did. He said he'd file an appeal right away. You did n't tell me he was so good looking.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Yeah, that side of the family has all the looks and none of the brains. I hope he do n't mess things up.</dialogue>
    <character>DAISY</character>
    <dialogue>He seemed like a pretty good lawyer to me. His offices take up an entire floor of that big, new building on 125th Street, and he was using all these words I never heard before. He even offered me a job.</dialogue>
    <character>CLAUDE</character>
    <dialogue>A job, huh? Well, that's nice, real nice. You wo n't have to work long. I'll be back soon enough. After I start work at First Federal Bank of Manhattan, I'll be keeping you in style. Everything will get back to normal again. That's a promise.</dialogue>
    <scene_description>Daisy smiles weakly and looks away . She does n't have much faith in this promise .</scene_description>
    <character>DAISY</character>
    <dialogue>Listen, Claude, Maynard wanted to know if he should file the appeal on behalf of your friend, too.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Ray Gibson?</dialogue>
    <parenthetical>( thinks about it . )</parenthetical>
    <dialogue>No, no. He's the reason I'm in here, Daisy. For all I know, he's got a record a mile long. I got a better shot of getting out of here on my own. You tell Maynard to think about me, concentrate on me. Understand?</dialogue>
    <character>DAISY</character>
    <dialogue>Sure, Claude, whatever you say.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. COUNTRY ROAD -- DAY</stage_direction>
    <scene_description>The prisoners jump down from the cart and grab hammers and pick axes as Hoppin ' Bob keeps count with pebbles .</scene_description>
    <character>DILLARD</character>
    <dialogue>We lost yesterday on accounta the rain. That means we got ta make up for it today, so put your backs to it.</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>You heard the boss! Let's move!</dialogue>
    <scene_description>Ray and Claude jump down after Willie .</scene_description>
    <character>WILLIE</character>
    <parenthetical>( squinting at the sun . )</parenthetical>
    <dialogue>Looks like a scorcher.</dialogue>
    <character>RADIO</character>
    <dialogue>I bet the son of a bitch goes over a hundred and ten.</dialogue>
    <character>POKER FACE</character>
    <dialogue>I'll take that action.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FIELD -- DAY</stage_direction>
    <scene_description>The long line levels a road to a work tune being sung by Jangle Leg . Dillard checks the thermometer on the truck - 90 degrees and rising . Mopping his brow , he starts down the line . The sun arcs overhead , a blazing inferno . Heat rises off the road . The men sweat profusely . `` Taking it off here , boss ! '' echoes up and down the line . Biscuit has his work cut out for him , lugging a water bucket from man to man , offering the ladle . The sun . the hammer . the ladle . the axe . the sun . the hammer . the ladle . the axe . The mercury hits 110 degrees . A NEW GUY lets his hammer slip from his fingers , collapses in the dirt . Radio nods to Poker Face , who hands him a pack of cigs .</scene_description>
    <character>WILLIE</character>
    <dialogue>Man down, boss!</dialogue>
    <scene_description>Dillard uses his foot to roll the stricken man over . He 's still alive . Barely .</scene_description>
    <character>DILLARD</character>
    <dialogue>You two, put him on the truck!</dialogue>
    <scene_description>Ray and Claude drop their tools , grab the man by his arms and legs and lug him up to the road . Once out of earshot , Ray whispers to Claude .</scene_description>
    <character>RAY</character>
    <dialogue>Cookie drew me a map to Greenville.</dialogue>
    <character>CLAUDE</character>
    <dialogue>So?</dialogue>
    <character>RAY</character>
    <dialogue>You know what I'm saying.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Yeah, I know what your saying. And I'm saying if you made it that far, they'd be watching every train that pulls out of that station.</dialogue>
    <character>RAY</character>
    <dialogue>That's why we wo n't take the train. Cookie showed me where there's a farm house. They got a boat there.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What do you know about boats? I bet you ca n't even swim.</dialogue>
    <scene_description>They reach the truck . With effort , they swing the man back and forth and launch him into the back of the truck .</scene_description>
    <character>RAY</character>
    <dialogue>What I know about boats is they take you to freedom. Come on, man. I think we can do this.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Why are you always talking about we? There is no we. There is a me, there is a you. But there is no we between us.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE WASHROOM -- DAY</stage_direction>
    <scene_description>Ray and Claude continue their conversation as they lather up for a shave .</scene_description>
    <character>RAY</character>
    <dialogue>You want out of this place, do n't you? Do n't tell me you're starting to like it here.</dialogue>
    <character>CLAUDE</character>
    <dialogue>No, I do n't like it here. Look around. There's nothing but ass. Male ass! Balls and ass! Believe you me, I'm getting out of here.</dialogue>
    <character>RAY</character>
    <dialogue>What does that mean?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Forget it.</dialogue>
    <character>RAY</character>
    <dialogue>I'm not gon na forget it. What does that mean? If you've got a plan, I think I have a right to know about it. I told you my plan.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Getting a map from a chubby chef named Cookie? Dragging our asses through the swamps in search of some worm - eaten boat? That ai n't a plan, that's a vacation for two in the hole. When you've got a map to New York City, you get back to me.</dialogue>
    <scene_description>Claude splits . Scowling , Ray finishes up his shave .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE -- NIGHT</stage_direction>
    <scene_description>Moonlight streams through the barred windows of the cage . Exhausted from the day 's work , each man stretches out painfully in his bunk .</scene_description>
    <character>JANGLE LEG</character>
    <dialogue>Sure was hot out there today.</dialogue>
    <character>COOKIE</character>
    <dialogue>Still too hot to sleep.</dialogue>
    <character>RADIO</character>
    <dialogue>Every bone in my body feel like a big son - of - a - bitch dog got hold of it.</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>I ca n't wait'til Sunday.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What's so great about Sunday? Monday's right after it.</dialogue>
    <scene_description>Restless , Radio rolls over .</scene_description>
    <character>RADIO</character>
    <dialogue>Hey, Ray, what's the name of that nightclub of yours?</dialogue>
    <character>RAY</character>
    <dialogue>You mean the Boom - Boom Room?</dialogue>
    <character>RADIO</character>
    <dialogue>That's it. The Boom - Boom Room. Sure would like to see that place when you get it up and running.</dialogue>
    <character>RAY</character>
    <dialogue>You should have come by last night, Radio. You woulda had yourself some fun.</dialogue>
    <character>WILLIE</character>
    <dialogue>Last night? What are you talking about, Ray?</dialogue>
    <character>RAY</character>
    <dialogue>I'm talking about old Satchmo nearly blew the roof off the joint.</dialogue>
    <character>POKER FACE</character>
    <dialogue>Who?</dialogue>
    <character>RAY</character>
    <dialogue>Satchmo.</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>You mean Louis Armstrong?</dialogue>
    <character>RAY</character>
    <dialogue>He's a good friend of mine. Drops by the club whenever he's in town.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Hey, do we have to listen to this bullshit? I'm trying to get some sleep around here.</dialogue>
    <scene_description>`` Shut up , Claude ! '' echoes around the room . Irritated , Claude thumps his pillow and turns his back on the room .</scene_description>
    <character>RAY</character>
    <dialogue>Yeah, things were hot last night, but you'll never guess who's playing tonight.</dialogue>
    <scene_description>BLAM ! A high horn note sounds . CLOSE - UP - Biscuit , all dolled up and flashing a million - dollar smile . She begins to sing .</scene_description>
    <character>BISCUIT</character>
    <dialogue>A tisket a tasket.</dialogue>
    <scene_description>Biscuit is up on a makeshift platform in the bunkhouse , lipsyncing to Ella Fitzgerald . But its not the depressing bunkhouse anymore , it has transformed into Ray 's Boom - Boom Room . PULL OUT SLOWLY as Ray , decked out in a sleek tuxedo steps in front of the CAMERA . He speaks into the CAMERA as he walks .</scene_description>
    <character>RAY</character>
    <dialogue>That's right, fellas. Catch any cab heading uptown. All the drivers know Ray's Boom - Boom Room.</dialogue>
    <character>GOLDMOUTH</character>
    <parenthetical>( O.S . )</parenthetical>
    <dialogue>Hey, Ray.</dialogue>
    <scene_description>Ray looks to his left , sees Goldmouth in the old bunkhouse .</scene_description>
    <character>GOLDMOUTH</character>
    <dialogue>Where am I at, man?</dialogue>
    <character>RAY</character>
    <parenthetical>( in nightclub . )</parenthetical>
    <dialogue>C'mon, Goldmouth, somebody's got ta watch the front door.</dialogue>
    <scene_description>The CAMERA PANS off Ray to Goldmouth , in a tuxedo , at the front door of the nightclub with two lovely ladies . He waves to himself , sitting on his bunk . Himself waves back , smiling like a kid in a candy store . Willie is behind the bar , serving drinks to three gorgeous SKIMMIES .</scene_description>
    <character>WILLIE</character>
    <dialogue>Hey, Ray, I could get used to this!</dialogue>
    <scene_description>CLOSE ON Cookie sitting a table eating a huge porterhouse . The CAMERA DOLLIES around to find Ray eating with him .</scene_description>
    <character>COOKIE</character>
    <dialogue>Ray, my man, this steak is like butter!</dialogue>
    <character>RAY</character>
    <dialogue>Made just for you, Cookie.</dialogue>
    <character>COOKIE</character>
    <dialogue>How about some steak sauce?</dialogue>
    <character>RAY</character>
    <dialogue>No problem. Oh, boy!</dialogue>
    <scene_description>Ray motions to a busboy clearing a table . It 's Claude .</scene_description>
    <character>RAY</character>
    <dialogue>How about some Worchestershire sauce! And clean that damn table.</dialogue>
    <scene_description>Claude grimaces . Willie laughing , Goldmouth laughing , Poker Face in the bunk laughing .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Hey, Ray, I know you got some gambling!</dialogue>
    <scene_description>Ray at a craps table holding a pair of dice . He looks at Poker Face on his bunk .</scene_description>
    <character>RAY</character>
    <dialogue>C'mon, Poker Face, what's a club without some dice?</dialogue>
    <scene_description>The CAMERA PULLS BACK as Ray throws the dice . A perfect seven . The CAMERA PANS UP to Poker Face in a tux clutching a fistful of cash .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Lucky seven! My nigger! Let it ride!</dialogue>
    <scene_description>Across the room , Jangle Leg , in a tux , sits at the piano . Radio , also in a tux , beats on the drums .</scene_description>
    <character>JANGLE LEG</character>
    <dialogue>Sing, girlfriend!</dialogue>
    <scene_description>Biscuit sings the song , smiling lovingly at her man . Everyone is having a great time in Ray 's Boom - Boom Room , until . Whistles blow . At the front door , Hoppin ' Bob appears with FIVE TRUSTIES dressed in police outfits . The incorrigibles scatter .</scene_description>
    <character>RADIO</character>
    <dialogue>Hey, Ray, looks like trouble!</dialogue>
    <scene_description>A hard white light from Hoppin ' Bob 's flashlight shines directly into the CAMERA . CLOSE ON Ray , in his bed , back in the old bunkhouse . The music stops abruptly . He shields his eyes from the harsh light . Hoppin ' Bob is looming over him . It 's back to reality .</scene_description>
    <character>HOPPIN' BOB</character>
    <dialogue>You do n't shut up, you're gon na spend the rest of the night in the hole, Gibson! That goes for the rest of you girls, too. I do n't want to hear another peep about no Boom - Boom fucking Room!</dialogue>
    <scene_description>A loud burst of flatulence cuts through the darkness . Hoppin ' Bob turns his flashlight on Cookie .</scene_description>
    <character>COOKIE</character>
    <dialogue>Sorry, Cap'n.</dialogue>
    <scene_description>Scowling , Hoppin ' Bob steps out of the cage and locks the door behind him . The men slowly settle back in .</scene_description>
    <character>RADIO</character>
    <parenthetical>( whispering . )</parenthetical>
    <dialogue>Pretty good story, Ray. Did n't much care for the ending though.</dialogue>
    <scene_description>Lights out at Camp 8 .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 -- YARD -- DAY</stage_direction>
    <scene_description>Claude 's playing pepper with Radio , Jangle Leg and Poker Face .</scene_description>
    <character>DILLARD</character>
    <dialogue>Mail call!</dialogue>
    <scene_description>The incorrigibles quickly gather around as he calls off names , passing cards and letters through the crowd .</scene_description>
    <character>DILLARD</character>
    <dialogue>Craddock! Williams. Henshaw! Banks!</dialogue>
    <character>CLAUDE</character>
    <dialogue>Here!</dialogue>
    <scene_description>Dillard hands the letter to Ray , who glances at it before passing it back to Claude .</scene_description>
    <character>RAY</character>
    <parenthetical>( reading . )</parenthetical>
    <dialogue>Maynard Banks, Esquire. Attorney at law.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Gim me that. That does n't concern you.</dialogue>
    <character>RAY</character>
    <dialogue>I'm sure it do n't.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CAMP 8 BUNKHOUSE -- DAY</stage_direction>
    <scene_description>Claude rips open the letter . A profound disappointment settles over him as he reads the news from cousin Maynard . Bitterly , he crumples up the letter and tosses it down .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIELD - DAY</stage_direction>
    <scene_description>Dillard strolls down the line with his rifle over his shoulder . Under his watchful gaze , hoes rise and fall . After he passes , Claude moves a little closer to Ray .</scene_description>
    <character>CLAUDE</character>
    <dialogue>What's up, Ray?</dialogue>
    <character>RAY</character>
    <parenthetical>( cool . )</parenthetical>
    <dialogue>Claude.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Sure is hot today. Think it'll rain later?</dialogue>
    <character>RAY</character>
    <dialogue>What do you want, Claude?</dialogue>
    <character>CLAUDE</character>
    <dialogue>What do I want? What makes you think I want something?</dialogue>
    <character>RAY</character>
    <dialogue>My daddy always said when a man starts talking about the weather keep you hand on your wallet.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Your daddy must have been a helluva guy, a deep man, a wise man. Sure wish I could have met him -</dialogue>
    <character>RAY</character>
    <dialogue>Cut the bullshit. What do you want, Claude?</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( clearing his throat . )</parenthetical>
    <dialogue>You still got that map?</dialogue>
    <character>RAY</character>
    <dialogue>Yeah.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Well, if you're still thinking about booking it, I want in. I think we can make it.</dialogue>
    <character>RAY</character>
    <dialogue>We? Did I hear you say we? As I recall, you're the one who said there is no we. Guess we got some bad news in that letter, huh?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Look, my cousin Maynard is a lawyer. He filed an appeal on my behalf -</dialogue>
    <character>RAY</character>
    <dialogue>On your behalf. What happened to we?</dialogue>
    <character>CLAUDE</character>
    <dialogue>The appeal was denied. Then Daisy went and fell for Maynard. They're engaged to be married, can you believe that?</dialogue>
    <character>RAY</character>
    <dialogue>Well, let's just think about that for a moment. He's a successful lawyer up in New York City and you're down here with a bright future in the cotton picking business. Eeny, meeny, miney, Maynard.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Come on, man. Do n't shut me out. I'm telling you, you and me, that map, we can go places.</dialogue>
    <character>RAY</character>
    <dialogue>You know what, Claude? This whole time we've been down here, you've done nothing but think about yourself, acting like this whole thing is my fault. That plan with your cousin, did that include me?</dialogue>
    <scene_description>A long beat .</scene_description>
    <character>CLAUDE</character>
    <dialogue>No.</dialogue>
    <character>RAY</character>
    <dialogue>At least you're honest for once. So now you want to be my friend? Well, let me tell you something, Claude - my - shit - do n't - stink - Banks. You got a lot to learn about friendship.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Does that mean I'm in?</dialogue>
    <character>RAY</character>
    <dialogue>I do n't think so, Claude. You'd just slow me down. We'd have to stop every five minutes so you could polish your silverware. There's no way around it, you're soft.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What'd you say?</dialogue>
    <character>RAY</character>
    <dialogue>I said you're soft.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Do n't call me that. You know I hate it when you call me that.</dialogue>
    <scene_description>Ray gets in Claude 's face and silently mouths the word - `` soft . '' Claude throws down his hoe and sinks his fist deep into Ray 's gut .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Damn, that felt good. I should have done that the first time I met you.</dialogue>
    <scene_description>Ray touches the blood coming from his nose . Eyes blazing , he tackles Claude , dragging him to the ground . The two men roll around , trying to strangle each other . Hoppin ' Bob hustles down the hill and drags Ray off of Claude . But Claude comes back for more . Hoppin ' Bob finds himself in the middle of the fray . That 's when the cavalry arrives . Two trusties use their rifles to crack Ray and Claude over the backs of their heads , sending them both down for the count . Hoppin ' Bob empties his canteen over their faces . They sputter back to consciousness .</scene_description>
    <character>HOPPIN' BOB</character>
    <dialogue>Now you girls set aside your differences and get back to work or I'll see to it -</dialogue>
    <character>RAY</character>
    <dialogue>- we'll spend a night in the hole. We heard this shit before.</dialogue>
    <scene_description>Ray and Claude stagger to their feet and pick up their tools . Hoppin ' Bob and the trusties head back up the hill . Ray starts to chuckle .</scene_description>
    <character>CLAUDE</character>
    <dialogue>What the fuck are you laughing about?</dialogue>
    <scene_description>Ray opens his palm to reveal TWO PEBBLES . Claude regards Ray with new - found respect .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. COUNTRY ROAD -- SUNDOWN</stage_direction>
    <scene_description>One by one , the prisoners of Camp 8 climb into the mule carts under the watchful eye of Hoppin ' Bob . As each man passes , he removes a pebble from his pocket . The last one in is Willie . Hoppin ' Bob 's pocket is now empty .</scene_description>
    <character>HOPPIN' BOB</character>
    <dialogue>All in, boss!</dialogue>
    <character>DILLARD</character>
    <dialogue>Move it out.</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>Movin' it out, boss.</dialogue>
    <scene_description>Dillard spurs his horse , escorting the mule carts back to camp .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIELD -- SUNDOWN</stage_direction>
    <scene_description>As the carts fade into the distance , Ray and Claude pop up from a roadside ditch and take off for a grove of trees in the opposite direction .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS -- SUNDOWN</stage_direction>
    <scene_description>Running for all they 're worth , Ray and Claude crash through the bramble . Claude trips over a root and sprawls face first in the bushes . Ray turns around and helps him to his feet . Claude is still laughing giddily . He throws his arms around Ray .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You did it, man! You got us out! Next stop, New York City!</dialogue>
    <character>RAY</character>
    <dialogue>New York's a long way's off. Let's just keep moving, okay?</dialogue>
    <scene_description>As Ray and Claude disappear into the woods .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE -- NIGHT</stage_direction>
    <scene_description>Radio 's pulling in some jazz music out of New Orleans . Prisoners hit their bunks as the floorwalker does the nightly head count . He stops at Claude and Ray 's empty bunks , glancing around , puzzled .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DILLARD'S PORCH -- NIGHT</stage_direction>
    <scene_description>Dillard smokes a cigarette on the swing . His wife steps out with a fresh bourbon and ice . Suddenly , SIRENS start to wail and emergency floodlights blaze to life at Camp 8 .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIELD -- NIGHT</stage_direction>
    <scene_description>Hounds scramble down from the back of a truck and gather around the DOG BOY . He holds out a handful of soiled laundry and a dozen snouts sniff it thoroughly . Nearby , Dillard gathers a DOZEN MEN with rifles and flashlights into a posse . He puts a cigarette in his mouth . Hoppin ' Bob lights it for him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. WOODS -- NIGHT</stage_direction>
    <scene_description>Trees rise ominously around Ray and Claude as they push through dense underbrush .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I know these trees all look the same, but I'm getting an awful familiar vibration from this one right here. You sure you know where we're going?</dialogue>
    <character>RAY</character>
    <dialogue>Absolutely. The map is very clear.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Let me take a look at that map.</dialogue>
    <scene_description>Claude considers it from various angles .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You call this a map? What was Cookie smoking when he drew this?</dialogue>
    <character>RAY</character>
    <dialogue>Cookie did n't draw it. I did.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You drew this?!</dialogue>
    <character>RAY</character>
    <dialogue>I knew you would n't come if I did n't have a map.</dialogue>
    <character>CLAUDE</character>
    <dialogue>That gripes my soul, man. We're out here in the middle of nowhere. There is shit nibbling at my balls! Do n't tell me you do n't know where we're going!</dialogue>
    <scene_description>Ray shrugs and presses on . Dumbfounded , Claude considers the map again , then tears it to shreds . The braying of hounds echoes through the trees .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Hey, wait up!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. THE WOODS -- NIGHT</stage_direction>
    <scene_description>Ray and Claude race through the underbrush .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE WOODS -- NIGHT</stage_direction>
    <scene_description>Dillard and his men follow the dogs through the woods , hot on the scent .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE WOODS -- NIGHT</stage_direction>
    <scene_description>Ray and Claude race up to a chain - link fence . On the other side , an old Ford is parked on a dirt road . Hearing the posse closing in behind them , Ray and Claude fling themselves onto the fence .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE WOODS -- NIGHT</stage_direction>
    <scene_description>The posse is gaining ground . Dillard takes two men off to the left , sending the rest of the men straight ahead .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE WOODS -- NIGHT</stage_direction>
    <scene_description>Claude clears the fence first and scrambles for the old Ford . Ray 's shirt snags on a piece of wire as he drops down from the fence . Stuck , he dangles helplessly a few feet off the ground .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FORD -- NIGHT</stage_direction>
    <scene_description>Claude yanks open the door and jumps behind the wheel . TWO WHITE TEENAGERS bolt up in the backseat where they were necking . After a beat - group scream . The half - dressed teenagers dive from the car and scramble off down the road . Claude twists the key in the ignition and the engine roars to life .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Come on, Ray, time to go!</dialogue>
    <character>RAY</character>
    <dialogue>I'm stuck!</dialogue>
    <scene_description>Claude sees Ray caught up on the fence , then hears the sounds of the approaching posse . If he floored it right now , he might make it . But he ca n't just leave Ray hanging there .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FENCE -- NIGHT</stage_direction>
    <scene_description>Claude runs up and grabs Ray 's legs , pulling for all he 's worth . The shirt rips free , sending Ray and Claude tumbling to the ground . They leap to their feet and turn toward the car - running smack into the barrel of Dillard 's shotgun .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY</stage_direction>
    <scene_description>An OLD BLACK PRISONER delivers a frosty mint julep to SUPERINTENDENT ABERNATHY who rocks slowly in his chair . At his feet , his 10 - year - old daughter MAE ROSE is playing jacks . Her long blonde hair makes her look like a little angel .</scene_description>
    <character>MAE ROSE</character>
    <dialogue>Look, daddy. They caught those two men who escaped last night.</dialogue>
    <scene_description>Mae Rose is pointing down the drive , where Dillard and a couple of trusties march Ray and Claude toward the house .</scene_description>
    <character>ABERNATHY</character>
    <dialogue>They ai n't men, Mae Rose. They're convicts. And nigger convicts to boot. Can you say nigger?</dialogue>
    <character>MAE ROSE</character>
    <dialogue>Nagger?</dialogue>
    <character>ABERNATHY</character>
    <dialogue>No, nigger.</dialogue>
    <character>MAE ROSE</character>
    <dialogue>Nigger.</dialogue>
    <character>ABERNATHY</character>
    <dialogue>That's my girl.</dialogue>
    <scene_description>Bound by leg irons and handcuffs , Ray and Claude are deposited at the bottom of the stairs .</scene_description>
    <character>DILLARD</character>
    <dialogue>Here they are, Superintendent. We tracked'em all the way to the Tallahachie.</dialogue>
    <character>ABERNATHY</character>
    <dialogue>That's quite a ways. I'm glad you New York boys could see some of our lovely countryside while you're down here. What do you say, Mae Rose? How should we teach these two a lesson?</dialogue>
    <scene_description>Mae Rose considers their faces . Ray and Claude look like they 've been to hell and back .</scene_description>
    <character>MAE ROSE</character>
    <dialogue>A night in the hole?</dialogue>
    <character>ABERNATHY</character>
    <dialogue>Better make it a week.</dialogue>
    <scene_description>Dillard nods and turns Ray and Claude around . As they march back down the drive , Abernathy takes sip of his mint julep and affectionately pats Mae Rose on the head .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 -- DAY</stage_direction>
    <scene_description>The incorrigibles of Camp 8 gather at the gun line , watching silently as Dillard and a couple of trusties march Ray and Claude toward the hole .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE HOLE -- DAY</stage_direction>
    <scene_description>The trusties shove them each into a small , dank cell and slam the doors behind them . Dillard secures both doors with an iron bar .</scene_description>
    <character>DILLARD</character>
    <dialogue>See you in a week, boys.</dialogue>
    <scene_description>OMITTED Sequence omitted from original script .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RAY'S CELL -- DAY</stage_direction>
    <scene_description>Ray slumps to the floor , propping his feet against the wall .</scene_description>
    <character>RAY</character>
    <dialogue>Hey, Claude. I just want to say thanks for coming back for me.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CLAUDE'S CELL -- DAY</stage_direction>
    <scene_description>Claude considers his bleak surroundings . It 's a small , uncomfortable space , not even big enough to lie down . Just a tin bucket for a toilet .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Do n't mention it.</dialogue>
    <character>RAY</character>
    <parenthetical>( off . )</parenthetical>
    <dialogue>Hell, you'd probably be half way to New York by now.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'm serious, man. Do n't mention it. Ever.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. THE HOLE -- DAY</stage_direction>
    <scene_description>The sun beats down on the tin roofs .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE -- CAGE -- NIGHT</stage_direction>
    <scene_description>The prisoners are gathered around a table , laying out money . As usual , Poker Face is keeping tabs .</scene_description>
    <character>COOKIE</character>
    <dialogue>I'll take Claude to die on Wednesday for fifty cents.</dialogue>
    <character>POKER FACE</character>
    <dialogue>Wednesday for two bits. And do n't forget you already owe me a steak.</dialogue>
    <character>BISCUIT</character>
    <dialogue>I'll take Claude for Friday. That's my birthday.</dialogue>
    <scene_description>With an ear to his receiver , Radio slaps his money on the table .</scene_description>
    <character>RADIO</character>
    <dialogue>Weatherman says a heat wave's coming. I say neither one of'em son of bitches gon na last past Thursday.</dialogue>
    <character>POKER FACE</character>
    <dialogue>I told you before, I do n't take pennies. Two cigarettes or one nickel minimum. What about you, Willie? Gon na get in on this action?</dialogue>
    <character>WILLIE</character>
    <dialogue>I got a crispy new dollar bill says both of them gon na make it.</dialogue>
    <scene_description>This gives the men pause . Willie tosses his money on the table .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Now that's what I call a bet.</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>It's a mighty long shot, Willie. Nobody ever made it a week in the hole.</dialogue>
    <character>JANGLE LEG</character>
    <dialogue>Not in August, anyway.</dialogue>
    <scene_description>But Willie leaves the money where it is .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Who else has some guts around here?</dialogue>
    <scene_description>Poker Face makes notations as the betting resumes .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIELD -- DAY</stage_direction>
    <scene_description>Work goes on as usual for the prisoners of Camp 8 . Trusties keep their eyes peeled for slackers .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE HOLE -- DAY</stage_direction>
    <scene_description>The brick shacks bake in the noonday sun .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIELD -- DAY</stage_direction>
    <scene_description>Biscuit moves down the line offering the ladle to the men as they struggle under a crushing heat wave .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE HOLE -- DAY</stage_direction>
    <scene_description>Superintendent Abernathy strides up and gives the nod to Dillard , who unlocks the doors . Huddled in their respective cells , Ray and Claude shrink from the bright sunlight . Then , slowly and painfully , they rise to their feet . In the background , the incorrigibles gather at the gun line as word spreads that the fellows are still alive . Abernathy glances at the crowd with annoyance .</scene_description>
    <character>ABERNATHY</character>
    <dialogue>I do n't think these boys have learned their lesson. Let's give'em another week for good measure.</dialogue>
    <character>DILLARD</character>
    <dialogue>Sure you want to do that, sir?</dialogue>
    <character>ABERNATHY</character>
    <dialogue>Do n't you ever question me, Sgt. Dillard. When I give an order, you jump to it, or I'll kick you and that first - cousin you call a wife outta that pretty little house so fast it'll make your pin - head spin. You got that?</dialogue>
    <character>DILLARD</character>
    <dialogue>Yes, sir.</dialogue>
    <scene_description>Dillard slams the doors on Ray and Claude and clamps shut the padlocks . Abernathy smiles at the incorrigibles , who regard him with undisguised hatred . AT THE GUN LINE A somber Poker Face offers Willie a wad of bills .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Well, they made it a week. Looks like you win, Willie.</dialogue>
    <character>WILLIE</character>
    <dialogue>Let it ride.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CLAUDE'S CELL -- NIGHT</stage_direction>
    <scene_description>A slot at the bottom of the door opens . A tin plate of mush slides through and the slot closes . Slumped in the corner , Claude reaches for the food - but a RAT beats him to it , scampering out of the shadows and leaping onto the dish .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RAY'S CELL -- NIGHT</stage_direction>
    <scene_description>A commotion and wild screams come from Claude 's cell . Ray leaps to his feet , shouting through the wall .</scene_description>
    <character>RAY</character>
    <dialogue>Claude? You alright?!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CLAUDE'S CELL -- NIGHT</stage_direction>
    <scene_description>Claude continues to stomp the rat .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Ca n't take it no more, Ray! Die, motherfucker! Got ta get the fuck outta here!</dialogue>
    <scene_description>Claude pounds against the door , raising a holy racket . We continue to cut back and forth between cells as needed .</scene_description>
    <character>RAY</character>
    <dialogue>Keep it together, Claude. You wake up the man, he'll shoot you for sure.</dialogue>
    <character>CLAUDE</character>
    <dialogue>He'd be doing me a favor. I'm getting outta here one way or the other! Goddamn rats and shit! Fuck!</dialogue>
    <scene_description>Claude continues shouting and pounding .</scene_description>
    <character>RAY</character>
    <dialogue>All right, man, just settle down. We'll get outta here, Claude. We'll get outta here real soon.</dialogue>
    <character>CLAUDE</character>
    <dialogue>How the fuck are we gon na do that, Ray?!</dialogue>
    <scene_description>Ray looks around his cell . Claude 's pounding is bound to wake up somebody soon .</scene_description>
    <character>RAY</character>
    <dialogue>We'll just get off at the next stop.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( stops pounding , confused . )</parenthetical>
    <dialogue>Say what?</dialogue>
    <character>RAY</character>
    <dialogue>That's right, we'll get off at the next stop. The train's pulling into the station right now.</dialogue>
    <character>CLAUDE</character>
    <dialogue>The hell you talking about? What train?</dialogue>
    <character>RAY</character>
    <dialogue>We're in the Bronx, my man. Hundred and Sixty First Street.</dialogue>
    <scene_description>Claude focuses on what Ray is saying and starts to breathe easier .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Hundred and Sixty First Street? That's Yankee Stadium.</dialogue>
    <character>RAY</character>
    <dialogue>Hell, yes, Yankee Stadium. Bombers are playing a double - header against the Red Sox.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Red Sox. Who's on the mound?</dialogue>
    <character>RAY</character>
    <dialogue>I do n't know. Who do you want?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Allie Reynolds. He's my boy.</dialogue>
    <character>RAY</character>
    <dialogue>Sure, it says Allie Reynolds right here in the program. He's warming up right now. Man, we're so close to the field I need cleats. How'd you get such good seats?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I know people.</dialogue>
    <character>RAY</character>
    <dialogue>They must be the right people. Whoa, there goes the hot dog man. Let's get a couple. Damn, that smells good. Nothing like a ballpark hot dog, huh?</dialogue>
    <character>CLAUDE</character>
    <dialogue>You get ketchup?</dialogue>
    <character>RAY</character>
    <dialogue>Ketchup? Who eats ketchup on a hot dog? Mustard's what you want.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I ca n't eat it with mustard.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. THE HOLE -- NIGHT</stage_direction>
    <scene_description>Dillard strides toward the hole , shotgun in hand . He pauses to listen to the argument , cocking an eyebrow in befuddlement .</scene_description>
    <character>RAY</character>
    <parenthetical>( off . )</parenthetical>
    <dialogue>Give me back that hot dog. I'll eat it myself.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( off . )</parenthetical>
    <dialogue>What am I gon na eat?</dialogue>
    <character>RAY</character>
    <parenthetical>( off . )</parenthetical>
    <dialogue>You can starve to death for all I care. Now shut up, the game's about to start.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( off . )</parenthetical>
    <dialogue>Hey, man, is Babe Ruth in the lineup today?</dialogue>
    <character>RAY</character>
    <parenthetical>( off . )</parenthetical>
    <dialogue>Of course, he's in the lineup. There he goes right there. Hey, Babe!</dialogue>
    <scene_description>Dillard shakes his head , shoulders his gun and heads back toward his house .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE HOLE -- DAY</stage_direction>
    <scene_description>Abernathy gives the nod to Dillard , who unlocks the doors . Two trusties drag Ray and Claude out of their cells .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE -- DAY</stage_direction>
    <scene_description>The men crowd around the windows .</scene_description>
    <character>RADIO</character>
    <dialogue>What's going on? Are they alive or dead?</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>Do n't look too good.</dialogue>
    <character>POKER FACE</character>
    <dialogue>They're not moving.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. THE HOLE -- DAY</stage_direction>
    <scene_description>Slowly , Claude opens his eyes , squinting in the harsh light of day . Summoning his strength , he staggers to his feet .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Hey, Ray.</dialogue>
    <scene_description>Ray 's eyes blink open . Claude holds out a hand and helps him stand up . They share a look . They made it .</scene_description>
    <character>ABERNATHY</character>
    <parenthetical>( scowling . )</parenthetical>
    <dialogue>Sergeant Dillard, make sure these two are out in the fields first thing in the morning.</dialogue>
    <scene_description>Abernathy turns on his heels . Dillard considers the two tough guys standing before him .</scene_description>
    <character>DILLARD</character>
    <dialogue>Go on, get inside.</dialogue>
    <scene_description>Ray and Claude stagger toward the bunkhouse as the incorrigibles gather on the porch and help them in out of the sun . INSERT - TIME PASSAGE -LRB- Note : This montage is mixed with 16mm and Super 8 footage . A beautiful 1940s song plays over . -RRB- A. King Kong is machined - gunned off the top of the Empire State Building . B. FDR introduces his New Deal . C . The incorrigibles chop weeds . D. With Willie and Claude standing guard , Ray samples a batch of moonshine from a secret still in his footlocker . E . At the height of the depression , poor people line up in front of a soup kitchen . F. Ray and the crew sit around the poker table playing cards and laughing . G. Ray opens a letter and pulls out a snapshot of his mama which he places over his bunk . H . The incorribles level a road . I. Jesse Owens wins the 100 meter race at the 1936 Olympics in Berlin . J. Benny Goodman sets the kids dancing with wild abandon in the aisles of the Paramount Theater . K . The Hindenburg bursts into flames . L. Claude writes a letter , `` Dear Sylvia '' . M . In the juke joint , Sylvia reads the letter and smiles . She shows it to a few other WORKING GIRLS . N. Adolf Hitler stabs the air in front of a foreboding sea of Nazis . O . The 1939 World 's Fair opens in New York . P. Ray nails a sign to the side of the bunkhouse : RAY 'S BOOM BOOM ROOM . He steps back to admire the effect . Behind him , Sylvia and her friends mingle with the incorrigibles in the yard . Dillard takes his cut as Claude and Sylvia head for the tonk house . Ray and his date step up . Q. Lou Gehrig is honored at Yankee Stadium . `` Today I consider myself the luckiest man on the face of the Earth . '' R. With a pillow stuffed under a home - made Santa outfit , Ray distributes chocolate to the incorrigibles while Claude and Willie decorate the saddest little Christmas tree you ever saw . S . The 1940 Oldsmobile is introduced . T. Japanese Zeros bomb Pearl Harbor . U. FDR declares `` a day that will live in infamy . '' V . A WWII newsreel shows American G.I. s storming a beach in the South Pacific .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MESS HALL (1943) -- NIGHT</stage_direction>
    <scene_description>The inmates of Camp 8 cheer for the American soldiers up on a makeshift movie screen . Instead of black and white stripes , the prisoners now wear blue twill . In an audience of new faces , the CAMERA FINDS some familiar ones . Ray and Claude are surrounded by their crew - Willie , Radio , Poker Face , Cookie , Biscuit , Jangle Leg and Goldmouth . A decade has passed .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>A line of NEW PRISONERS stands before Dillard , now 10 years older .</scene_description>
    <character>DILLARD</character>
    <dialogue>Camp 8 is for incorrigibles, so whatever you've done to get here, believe me, we are not impressed. You new men are probably noticing that we have no fences here at Camp 8. We do n't need no fences, we have the gun line. It runs from shack to shack clear around the yard -</dialogue>
    <scene_description>Dillard pauses in front of a big country boy who ca n't be more than 18 years old . The kid is bouncing a rubber ball .</scene_description>
    <character>DILLARD</character>
    <dialogue>What the hell you think you're doing?</dialogue>
    <scene_description>The kid do n't answer . An OLD GUY steps forward .</scene_description>
    <character>OLD GUY</character>
    <dialogue>Excuse me, boss. That kid do n't talk. Something wrong with his head, just ca n't get right, boss.</dialogue>
    <character>DILLARD</character>
    <dialogue>Ca n't get right, huh? We'll see how long he last. Now, where was I?</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>We do n't need no fences at Camp 8, boss.</dialogue>
    <character>DILLARD</character>
    <dialogue>That's right. We do n't need no fences, we have the gun line. It runs from shack to shack clear around the yard. You are now inside the gun line.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE -- DAY</stage_direction>
    <scene_description>Ray and some of the fellas are playing poker . Dillard 's voice drifts in through the open window .</scene_description>
    <character>RAY</character>
    <parenthetical>( mouthing along . )</parenthetical>
    <dialogue>If you step outside the gun line without my permission, you will be shot. If you trip and fall over the gun line, you will be shot. If you spit, if you pee, if you stick your ass out and take a dump over the gun line, you will be shot.</dialogue>
    <scene_description>He lays down his cards and rakes in the pot .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BASEBALL FIELD -- DAY</stage_direction>
    <scene_description>Jangle Leg pitches to Radio , who swings and misses . Behind the plate , Goldmouth tosses the ball back to Jangle Leg . On the sideline , Ray teaches three - card monte to CA N'T GET RIGHT . Claude paces nearby .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I try to teach'em the finer points of the game, share my wisdom, but I do n't know why I bother. They do n't listen, they sure do n't learn.</dialogue>
    <scene_description>Another pitch , another strike .</scene_description>
    <character>RAY</character>
    <dialogue>What you're dealing with here is a complete lack of talent.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'm sick of watching Camp 12 win the championship. Every year they get to roast the victory pig and we get dick. This year I want that pig.</dialogue>
    <scene_description>Radio knocks a grounder up the middle .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Alright, Radio, there you go. Who wants to hit next?</dialogue>
    <scene_description>Ca n't Get Right looks at Ray .</scene_description>
    <character>RAY</character>
    <dialogue>You want to hit?</dialogue>
    <parenthetical>( to Claude . )</parenthetical>
    <dialogue>Yo, Claude. Give Ca n't Get Right a shot.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( skeptical . )</parenthetical>
    <dialogue>Him?</dialogue>
    <character>RAY</character>
    <dialogue>Ca n't be worse than any of these other fools.</dialogue>
    <character>CLAUDE</character>
    <dialogue>All right, grab the bat. Let's see what you can do.</dialogue>
    <scene_description>Ca n't Get Right shuffles to the plate . Goldmouth hands him the bat .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Jangle Leg's gon na throw the ball nice and easy. You just go ahead and take a swing.</dialogue>
    <scene_description>Jangle Leg tosses the ball . Ca n't Get Right swings and connects with a mighty CRACK ! The incorrigibles crane their necks as the ball disappears into the sky . They turn to look at Ca n't Get Right . Ray gives Claude a significant look , then tosses another ball out to Jangle Leg on the mound .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Okay. Let's try that again. This time give it a little juice.</dialogue>
    <scene_description>Jangle Leg nods , winds up and delivers a whistling fast ball . Ca n't Get Right clobbers it . Once again , the incorrigibles track the departing projectile .</scene_description>
    <character>RAY</character>
    <dialogue>Told ya.</dialogue>
    <scene_description>Ca n't Get Right smiles for the first time .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY</stage_direction>
    <scene_description>The men of Camp 8 paint a fence along the drive leading up to the big house .</scene_description>
    <character>RADIO</character>
    <dialogue>I heard Camp 12 got themselves a son - of - a - bitch used to pitch for the Mud Hens.</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>That boy got a year for jay - walking.</dialogue>
    <character>RAY</character>
    <dialogue>Judge must have money riding on the championship.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Do n't matter who Camp 12 puts on the mound. All I know is when this season's over Camp 8's gon na have pork chops.</dialogue>
    <scene_description>Just then a U. S. Army Jeep swerves past the men and parks in front of the mansion . Young CAPT. TOM BURNETTE helps MAE ROSE out of the car . The prisoners stare furtively at her long legs and curly blonde tresses .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Looks like little Mae Rose has grown up.</dialogue>
    <character>BISCUIT</character>
    <dialogue>And out.</dialogue>
    <character>COOKIE</character>
    <dialogue>Mmm - mm, that girl's got gams.</dialogue>
    <character>CLAUDE</character>
    <dialogue>She's got it all. And it's firm and round and fully packed.</dialogue>
    <character>RAY</character>
    <dialogue>You shred it, wheat. That there is fresh water.</dialogue>
    <scene_description>Next to them , Ca n't Get Right stares openly , mesmerized by her beauty . Ray nudges him .</scene_description>
    <character>RAY</character>
    <dialogue>Be cool, man. You can look, just do n't drool.</dialogue>
    <scene_description>Up at the mansion , Abernathy and his WIFE come out onto the porch , all smiles .</scene_description>
    <character>ABERNATHY</character>
    <dialogue>How was the honeymoon? Am I gon na be a grandaddy soon?</dialogue>
    <character>MRS. ABERNATHY</character>
    <dialogue>Do n't pay attention to the superintendent, Tom. You're going to stay for supper, are n't you?</dialogue>
    <character>TOM</character>
    <dialogue>Afraid not. I'm shipping out this afternoon.</dialogue>
    <scene_description>The prisoners steal glances as Mae Rose kisses her new husband goodbye . She gives them quite a show , raising her leg behind her just like Betty Grable . Then Tom climbs into the Jeep and pulls away . Mae Rose takes a long glance at the prisoners . The men all look away - except Ca n't Get Right who stands there smiling innocently . Mae Rose gives him a little wink , then turns her back and bounces up the steps .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BASEBALL FIELD -- DAY</stage_direction>
    <scene_description>A plump PIG roots about in a small pen . A sign dangles from a post - `` First Prize . '' The incorrigibles of Camp 8 limber up for the big game with the inmates of Camp 12 across the field .</scene_description>
    <character>POKER FACE</character>
    <dialogue>Think you can handle something that big, Cookie?</dialogue>
    <character>COOKIE</character>
    <dialogue>I handled your mama, did n't I? Do n't y' all worry. I got plans for that bad boy. Ai n't none of him going to waste.</dialogue>
    <scene_description>Beyond the fence , a late - model sedan rolls up . STAN BLOCKER , in a straw hat and a rumpled suit , climbs out and stretches his legs . Irritated , he smacks a mosquito and exchanges a few words with Dillard .</scene_description>
    <character>DILLARD</character>
    <dialogue>Banks! Get over here!</dialogue>
    <scene_description>Claude hustles over , removing his hat .</scene_description>
    <character>DILLARD</character>
    <dialogue>This is Stan Blocker. Scout for the Nigger Leagues.</dialogue>
    <character>BLOCKER</character>
    <dialogue>Negro Leagues, actually. Pittsburgh Crawfords. Ever hear of us?</dialogue>
    <character>CLAUDE</character>
    <dialogue>We get the games on the radio sometimes.</dialogue>
    <character>BLOCKER</character>
    <dialogue>We played down in Jackson yesterday. Heard a rumor you've got a boy up here who can hit the ball a ton.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You probably mean Ca n't Get Right. That's him over there.</dialogue>
    <character>BLOCKER</character>
    <dialogue>Ca n't Get Right? That's the kid's name? Can I talk to him?</dialogue>
    <character>CLAUDE</character>
    <dialogue>You can try, but you wo n't get too far. Why you interested?</dialogue>
    <character>BLOCKER</character>
    <dialogue>Crawford's are always looking for new talent.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Maybe you did n't notice, but this is a prison.</dialogue>
    <character>BLOCKER</character>
    <dialogue>There are ways around that. Right sergeant?</dialogue>
    <scene_description>Blocker winks at Dillard , then glances at the incorrigibles practicing in the field . Goldmouth , Cookie , Poker Face , Biscuit - they do n't exactly inspire confidence .</scene_description>
    <character>BLOCKER</character>
    <dialogue>Nice looking squad. See you after the game.</dialogue>
    <scene_description>Blocker takes a seat on the bench .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BASEBALL FIELD -- DAY</stage_direction>
    <scene_description>The inmates of Camp 12 are in the field . Our boys from Camp 8 cheer for Cookie digging in at the plate . Ray taunts the opposition from the third base line . The PITCHER winds up and releases a fast ball . Cookie swings and connects for a base hit up the middle . IN THE STANDS Mrs. Abernathy and Mrs. Dillard share a box of Cracker Jack .</scene_description>
    <character>MRS. ABERNATHY</character>
    <dialogue>Of course, the superintendent's hoping for a boy, but personally, I'd prefer a girl.</dialogue>
    <character>MRS. DILLARD</character>
    <dialogue>Whatever it is will be a little gift from heaven. Look at the way she glows.</dialogue>
    <scene_description>Mae Rose sits next to them . She is SIX MONTHS PREGNANT . She removes her sunglasses and coyly bites a fingernail when she spots Ca n't Get Right in the on - deck circle . DOWN ON THE FIELD Ca n't Get Right smiles shyly . Sensing trouble , Claude ushers Ca n't Get Right toward the plate , massaging his shoulders .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You're my boy, just keep what little mind you have focused on the game. If you hit that ball the way I know you can, you might just be our ticket off this farm.</dialogue>
    <scene_description>Ca n't Get Right digs in . Claude returns to the sidelines and appeals to the gods . The pitcher winds up and releases a fast ball . Ca n't Get Right connects with that familiar CRACK ! Blocker stands up and watches the ball clear the fence and just keep going . With his team cheering him on , Ca n't Get Right trots around the bases . But he 's still looking at Mae Rose .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD (LATER) -- DAY</stage_direction>
    <scene_description>Cookie slowly turns the pig on a spit over an open fire . The incorrigibles are savoring a victory feast . As always , trusty guards keep an eye on things . Off to the side , Blocker is laughing with Ray and Claude . He takes a hit off Ray 's bottle of shine . It 's not his first , either .</scene_description>
    <character>BLOCKER</character>
    <dialogue>Mark my words, within five years there's gon na be a colored man playing in the majors.</dialogue>
    <character>RAY</character>
    <dialogue>Come on, the world has n't changed that much.</dialogue>
    <character>BLOCKER</character>
    <dialogue>Maybe not yet. But it will. And I'll be out of a job. Damn, that's some tasty hooch.</dialogue>
    <character>CLAUDE</character>
    <dialogue>It's amazing what Ray here can do with a couple of pounds of potato skins and some molasses.</dialogue>
    <character>RAY</character>
    <dialogue>So, Blocker, what do you think of our boy?</dialogue>
    <character>BLOCKER</character>
    <dialogue>I think that boy could be the next Josh Gibson. I'm gon na talk to the front office about him, you can bet on that. Damn, it's getting late. We got a game in Memphis tomorrow.</dialogue>
    <scene_description>Blocker starts for his car , parked just beyond the gun line .</scene_description>
    <character>CLAUDE</character>
    <dialogue>What about us? Do n't forget to mention us.</dialogue>
    <character>RAY</character>
    <dialogue>We're like his handlers. He ca n't function without us.</dialogue>
    <character>BLOCKER</character>
    <dialogue>I'll put in a good word for you. You've done a good job with that boy. Thanks for your hospitality.</dialogue>
    <scene_description>Ray and Claude 's eyes gleam with hope as Blocker 's car rumbles off down the road .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- NIGHT</stage_direction>
    <scene_description>Inside , a woman screams in agony . Then , the HEALTHY CRIES of a new - born baby .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MAE ROSE'S BEDROOM -- NIGHT</stage_direction>
    <scene_description>Superintendent Abernathy paces anxiously in front of a white curtain surrounding Mae Rose 's bed . Suddenly , Mrs Abernathy staggers out from behind the curtain with a stricken look on her face . She tries to speak , but words fail her . Her legs go wobbly and she faints dead away .</scene_description>
    <character>ABERNATHY</character>
    <dialogue>Uh, doctor.</dialogue>
    <scene_description>The DOCTOR steps from behind the curtain , drawing it behind him . He checks Mrs. Abernathy 's pulse .</scene_description>
    <character>DOCTOR</character>
    <dialogue>She'll be fine. She just had a bit of a shock.</dialogue>
    <character>ABERNATHY</character>
    <dialogue>Is Mae Rose okay?</dialogue>
    <character>DOCTOR</character>
    <dialogue>She's doing just fine.</dialogue>
    <character>ABERNATHY</character>
    <dialogue>And the baby?</dialogue>
    <character>DOCTOR</character>
    <parenthetical>( vague . )</parenthetical>
    <dialogue>He's a big one.</dialogue>
    <character>ABERNATHY</character>
    <dialogue>It's a boy! Well, let's get a look at him.</dialogue>
    <scene_description>Abernathy pushes past the doctor and yanks open the curtain . Mae Rose is propped up in bed , looking exhausted .</scene_description>
    <character>ABERNATHY</character>
    <dialogue>Well, where is he? Where's my new grandson?</dialogue>
    <scene_description>The NURSE turns around , cradling the baby in her arms . Abernathy gently pulls back the soft blanket . His eyes widen with horror upon discovering that the newest member of the Abernathy family is black .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>Ca n't Get Right bounces his rubber ball off the wall , catching it on the rebound .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE CAGE -- DAY</stage_direction>
    <scene_description>Ray passes around his latest batch of buck as the men discuss Ca n't Get Right 's professional prospects . The thump - thump of the ball on the wall outside plays over .</scene_description>
    <character>POKER FACE</character>
    <dialogue>You really think they'll let him out of here just to play baseball?</dialogue>
    <character>WILLIE</character>
    <dialogue>Why not? Boy's got God - given talent.</dialogue>
    <character>CLAUDE</character>
    <dialogue>God may have given it, but Claude Banks spotted it and nurtured it.</dialogue>
    <character>RAY</character>
    <dialogue>Damn straight. I expect those Pittsburgh Crawdads to remember that.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Crawfords.</dialogue>
    <character>RAY</character>
    <dialogue>Whatever.</dialogue>
    <character>COOKIE</character>
    <parenthetical>( glancing out the window . )</parenthetical>
    <dialogue>Heads up, here comes trouble.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>Abernathy drives his sedan up to the bunkhouse . All of his worldly possessions are strapped to the roof . It appears that the Abernathys are leaving town . In the back seat , Mae Rose cradles her baby . Her mother sits next to her . Dillard steps out into the yard to confer with the Superintendent , then turns to address the inmates .</scene_description>
    <character>DILLARD</character>
    <dialogue>Alright, listen up! I want every man lined up out here in the yard on the double! Let's move it!</dialogue>
    <character>HOPPIN' BOB</character>
    <dialogue>You heard what the man said! Move it!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>Abernathy holds his newborn grandson up next to Ray 's face . Hmm . Scowling , he moves a little further down the line , scrutinizing the features of each man . He pauses in front of Claude , holds up the baby . Maybe . Abernathy stops in front Goldmouth . Holds up the baby . The possibility makes him shudder . He moves on to Ca n't Get Right . His eyes narrow .</scene_description>
    <character>ABERNATHY</character>
    <dialogue>I know it was somebody from this camp. I can feel it in my bones.</dialogue>
    <scene_description>Disgusted , Abernathy hands the baby back to Mae Rose . Then he turns , walks back to Ca n't Get Right and places a revolver against his head .</scene_description>
    <character>ABERNATHY</character>
    <dialogue>Do you know who the father of that little chocolated baby is?</dialogue>
    <scene_description>Ca n't Get Right nods slowly . Abernathy smiles .</scene_description>
    <character>ABERNATHY</character>
    <dialogue>Well, then, who is it?</dialogue>
    <scene_description>Up and down the line , the men brace themselves for the worst . Ca n't Get Right just grins . Enraged , Abernathy cocks the revolver . That 's when Ray steps forward .</scene_description>
    <character>RAY</character>
    <dialogue>The baby's mine, boss.</dialogue>
    <scene_description>Stunned , Abernathy lowers the gun and approaches Ray . Then Claude steps forward .</scene_description>
    <character>CLAUDE</character>
    <dialogue>He's lying, boss. I'm the father of that baby.</dialogue>
    <scene_description>Confused , Abernathy looks back and forth between the two men . Then Willie steps forward .</scene_description>
    <character>WILLIE</character>
    <dialogue>Actually, it was me, boss. I know I may look old.</dialogue>
    <character>BISCUIT</character>
    <dialogue>Any fool could see that baby's mine, boss.</dialogue>
    <character>COOKIE</character>
    <dialogue>I beg to differ. That cute little rascal belongs to me.</dialogue>
    <character>POKER FACE</character>
    <dialogue>I'm the father.</dialogue>
    <character>RADIO</character>
    <dialogue>I'm the father, boss.</dialogue>
    <character>GOLDMOUTH</character>
    <dialogue>I'm the father.</dialogue>
    <character>JANGLE LEG</character>
    <dialogue>I'm the father.</dialogue>
    <scene_description>And so it goes down the line , until every last man of Camp 8 has stepped forward to claim kinship with the Superintendent . Even hard - ass Dillard ca n't help cracking a smile . Disgusted , confused and thoroughly fed up , Abernathy jams the revolver into his belt and climbs into the car . As he guns the engine , Mae Rose gazes out the back window , smiling one last time at the father of her baby . Ca n't Get Right smiles back .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>It 's visiting Sunday and Ray 's Boom Boom Room is in full swing . Sylvia 's girls are everywhere . Down at the gunline , Dillard takes his cut from inmates lined up for their turn in the tonk . A FIVE - PIECE PRISON BAND is playing the blues . Nearby , Willie is dispensing Ray 's moonshine from a bunkhouse window . He raises a jar in a toast .</scene_description>
    <character>WILLIE</character>
    <dialogue>To Superintendent Abernathy. May he have many more grandchildren!</dialogue>
    <scene_description>The incorrigibles erupt in boisterous agreement . Claude grabs Ca n't Get Right and shakes him .</scene_description>
    <character>CLAUDE</character>
    <dialogue>What I want to know is where? When? How?</dialogue>
    <character>WILLIE</character>
    <dialogue>Wasting your breath, Claude. He ai n't the type to kiss and tell.</dialogue>
    <scene_description>Just then , Rev. Clay and his daughter emerge from the mess hall and start across the yard . It 's a good thing the old man is blind because he would n't want to see how far his flock has strayed . The Reverend inhales deeply as one of Sylvia 's girls passes nearby .</scene_description>
    <character>REV. CLAY</character>
    <dialogue>There's a sweet fragrance in the air today.</dialogue>
    <character>CLAY'S DAUGHTER</character>
    <dialogue>The magnolias are blooming early this year, daddy.</dialogue>
    <scene_description>Blissed out incorrigibles enjoy a last dance as the band downshifts into a slow , sultry number . In the midst of the dancers , Claude clings to Sylvia . Nearby , Jangle Leg dances intimately with a YOUNG WOMAN . Up on the porch , Ray refreshes Biscuit 's drink . Biscuit has been crying and it shows . The liquor probably is n't helping .</scene_description>
    <character>RAY</character>
    <dialogue>Do n't take it so hard, Biscuit. She do n't mean nothin' to him.</dialogue>
    <character>BISCUIT</character>
    <dialogue>Hell with him. It ai n't that.</dialogue>
    <scene_description>He pulls some folded sheets of paper from his pocket , passes them to Ray .</scene_description>
    <character>RAY</character>
    <dialogue>These are free papers.</dialogue>
    <character>BISCUIT</character>
    <parenthetical>( devastated . )</parenthetical>
    <dialogue>What am I gon na do out there, Ray? I ca n't go home to my mama like this. I'll get the strap for sure.</dialogue>
    <character>RAY</character>
    <dialogue>Come on, Biscuit, this is good news. Your mama's gon na break down in tears when you show up on her doorstep.</dialogue>
    <scene_description>Poker Face leans in .</scene_description>
    <character>POKER FACE</character>
    <parenthetical>( sotto . )</parenthetical>
    <dialogue>I'll give you three to one she gives him the strap.</dialogue>
    <scene_description>Ray gives Poker face a shove , then turns back to Biscuit .</scene_description>
    <character>RAY</character>
    <dialogue>It's 1945. It's a different world now.</dialogue>
    <character>BISCUIT</character>
    <dialogue>Not for me, it ai n't.</dialogue>
    <character>RAY</character>
    <dialogue>Well you ca n't stay here, Biscuit. This ai n't no life for a man. Any one of these fellas would give their right arm to be in your shoes. I sure know I would.</dialogue>
    <scene_description>Ray hands back the papers and heads off to dance with a PRETTY YOUNG WOMAN lingering nearby . Left alone , Biscuit polishes off his moonshine and checks his reflection in the bunkhouse window .</scene_description>
    <character>BISCUIT</character>
    <dialogue>No life on the inside, no life on the outside.</dialogue>
    <scene_description>He crumples the discharge papers and drops them . Then he steps down from the porch and walks calmly past the dancing prisoners toward the gun line . Ray lifts his head off his date 's shoulder . Something about the way Biscuit is walking suggests that he is n't going to stop .</scene_description>
    <character>RAY</character>
    <dialogue>Hey, Biscuit!</dialogue>
    <scene_description>But it 's too late . Biscuit crosses the gun line and keeps walking , his eyes focused on the horizon .</scene_description>
    <character>TRUSTY</character>
    <dialogue>Man over the line!</dialogue>
    <scene_description>The band stops playing , the dancers grow still . Dillard turns around and squints .</scene_description>
    <character>DILLARD</character>
    <dialogue>Goddamnit, Biscuit, get back here!</dialogue>
    <scene_description>But Biscuit is n't paying attention . He breaks into a run . Dillard nods to Hoppin ' Bob who raises his rifle and draws a bead . But he ca n't pull the trigger . He lowers his gun . Shots ring out from the shooter shacks . Biscuit reels from the impact of the bullets and looks down sadly at the blood spreading across his ring - arounds . Prisoners silently gather at the gunline . Jangle Leg pushes his way through the crowd and crosses the gunline without hesitation . Dillard indicates for the shooters to hold their fire . They train their rifles on Jangle Leg as he strides toward his fallen companion . Jangle Leg gently lifts Biscuit 's lifeless body into his big arms and somberly carries him back toward the camp . The CAMERA RISES HIGH OVERHEAD as the prisoners make way for Jangle Leg to cross back over the gunline .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKHOUSE -- DAY</stage_direction>
    <scene_description>A dark mood hangs over the men . Jangle Leg sits stoically as Radio fiddles with his receiver . Nearby , Poker Face and Ray play a listless game of gin rummy . Claude is thumbing distractedly through a dog - eared copy of Baseball Digest .</scene_description>
    <character>RADIO</character>
    <dialogue>Hey, fellas, I got Chicago.</dialogue>
    <scene_description>But nobody can muster much enthusiasm for this news . Radio shrugs and drops down on his bunk . Just then , Ca n't Get Right walks past heading for the door . He 's dressed in civilian clothes , his bindle slung over his shoulder .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Hey, Ca n't Get Right, where you going? Why you dressed like that?</dialogue>
    <scene_description>Ca n't Get Right holds out a piece of paper which Ray scrutinizes .</scene_description>
    <character>RAY</character>
    <dialogue>It's a pardon from the governor.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Let me see that.</dialogue>
    <scene_description>The incorrigibles gather around for a glimpse at Ca n't Get Right 's ticket to freedom .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Where'd you get this?</dialogue>
    <scene_description>Ca n't Get Right nods out the window . Stan Blocker is waiting by his car .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>Claude storms across the yard and stops at the gun line . Ray is a few steps behind .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Yo, Blocker, what's going on here?</dialogue>
    <character>BLOCKER</character>
    <dialogue>Kid's getting out. I got him a pardon.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Yeah, but what about me and Ray? I did n't see our names on that pardon. You said you were gon na put in a good word for us.</dialogue>
    <character>BLOCKER</character>
    <dialogue>I did, Claude. I mentioned you. I mentioned you both. But the fact is, pardons do n't come cheap. The kid can hit. What can you do?</dialogue>
    <scene_description>This hits Claude hard .</scene_description>
    <character>RAY</character>
    <dialogue>Let it go, Claude.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'm not gon na let it go. The man needs to explain himself. Makin' promises.</dialogue>
    <character>BLOCKER</character>
    <dialogue>Look, I am truly sorry about this. I'd like to help you.</dialogue>
    <character>CLAUDE</character>
    <dialogue>But you ca n't.</dialogue>
    <character>BLOCKER</character>
    <dialogue>At least the kid's getting out. Is n't this what you wanted?</dialogue>
    <scene_description>Claude looks around as the incorrigibles begin to gather . He 's on the spot . Dillard approaches with Ca n't Get Right . Claude looks into the big kid 's eyes .</scene_description>
    <character>CLAUDE</character>
    <parenthetical>( resigned . )</parenthetical>
    <dialogue>Yeah. Of course it is.</dialogue>
    <scene_description>Steeling himself to the reality of the situation , Claude gives Ca n't Get Right a hug .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You show them Crawfords how to play ball.</dialogue>
    <character>RAY</character>
    <dialogue>Make'em throw strikes.</dialogue>
    <scene_description>Ca n't Get Right nods . He steps up to the gun line and looks at both shooter shacks .</scene_description>
    <character>DILLARD</character>
    <dialogue>It's alright. You're a free man now.</dialogue>
    <scene_description>Ca n't Get Right steps across the gun line . Blocker opens the car door for him . But before he climbs in , Ca n't Get Right reaches into his pocket and pulls out his rubber ball . With a smile , he tosses it to Claude , who snatches it out of the air .</scene_description>
    <character>BLOCKER</character>
    <dialogue>Do n't worry, we'll take good care of him.</dialogue>
    <scene_description>Blocker tips his hat and climbs behind the wheel . Claude and Ray watch Blocker 's car drive off under a red Mississippi sunset . Slowly , the inmates drift back toward the bunkhouse until Ray an Claude are left alone at the gun line .</scene_description>
    <character>RAY</character>
    <dialogue>One of the new kids said they're farming those acres just north of the swamp. He said he saw a crop duster flying around the place.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'm not in the mood right now, Ray.</dialogue>
    <character>RAY</character>
    <dialogue>He said they keep it parked out behind the barn. Ca n't be that hard to fly a plane. Lots of people do it.</dialogue>
    <character>CLAUDE</character>
    <dialogue>They're called pilots! I'm serious, Ray. I'm not in the mood for one of your stupid, fucked - up plans right now.</dialogue>
    <character>RAY</character>
    <dialogue>I do n't see you coming up with any plans.</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( getting mad . )</parenthetical>
    <dialogue>My plan is on his way to Pittsburgh right now. That congenital idiot just got himself a pardon signed by the governor thanks to us, but we ca n't seem to do nothing for ourselves. Do n't you feel a little disgusted right now?</dialogue>
    <character>RAY</character>
    <dialogue>Crop duster.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I ai n't getting in no airplane with you. I'm finally wrapping my mind around the concept. They threw us in this shithole for life. Do n't you get it, Ray? We're gon na die here! Might as well head up to the cemetery, pick a plot and start digging.</dialogue>
    <scene_description>Suddenly enraged , Ray hauls off and knocks Claude down with a solid right . Surprised , Claude touches his bloody lip .</scene_description>
    <character>RAY</character>
    <dialogue>My daddy died in prison. He gave up hope and hung himself. What you're talking about is the same damn thing. That ai n't how I'm going.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Maybe you're fooling yourself, Ray. Maybe you're just a chip off the old block.</dialogue>
    <character>RAY</character>
    <dialogue>Take that back or we ai n't friends no more, Claude Banks.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Here's a news flash, Ray. We never were friends. We've just been stuck together for 12 years. It's been nothing but bad luck since the moment I ran into you. Every time I look at you I get sick to my stomach thinking about what my life could have been if I'd never bumped into Ray Gibson.</dialogue>
    <scene_description>A hard look comes to Ray 's eyes as Claude rises to his feet .</scene_description>
    <character>RAY</character>
    <dialogue>Better watch yourself Claude, before you say something you regret.</dialogue>
    <character>CLAUDE</character>
    <dialogue>The only thing I regret is the day I met you.</dialogue>
    <character>RAY</character>
    <dialogue>Well, if that's the way it is.</dialogue>
    <character>CLAUDE</character>
    <dialogue>That's the way it is.</dialogue>
    <character>RAY</character>
    <dialogue>Then I have nothing left to say to you.</dialogue>
    <scene_description>Ray walks away , leaving Claude to nurse his split lip .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You never said nothing of value anyway.</dialogue>
    <scene_description>INSERT - TIME PASSAGE A . In his Pittsburgh Crawfords uniform , Ca n't Get Right lays into a fast ball , sending it soaring into the bleachers . B. People dance in the street in Time Square , marking the end of WWII . C. Hoppin ' Bob drops a package on Ray 's bunk . Ray rips off the brown paper to reveal a book : `` So You Want to Learn to Fly . '' D. Claude and Sylvia make love in the tonk house . E . In the mess hall , Ray pointedly carries his tray past a table where Claude sits with Willie . F . An A - bomb explodes in the Bikini Atolls . G. Jimmy Stewart hugs his wife and children at the end of `` It 's a Wonderful Life '' . H. Jackie Robinson slides across home plate at Ebbets Field . I. Ray runs full tilt across a field toward a barn . Sure enough , there 's the single engine crop duster parked right where he said it would be . J. Claude and another INMATE repair a hole in the bunkhouse roof . They dive for cover as Ray 's crop duster swoops low overhead and dips out of sight beyond the trees . A puff of smoke rises into the sky . K. Soot - stained , Ray is marched to the hole and shoved inside . L. Newly elected president Harry Truman holds up a copy of the Chicago Tribune baring the headline `` Dewey Defeats Truman '' . M. RCA unveils the first color television . N. Cars pull up next to speaker poles in front of a drive - in movie screen . O . In the bunkhouse , early rock and roll plays on a modern 1950s radio that sits where the old vacuum tube receiver used to be . A YOUNG TOUGH now occupies Radio 's old bunk . P . At the poker table , Poker Face slumps forward onto his pile of chips , revealing a straight flush . The other men quickly fold . Q. With a TRUSTY standing guard , Claude and Ray silently shovel dirt into Poker Face 's grave . The CAMERA MOVES past gravemarkers - Biscuit , Jangle Leg , Radio . R. Marilyn Monroe 's skirt rises on a blast of subway air in `` The Seven - Year Itch '' . S. Rosa Parks is arrested for refusing to sit in the back of the bus . T. Elvis Presley creates a sensation on the Ed Sullivan Show . U. School children learn to `` duck and cover '' in the event of nuclear attack . V . The inmates of Camp 8 work to level a road . Ray 's on one side , Claude 's on the other . W. Prisoners mingle with friends and family on visiting Sunday . Claude waits on the bunkhouse steps . His face brightens when Sylvia appears . X. Blacks sit - in at lunch counters in Greensboro , N.C . Y. Kennedy is elected . Z. OMITTED . AA . Martin Luther King delivers his `` I have a dream '' speech at the Lincoln Memorial . BB . The Zapruder footage of Kennedy being shot . CC . American soldiers jump down from helicopters and run for the jungles in Vietnam . DD . Ford introduces the 1965 Mustang . EE . The assassination of Malcolm X . FF . Muhammad Ali looms over Sonny Liston , asking `` What 's my name ? '' . GG . The CAMERA MOVES past more gravemarkers - Hoppin ' Bob , Goldmouth - to find Claude and Ray silently shoveling dirt over another casket . Ray pounds a simple marker into the ground : Cookie . Briefly , they lock eyes . But neither one speaks and the moment passes . HH . Go - Go dancers . II . Mao Tse Tung . JJ . Jimi Hendrix at the Monterey Pop Festival . KK . TV 's Batman and Robin battle the forces of evil in Gotham City . LL . Black Panthers . MM . Peace Protesters . NN . The death of Martin Luther King . OO . Robert Kennedy . PP . Neil Armstrong sets foot on the moon . QQ . Vida Blue rears back and fires a pitch in the 1972 World Series .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>On the porch , Willie , now in his 70s , sits in a wheelchair watching the ball game on a black - and - white television . A TRUSTY waits nearby . Ray , now in his mid - 60s , emerges from the bunkhouse lugging a duffle bag .</scene_description>
    <character>RAY</character>
    <dialogue>Alright Willie, I think I got everything. I'll talk to Dillard, see if I can get up to the infirmary and check up on you. Make sure they're changing your diapers regular.</dialogue>
    <character>WILLIE</character>
    <dialogue>They'll be sending you up there soon enough. And not just for a visit, neither.</dialogue>
    <character>RAY</character>
    <parenthetical>( leaning in . )</parenthetical>
    <dialogue>I slipped in a couple of bottles of my latest batch. Help wash down all them pills they'll be giving you.</dialogue>
    <scene_description>He gives Willie a slap on the back and nods to the trusty . The trusty wheels the old man across the yard where YOUNG PRISONERS mingle with WIVES and FAMILY MEMBERS sporting the fashions of the early '70s - Afros , mutton chops , paisley prints and bell - bottom pants . ACROSS THE YARD Looking old - style , Claude sits on the mess hall steps waiting for Sylvia . He catches Willie 's eye . The two men nod to each other , an unspoken farewell . Then Claude turns to find Ray looking at him from the bunkhouse steps . Ray and Claude hold each others gaze for a moment . Then Ray heads back into the bunkhouse .</scene_description>
    <character>YVETTE</character>
    <parenthetical>( off . )</parenthetical>
    <dialogue>Are you Claude Banks?</dialogue>
    <scene_description>Claude turns to face YVETTE , a pretty young woman .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Yeah.</dialogue>
    <character>YVETTE</character>
    <dialogue>My name's Yvette. Sylvia sent me. You look just like she said.</dialogue>
    <character>CLAUDE</character>
    <dialogue>She's alright, is n't she?</dialogue>
    <character>YVETTE</character>
    <dialogue>Oh, she's fine. She's just not coming today.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Why not?</dialogue>
    <character>YVETTE</character>
    <dialogue>She got married last month.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Married?</dialogue>
    <character>YVETTE</character>
    <dialogue>Real nice guy, too. Trumpet player. They moved down to New Orleans.</dialogue>
    <scene_description>Claude takes this in , staring off into space .</scene_description>
    <character>YVETTE</character>
    <dialogue>She always said that if you were on the outside.</dialogue>
    <character>CLAUDE</character>
    <dialogue>But I'm not on the outside. I'm in here.</dialogue>
    <character>YVETTE</character>
    <dialogue>I know she's sorry she wo n't be seeing you anymore. Anyway, she wanted me to take care of you.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Take care of me?</dialogue>
    <character>YVETTE</character>
    <dialogue>You know, go to the tonk or whatever.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'm too old for you. Besides, I'm not much in the mood.</dialogue>
    <character>YVETTE</character>
    <dialogue>Want me to come back some other time?</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( shaking his head . )</parenthetical>
    <dialogue>Nice girl like you do n't belong in a place like this. But if you talk to Sylvia, tell her old Claude said congratulations.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>Claude stands at the gun line , staring across at the Dillard house . Mrs. Dillard places a couple of pies on the windowsill to cool .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Whites - only pies.</dialogue>
    <scene_description>Suddenly , he makes a break for the Dillard house .</scene_description>
    <character>TRUSTY</character>
    <dialogue>Man over the line!</dialogue>
    <scene_description>Ray turns to see Claude dashing across no - man 's land . Shots ring out from the shooter shack , kicking up dirt around Claude 's feet as he serpentines across the field .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. DILLARD'S HOUSE -- DAY</stage_direction>
    <scene_description>Breathless , Claude makes it to the kitchen window and digs his hand into the golden - brown crust , shoving a sloppy fistful of pie into his mouth . More shots ring out . Bullets PING all around him . Grabbing the pie , he darts around the side of the building , out of range . Back against the wall , he drops down on his haunches , snarfing pie like a hungry wolf .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>A case of empty Coke bottles sits in the middle of the yard , glinting in the hot sun . His face smeared with boysenberry , Claude finishes taking off his boots and socks and steps barefoot onto the bottles .</scene_description>
    <character>DILLARD</character>
    <dialogue>Comfortable?</dialogue>
    <character>CLAUDE</character>
    <dialogue>As a pair of fur - lined bedroom slippers, boss.</dialogue>
    <character>DILLARD</character>
    <dialogue>We'll see what those slippers feel like after, say, 24 hours. And if you step down off them bottles - if one toe so much as touches the dirt - one of these boys is gon na shoot you dead. Let's see. We need a special man for this job.</dialogue>
    <scene_description>He takes a trusty 's rifle and moves among the inmates , who have gathered around . He stops when he gets to Ray .</scene_description>
    <character>DILLARD</character>
    <dialogue>How about it, Ray?</dialogue>
    <scene_description>Ray glances at Claude , then back at Dillard .</scene_description>
    <character>DILLARD</character>
    <dialogue>I'll make you trusty right now. If that pie - eatin' son of a bitch falls off those bottles and you have to shoot him, I'll see to it you get a pardon. Hell, I'll personally escort you out the gate.</dialogue>
    <scene_description>Dillard offers the rifle to Ray , who does n't have to think too long .</scene_description>
    <character>RAY</character>
    <dialogue>You do n't want to give me a gun, boss. I'm liable to use it on you.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- SUNDOWN</stage_direction>
    <scene_description>Ray 's been given the same treatment as Claude . Barefoot , balanced on Coke bottles , the two men stand a few feet apart facing each other . A trusty with a rifle keeps an eye on them . After years of silence , the tension reaches the breaking point .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You're a sucker. I'd have taken that deal.</dialogue>
    <character>RAY</character>
    <dialogue>Excuse me? Are you talking to me?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'd have knocked you off those bottles, put a bullet in your ass and be half way to New York right now.</dialogue>
    <character>RAY</character>
    <dialogue>After all these years of blissful silence, I almost forgot how annoying the sound of your voice can be.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I hope you do n't think I owe you anything. Because I do n't owe you a damn thing.</dialogue>
    <character>RAY</character>
    <dialogue>I did n't do if for you, anyway. I just ai n't no boot - licking trusty, that's all.</dialogue>
    <scene_description>The trusty tightens his grip on his rifle . He 'd love the opportunity .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I was sorry to hear about your mama passing.</dialogue>
    <character>RAY</character>
    <dialogue>That was five years ago.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I know, but since we're talking, I thought I'd mention it.</dialogue>
    <character>RAY</character>
    <dialogue>We're not talking, you're talking, and doing too damn much of it, if you ask me.</dialogue>
    <scene_description>They stand in stony silence . Then Ray starts to laugh . A long , low belly laugh .</scene_description>
    <character>CLAUDE</character>
    <dialogue>What?!</dialogue>
    <character>RAY</character>
    <dialogue>You sure looked funny running for those pies, bullets flying all around you.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Bullets were n't the problem. That pie was too hot. Burned my tongue.</dialogue>
    <scene_description>The two men start to laugh . Really laugh . Nearly a decade 's worth of laughter comes welling up out of them , and they nearly lose their balance , which only makes them laugh harder .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP 8 YARD -- DAY</stage_direction>
    <scene_description>A trusty bangs the rap iron . Young prisoners pour from the bunkhouse and line up for breakfast . Claude and Ray bring up the rear , the elder statesmen of the bunch . By a long shot .</scene_description>
    <character>DILLARD</character>
    <dialogue>Fourteen acres today and only 12 hours of daylight! Eat up and move it out! Gibson! Banks! Get your sorry asses over here!</dialogue>
    <scene_description>Claude and Ray step out of line and approach Dillard .</scene_description>
    <character>DILLARD</character>
    <dialogue>Every morning I wake up praying that Ray Gibson and Claude Banks have died in their sleep and every morning you disappoint me.</dialogue>
    <character>RAY AND CLAUDE</character>
    <dialogue>Sorry, boss.</dialogue>
    <character>DILLARD</character>
    <dialogue>I stand before you a defeated man. Try as I might, I ca n't seem to break you. I swear, if they dropped a nuclear bomb on this camp, you and the cockroaches would be the only things left. But starting today at least I wo n't have to endure your presence any longer. You've got fifteen minutes to clear out your footlockers. You're both being reassigned to the Superintendent's mansion. And I, for one, will not miss you.</dialogue>
    <scene_description>Ray and Claude share a look . Then Ray embraces Dillard , who stoically endures the breach of his personal space .</scene_description>
    <character>RAY</character>
    <dialogue>I always wanted to do that.</dialogue>
    <parenthetical>( sighing . )</parenthetical>
    <dialogue>There is so much love inside of this man.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY</stage_direction>
    <scene_description>Up on the porch , Claude brings a tray of minted iced tea to Superintendent Wilkins , who sets aside his bible and washes down a couple of pills . Before going back inside , Claude ca n't resist taunting Ray , busy trimming a hedge out in the hot sun .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Oh, yard boy, these pansies could use some attention over here. Perhaps some fertilizer would restore their exuberance.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MARSH -- DAY</stage_direction>
    <scene_description>Claude and Ray beat the bulrushes with switches , rustling a couple of pheasants from their hiding spot . As the birds take wing , Wilkins aims his shot gun and fires twice in rapid succession . Both birds fall from the sky in a flutter of feathers . OMITTED Sequence omitted from original script . OMITTED Sequence omitted from original script .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SUPERINTENDENT'S MANSION -- DAY</stage_direction>
    <scene_description>Claude fills Wilkins ' water glass as the Superintendent takes a bite of lamb chop and winces in pain .</scene_description>
    <character>WILKINS</character>
    <dialogue>Damn dentures slipping again. Everything falls apart when you grow old, eh, Claude? Time sure marches on.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Yes, boss.</dialogue>
    <character>WILKINS</character>
    <dialogue>You know, I'm fixing on retiring at the end of the summer, gon na try to enjoy what few years I have left. What do you think of this place? It's one of those new retirement communities down on the Gulf.</dialogue>
    <scene_description>Claude glances at a glossy brochure . From outside , Ray peers suspiciously through the dining room window as he hacks at a rose bush .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Ocean views, palm trees, two heated swimming pools and a golf course - sounds a damn sight better than that infirmary across the way where I'm gon na end up.</dialogue>
    <scene_description>Claude returns the brochure .</scene_description>
    <character>WILKINS</character>
    <dialogue>I apologize, Claude. That was rude of me.</dialogue>
    <character>CLAUDE</character>
    <dialogue>That's alright, boss. Takes a lot more than a colorful brochure to hurt my feelings.</dialogue>
    <character>WILKINS</character>
    <dialogue>You been on the farm for quite a spell, have n't you?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Over forty years now. Me and Ray Gibson out there.</dialogue>
    <scene_description>Wilkins glances over at the window . Ray ducks out of view .</scene_description>
    <character>WILKINS</character>
    <dialogue>Forty years. That's a long time for any crime, even murder.</dialogue>
    <character>CLAUDE</character>
    <dialogue>It's a hell of a lot longer when you're innocent.</dialogue>
    <character>WILKINS</character>
    <dialogue>Half the men in this prison swear they're innocent. Do n't you think that's kinda funny?</dialogue>
    <character>CLAUDE</character>
    <dialogue>You have to forgive me if I do n't laugh.</dialogue>
    <scene_description>Claude pushes back into the kitchen , leaving Wilkins to think this one over .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. SERVANTS' QUARTERS -- NIGHT</stage_direction>
    <scene_description>Ray and Claude are getting ready for bed .</scene_description>
    <character>RAY</character>
    <dialogue>You and Wilkins sure are getting chummy. You two planning on going steady, or something?</dialogue>
    <character>CLAUDE</character>
    <dialogue>He's just a lonely old man. He likes to talk.</dialogue>
    <character>RAY</character>
    <dialogue>Hey, I'm a lonely old man. I like to talk, too. So why do n't we start by talking about what kind of a plan you're working on?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'm not working on a plan.</dialogue>
    <character>RAY</character>
    <dialogue>You ca n't fool me, Claude. I know you got something brewing.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Goodnight, Ray.</dialogue>
    <scene_description>Claude punches his pillow and turns off the light .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY</stage_direction>
    <scene_description>Ray hacks a rose bush down to the nub . From the garage comes the sound of an engine turning over . Wilkins ' 1973 Lincoln Continental convertible lurches down the drive with Claude at the wheel . He screeches to a halt inches from Ray 's legs and climbs from the car .</scene_description>
    <character>RAY</character>
    <dialogue>What the hell are you doing?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Do n't touch that car.</dialogue>
    <scene_description>Claude pulls out a hanky and buffs Ray 's finger print off the hood .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Wilkins' driver's got the flu, so he asked me to fill in for him.</dialogue>
    <character>RAY</character>
    <dialogue>You have n't driven in 40 years, you ai n't even got a license. Man's taking his life in his hands, putting you behind the wheel! Where you taking him?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Greenville. We're picking up the new Superintendent at the bus station.</dialogue>
    <scene_description>Ray scowls as Claude straightens his chauffeur uniform and heads up the path to the mansion .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GREENVILLE BUS STATION -- DAY</stage_direction>
    <scene_description>Claude pulls up in front of the station , steps out of the car and holds the door for Wilkins , who checks his watch .</scene_description>
    <character>WILKINS</character>
    <dialogue>You know I trust you, Claude.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Yes, sir.</dialogue>
    <character>WILKINS</character>
    <dialogue>I'll be right back.</dialogue>
    <scene_description>Wilkins heads into the station , leaving Claude alone with the Continental . All around him are the sights , sounds and smells of the free world . A woman rushes into the arms of a man as he climbs off a bus . Across the street is Grandma Dodi 's Pork Rib Joint where Cookie never made it to the peach cobbler . A young brother with a boom box walks by . In the street , kids crowd around the back of an ice cream truck . Then Claude catches his reflection in the car window and frowns . When did he get this old ? Unnerved , he moves around to the back of the car and pops open the trunk .</scene_description>
    <character>RAY</character>
    <parenthetical>( sitting up . )</parenthetical>
    <dialogue>Damn, it was getting hot in there.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What the hell are you doing in that trunk?!</dialogue>
    <character>RAY</character>
    <dialogue>You did n't think I was gon na let you escape alone, did you?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I ai n't escaping! We're picking up the new super just like I told you.</dialogue>
    <character>RAY</character>
    <dialogue>Then you're lucky I came along. Does n't take a visionary to spot a golden opportunity like this. Now help me out of this trunk.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You ai n't getting out of that trunk.</dialogue>
    <character>RAY</character>
    <dialogue>Come on, man, I'm starting to cramp up here.</dialogue>
    <parenthetical>( Ray struggles out of the trunk . )</parenthetical>
    <dialogue>We have the chance right here, right now, I say we go!</dialogue>
    <character>CLAUDE</character>
    <dialogue>Go where, Ray?</dialogue>
    <character>RAY</character>
    <dialogue>Back to New York for starters.</dialogue>
    <character>CLAUDE</character>
    <dialogue>And what will we do when we get there? I'm sixty - five years old, Ray. So are you. What are we gon na do out here? Get married, have kids, settle down? That boat sailed without us, man.</dialogue>
    <character>RAY</character>
    <dialogue>This boat's gon na sail without you, too. I do n't care if I last one day out here. At least it's one day of freedom. Now gim me those keys.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Forget about that. You run if you want to, but you're not taking this car.</dialogue>
    <character>RAY</character>
    <dialogue>Claude, man, I'm serious. Give me those keys.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I ai n't spending a month in the hole so you can take a joy ride.</dialogue>
    <character>RAY</character>
    <dialogue>Do n't make me take them away from you.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Hey, there's Wilkins!</dialogue>
    <scene_description>Ray looks , Claude clocks him . Ray slumps back into the trunk . Claude stuffs Ray 's legs back into the trunk and slams the lid .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Who's driving now, bitch?</dialogue>
    <scene_description>He looks up just as Wilkins and the new superintendent exit the bus station . Warren Pike 's hair has gone grey and he 's 40 years older , but there 's no mistaking the former sheriff of Natchez County . He still bears a nasty scar on his cheek from a wound inflicted long ago . CLAUDE 'S POV - Pike appears as a young man in his sheriff 's uniform striding slowly toward him . Claude blinks and looks again . Pike has returned to his old self as he and Wilkins step up .</scene_description>
    <character>PIKE</character>
    <parenthetical>( dropping his bags . )</parenthetical>
    <dialogue>There you go, boy.</dialogue>
    <scene_description>Oblivious , Pike climbs into the back seat . Wilkins nods to Claude .</scene_description>
    <character>WILKINS</character>
    <dialogue>Come on, Claude, time to go.</dialogue>
    <scene_description>Claude snaps to it , grabbing the bags . He considers opening the trunk , but decides to carry them around to the front seat with him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. KITCHEN PORCH -- DUSK</stage_direction>
    <scene_description>Backs to the CAMERA , Ray and Claude urinate , presumably off the porch .</scene_description>
    <character>RAY</character>
    <dialogue>You sure it was him?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Some faces you just do n't forget. Warren Pike's is one of'em.</dialogue>
    <character>RAY</character>
    <dialogue>I do n't like it, I do n't like it one bit. We shoulda taken that car when we had the opportunity. We'd be half way to New York by now.</dialogue>
    <character>CLAUDE</character>
    <dialogue>We'd be in the hole by now. Hey, man, you're peeing on my shoe.</dialogue>
    <character>RAY</character>
    <dialogue>I know. Simultaneously, they shake and zip. Claude bends down and picks up a bowl of gumbo, placing it on a tray next to an identical one.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. DINING ROOM -- NIGHT</stage_direction>
    <scene_description>Wilkins pours a frosty drink and offers it to Pike .</scene_description>
    <character>WILKINS</character>
    <dialogue>Lemonade?</dialogue>
    <character>PIKE</character>
    <dialogue>I prefer bourbon.</dialogue>
    <character>WILKINS</character>
    <dialogue>I'm sorry, I do n't keep any liquor in the house.</dialogue>
    <character>PIKE</character>
    <dialogue>Well, fortunately, I carry my own.</dialogue>
    <scene_description>Pike pulls a flask from his jacket and tilts it high . Claude enters from the kitchen with the two steaming bowls of gumbo .</scene_description>
    <character>WILKINS</character>
    <dialogue>Hunting's been pretty good on the farm the last few years. It's one of the perks of the job. If you're interested, tomorrow I could show you some of my favorite spots.</dialogue>
    <character>PIKE</character>
    <dialogue>You do n't have to twist my arm.</dialogue>
    <parenthetical>( digging in . )</parenthetical>
    <dialogue>Say now, that gumbo has quite a kick.</dialogue>
    <character>WILKINS</character>
    <dialogue>Thank you, Claude. That'll be all for tonight.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Goodnight, Mr. Wilkins. Mr. Pike.</dialogue>
    <character>WILKINS</character>
    <dialogue>Goodnight, Claude.</dialogue>
    <scene_description>Pike nods coldly . Claude steps back into the kitchen .</scene_description>
    <character>PIKE</character>
    <dialogue>If you do n't mind my saying, you seem mighty familiar with your house boy.</dialogue>
    <character>WILKINS</character>
    <dialogue>I believe in treating the convicts with respect, if that's what you mean.</dialogue>
    <character>PIKE</character>
    <parenthetical>( sarcastic . )</parenthetical>
    <dialogue>Respect? Well, is n't that progressive.</dialogue>
    <character>WILKINS</character>
    <dialogue>If somebody deserves respect, Mr. Pike, they receive it from me, convict or no convict.</dialogue>
    <scene_description>Pike curls his lip with disdain before taking a healthy spoonful of gumbo .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MARSH -- DAY</stage_direction>
    <scene_description>Claude and Ray beat the bullrushes with switches . Amid a flutter of wings , three pheasants take to the air . Wilkins fires first , knocking one out the sky . Pike pulls off two rounds , playing clean up .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FIELD -- DAY</stage_direction>
    <scene_description>Ray and Claude dump their game bags into the back of a pickup truck . Nearby , Pike drains his flask while Wilkins scrapes mud off his boots . The breeze picks up , clouds fill the sky .</scene_description>
    <character>WILKINS</character>
    <dialogue>Well, that's a pretty good haul. What do you say, Mr. Pike? Ready to call it a day?</dialogue>
    <scene_description>Pike pulls a gold watch from his pocket and releases the face plate . A familiar mechanical tune floats on the gathering breeze . Ray turns around slowly . His eyes fall on the watch in Pike 's hand . His daddy 's watch . In Pike 's hand .</scene_description>
    <character>PIKE</character>
    <dialogue>Yeah, it's getting late. I could sure use a bath.</dialogue>
    <character>RAY</character>
    <dialogue>That's a real nice watch you got there, sir. Fancy old thing even plays a little tune.</dialogue>
    <character>PIKE</character>
    <dialogue>Yeah, it's special. They do n't make'em like this anymore.</dialogue>
    <character>RAY</character>
    <dialogue>Sure do n't. Mind if I ask where you got it?</dialogue>
    <character>PIKE</character>
    <dialogue>Why, my wife gave it to me on our anniversary some years back.</dialogue>
    <scene_description>Claude looks at the watch , then at Ray . Uh oh .</scene_description>
    <character>RAY</character>
    <dialogue>Must have been some time ago. Maybe forty years?</dialogue>
    <character>PIKE</character>
    <parenthetical>( eyes narrowing . )</parenthetical>
    <dialogue>Something like that, yes.</dialogue>
    <character>RAY</character>
    <dialogue>She give you that scar, too?</dialogue>
    <scene_description>Pike thrusts the barrel of his gun up under Ray 's chin .</scene_description>
    <character>PIKE</character>
    <dialogue>I oughta shoot you for that comment, boy.</dialogue>
    <character>RAY</character>
    <dialogue>Like you shot Winston Hancock?</dialogue>
    <scene_description>Wilkins turns to see Pike holding Ray at gunpoint .</scene_description>
    <character>WILKINS</character>
    <dialogue>What's going on here?</dialogue>
    <character>PIKE</character>
    <dialogue>I'm afraid I'm gon na have to teach this uppity nigger a lesson in manners.</dialogue>
    <character>RAY</character>
    <dialogue>That's Mr. Uppity Nigger to you.</dialogue>
    <scene_description>Ray grabs the barrel of the shotgun and slams it into Pike 's face . Pike rolls over and freezes , staring down the barrel of his own gun now in Ray 's hands . Confused , Wilkins points his gun at Ray .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Cool it, Ray. You're gon na get us in a lot of trouble.</dialogue>
    <character>WILKINS</character>
    <dialogue>He's right, Gibson. Put down the gun and we'll work this out.</dialogue>
    <character>RAY</character>
    <dialogue>I'm gon na work this man's brains out the back of his head.</dialogue>
    <character>PIKE</character>
    <dialogue>Shoot him, Wilkins!</dialogue>
    <character>CLAUDE</character>
    <dialogue>Do n't shoot, sir. I can deal with this.</dialogue>
    <parenthetical>( cautiously . )</parenthetical>
    <dialogue>Ray, buddy, you do n't want to shoot this white man. See, you do that, they'll kill you for sure. And it's not that I like you or anything, but I've kinda gotten used to having you around.</dialogue>
    <character>RAY</character>
    <dialogue>He's got my daddy's watch, Claude. I always knew whoever took that watch killed Winston Hancock. And that was you, Mr. Pike.</dialogue>
    <character>PIKE</character>
    <dialogue>He's crazy. Do n't listen to him, Wilkins.</dialogue>
    <character>WILKINS</character>
    <dialogue>Do you realize what your saying, Gibson?</dialogue>
    <character>RAY</character>
    <dialogue>That watch was the only thing my daddy ever gave me. It meant the world to me.</dialogue>
    <character>PIKE</character>
    <dialogue>Goddamn it, Wilkins, would you please just shoot the nigger!</dialogue>
    <character>RAY</character>
    <dialogue>He shoots me, I swear I'll take you with me! I just want to hear you say it.</dialogue>
    <character>WILKINS</character>
    <dialogue>Is there any truth to what he's saying, Pike?</dialogue>
    <character>PIKE</character>
    <dialogue>What difference does it make? Natchez was better off without Winston Hancock! Who cares if a couple of no - account bootleggers went to jail for his killing? At least the state of Mississippi got 40 years of cheap labor out of the deal!</dialogue>
    <character>CLAUDE</character>
    <dialogue>Forty years of cheap labor! Gim me that gun.</dialogue>
    <scene_description>Claude grabs for the gun .</scene_description>
    <character>RAY</character>
    <dialogue>No, I'm gon na kill him -</dialogue>
    <character>CLAUDE</character>
    <dialogue>No, believe me, I'm gon na kill him!</dialogue>
    <scene_description>Claude yanks the gun free and points it right in Pike 's face . Wilkins trains his gun on Claude . But the moment passes . Claude lowers the gun . Bewildered , Wilkins does the same .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I ca n't do it.</dialogue>
    <character>RAY</character>
    <dialogue>That's because you're soft. Gim me the gun.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What'd you say?</dialogue>
    <character>RAY</character>
    <dialogue>I said you're soft.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Do n't call me soft, I hate it when you call me that.</dialogue>
    <scene_description>Ray mouths the word - `` soft . '' Claude clenches his jaw , points the gun and pulls the trigger . Click . Pike smirks and pulls a small gun from his boot . But as he raises it - BLAM ! Pike is hurled backward by a shotgun blast . Shocked , Ray and Claude look at Wilkins , his gun still smoking in his hands . After a significant beat , Ray reaches down and gingerly retrieves his daddy 's gold pocket watch .</scene_description>
    <character>RAY</character>
    <dialogue>I believe this is mine.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. SUPERINTENDENT'S MANSION -- DAY</stage_direction>
    <scene_description>A gurney carrying Pike 's body is lifted into the back of a van by two COUNTY CORONERS . Nearby , a distraught Wilkins tells his story to a couple of SHERIFF 'S DEPUTIES .</scene_description>
    <character>WILKINS</character>
    <dialogue>I was drawing a bead on a bird when Mr. Pike just stepped into my line of fire.</dialogue>
    <character>DEPUTY #1</character>
    <dialogue>Where were the two convicts when the shot was fired?</dialogue>
    <character>WILKINS</character>
    <dialogue>They were busy loading up the truck. We got him back here as quick as possible, but. I just feel terrible about this.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. MANSION -- DAY</stage_direction>
    <scene_description>Ray and Claude watch through the window as Wilkins talks to the deputies .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Why do n't he just tell'em the truth?</dialogue>
    <character>RAY</character>
    <dialogue>He knows nobody wants to hear the truth.</dialogue>
    <scene_description>One of the deputies pats Wilkins sympathetically on the back . Then he and his partner put away their notebooks and head for their vehicle . Wilkins heads up the steps and into the house .</scene_description>
    <character>WILKINS</character>
    <dialogue>Well, I think they bought it. One of the deputies belongs to my church.</dialogue>
    <scene_description>Visibly shaken , Wilkins takes a seat , wiping the sweat from his brow with a handkerchief .</scene_description>
    <character>WILKINS</character>
    <dialogue>I realize there's no way. There's nothing I can say to make up for forty years. I'll have Charlotte prepare those pardon papers right away.</dialogue>
    <scene_description>Wilkins winces and swallows a couple of pills from his box .</scene_description>
    <character>WILKINS</character>
    <dialogue>Claude, mind helping me to the bathroom?</dialogue>
    <character>CLAUDE</character>
    <parenthetical>( giving him a hand . )</parenthetical>
    <dialogue>Sure, boss.</dialogue>
    <character>WILKINS</character>
    <dialogue>I'm not your boss. Not anymore.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. PRISON CEMETERY (PRESENT) -- DAY</stage_direction>
    <scene_description>Jake looks at Willie expectantly .</scene_description>
    <character>JAKE</character>
    <dialogue>So Ray and Claude got their pardons, right?</dialogue>
    <character>LEON</character>
    <parenthetical>( smacking him . )</parenthetical>
    <dialogue>No, they did n't get their pardons, you dumb shit! If they'd got their pardons way back then, we would n't be burying them today, would we?</dialogue>
    <character>JAKE</character>
    <parenthetical>( chewing on it . )</parenthetical>
    <dialogue>Oh, right. Well, why did n't they get those pardons?</dialogue>
    <character>WILLIE</character>
    <dialogue>Old man Wilkins' never came out of that bathroom. Died right there on the crapper.</dialogue>
    <character>LEON</character>
    <dialogue>Just like Elvis.</dialogue>
    <character>WILLIE</character>
    <dialogue>Of course nobody believed Ray and Claude.</dialogue>
    <character>JAKE</character>
    <dialogue>That musta messed'em up pretty bad.</dialogue>
    <character>LEON</character>
    <dialogue>What happened to'em after that, Willie?</dialogue>
    <character>WILLIE</character>
    <dialogue>After that? Well, let's see. After that they got old. We all got old.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. INFIRMARY -- DAY</stage_direction>
    <scene_description>Ray and Claude , now in their nineties , sit under a tree in the courtyard listening to a Yankees game on a transistor radio .</scene_description>
    <character>RAY</character>
    <dialogue>Nurse Humphries was checking my prostate this morning. I got an erection.</dialogue>
    <character>CLAUDE</character>
    <dialogue>An erection, huh? Have n't had one of those in a while.</dialogue>
    <character>RAY</character>
    <dialogue>Tell me about it. Scared me at first. Then, before I could figure out what to do with it, it was gone. Imagine my disappointment.</dialogue>
    <scene_description>On the radio , the announcer voice rises in pitch as the Yankees score . Ray and Claude share a satisfied look .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Sure would like to see the house that Ruth built one more time.</dialogue>
    <character>RAY</character>
    <dialogue>Well, Ruth shoulda built it a little better. Damn thing's falling to pieces. Gon na hurt somebody.</dialogue>
    <character>CLAUDE</character>
    <dialogue>What do you expect? It's almost as old as we are.</dialogue>
    <character>RAY</character>
    <dialogue>They oughta tear that shit down and ship them Yankees cross the river to Jersey.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Remember what that place looked like on a sunny spring day? More beautiful than any church I was ever in.</dialogue>
    <scene_description>TWO ORDERLIES push a DEAD BODY past on a squeaking gurney .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Looks like old Jonesy finally got his walking papers.</dialogue>
    <scene_description>Ray tips his flask in a simple salute .</scene_description>
    <character>RAY</character>
    <dialogue>Over to the morgue and up the hill to the cemetery. Never thought I'd admit it, Claude, but you were right.</dialogue>
    <character>CLAUDE</character>
    <dialogue>` Course I was right. About what?</dialogue>
    <character>RAY</character>
    <dialogue>You're the one who said that boneyard's the only way we're getting out of here. We're gon na join all the rest of'em soon enough. Jangle Leg, Biscuit, Goldmouth, Poker Face, Cookie, Radio - yes sir, pick a plot and start digging.</dialogue>
    <scene_description>Ray closes his eyes and settles in for a nap . Claude turns to watch Jonesy squeaking away . Something about what Ray just said has given him an idea .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. INFIRMARY -- DAY</stage_direction>
    <scene_description>`` Oprah '' blares on the television . Old convicts linger about in various states of repose and decay . A young ORDERLY pops to the music on his Walkman as he pushes a cart through the ward . Over at a table , Ray and Claude play poker with Willie , a SHAKY OLD JUNKIE and TWO YOUNG GANG BANGERS . The currency on the table is n't poker chips , it 's pills of various sizes and colors .</scene_description>
    <character>GANG BANGER #1</character>
    <dialogue>Two Percodan.</dialogue>
    <character>CLAUDE</character>
    <dialogue>I'll raise you.</dialogue>
    <character>GANG BANGER #1</character>
    <dialogue>What the fuck are those?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Keeps your cholesterol down.</dialogue>
    <character>GANG BANGER #1</character>
    <dialogue>I look like I give a shit about my cholesterol?</dialogue>
    <scene_description>GANG BANGER # 2 takes a quick hit of cocaine from a bullet . He notices Ray staring at him .</scene_description>
    <character>GANG BANGER #2</character>
    <dialogue>You want a bump, G?</dialogue>
    <character>RAY</character>
    <dialogue>I would n't be putting that shit up my nose. That came in in somebody's ass. It's like you're sniffin' ass. Maybe that's your thing, but it ai n't mine.</dialogue>
    <scene_description>Ray pushes his bet to the center of the table . The shaky junkie folds . Willie tosses in some pills and turns to Gang Banger # 2 .</scene_description>
    <character>WILLIE</character>
    <dialogue>Looks like it's up to you, stinky ass sniffer.</dialogue>
    <scene_description>Glaring , Gang Banger # 2 flips a big pill into the pot .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Thorazine? Well, that's a little rich for my blood.</dialogue>
    <scene_description>He tosses down his cards . The shaky junkie attempts to light a cigarette . The match slips from his trembling fingers and falls into his lap .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Damn fool gon na set this place on fire one of these days.</dialogue>
    <scene_description>Gang Banger # 1 folds . It 's back to Ray .</scene_description>
    <character>RAY</character>
    <dialogue>I got three stool softeners left.</dialogue>
    <parenthetical>( to Gang Banger # 2 . )</parenthetical>
    <dialogue>That oughta be right up your alley.</dialogue>
    <scene_description>The remaining players match the pot . Gang Banger # 2 reveals his cards . Willie frowns . Ray lays down his cards and victoriously sweeps his winnings into a paper cup . Across the room , Nurse Humphries enters with a tray of snacks . She , too , is showing the years .</scene_description>
    <character>NURSE HUMPHRIES</character>
    <dialogue>Who wants Jell - O?</dialogue>
    <scene_description>The magic word . The poker players join a stampede of oldsters in a clatter of canes , walkers and artificial limbs . Ray and Claude are left alone at the table .</scene_description>
    <character>RAY</character>
    <dialogue>Hey, where you going? We got money on the table here!</dialogue>
    <scene_description>Claude glances around to ensure that he 's not overheard .</scene_description>
    <character>CLAUDE</character>
    <dialogue>You know, Ray, I've been chewing on what you said this afternoon. I think I got a plan.</dialogue>
    <scene_description>Ray gives Claude a long look .</scene_description>
    <character>RAY</character>
    <dialogue>Are you trying to tell me after all this time you finally have a plan for busting out of here?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Shh! Is that so hard to believe?</dialogue>
    <character>RAY</character>
    <dialogue>Do n't tell me, I do n't want to hear it. It's probably all fucked up, anyway.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You do n't want to hear it, you do n't want to hear it. There's no shame in that.</dialogue>
    <character>RAY</character>
    <dialogue>It's too late for plans.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Never thought I'd hear Ray Gibson say that. Hell with you then. You'd only slow me down anyway.</dialogue>
    <scene_description>Ray turns away as Claude walks off . A DODDERING INMATE stands nearby slurping on Jell - O. His robe hangs open .</scene_description>
    <character>RAY</character>
    <dialogue>Hey, man, cover that shit up!</dialogue>
    <scene_description>Disgusted , Ray discards his own Jell - O . He pulls out his daddy 's pocket watch and checks the time . The little mechanical tune nags at him . He snaps the lid shut and considers the watch resting in the palm of his hand . OMITTED Sequence omitted from original script .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. INFIRMARY -- NIGHT</stage_direction>
    <scene_description>The building is dark . But then , through a first - floor window , we see the unmistakable orange glow of a fire .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. INFIRMARY -- NIGHT</stage_direction>
    <scene_description>An ALARM BLARES as the place fills with smoke . Wearing a robe and slippers , Nurse Humphries runs among the prisoners , helping them out the door .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. INFIRMARY -- NIGHT</stage_direction>
    <scene_description>Coughing and disheveled , Ray emerges onto the lawn pushing Willie in the wheelchair . As other prisoners evacuate the building , Ray looks around for Claude , but he does n't see him . Nurse Humphries takes a quick head count .</scene_description>
    <character>NURSE HUMPHRIES</character>
    <dialogue>Is everyone here?</dialogue>
    <character>RAY</character>
    <dialogue>Hey, where's Claude? I do n't see Claude!</dialogue>
    <character>NURSE HUMPHRIES</character>
    <dialogue>Stay calm, Ray. We'll find him. Claude! Has anyone seen Claude?</dialogue>
    <character>RAY</character>
    <dialogue>He must still be in there.</dialogue>
    <scene_description>Grimly , Ray starts toward the burning infirmary . Nurse Humphries holds him back .</scene_description>
    <character>NURSE HUMPHRIES</character>
    <dialogue>Wait for the firemen!</dialogue>
    <character>RAY</character>
    <dialogue>It'll be too late.</dialogue>
    <character>NURSE HUMPHRIES</character>
    <dialogue>You ca n't go in there, Ray! You'll never make it!</dialogue>
    <character>RAY</character>
    <dialogue>I'm going in for him. He'd do the same for me.</dialogue>
    <scene_description>Ray shakes her off and runs up the steps , disappearing into the burning building .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. INFIRMARY -- NIGHT</stage_direction>
    <scene_description>Ray dodges flames as he presses into the inferno .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. INFIRMARY -- NIGHT</stage_direction>
    <scene_description>Nurse Humphries , Willie and the rest of the inmates watch grimly as flames engulf the building . Nobody could survive this blaze . From the highway comes the siren wail of approaching fire engines . But it 's too late . Sparks erupt into the night sky as the roof collapses .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. INFIRMARY -- DAWN</stage_direction>
    <scene_description>Fire trucks pull away from the smoldering ruins . A local REPORTER interviews witnesses . INVESTIGATORS comb through the wreckage , making notes . COUNTY CORONERS pull a couple of gurneys from the back of their van .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. INFIRMARY RUINS -- DAY</stage_direction>
    <scene_description>Superintendent Bill Burke is led through the destruction by a FIRE INSPECTOR . They approach the coroners as they finish zipping up two body bags .</scene_description>
    <character>BURKE</character>
    <dialogue>How did it start?</dialogue>
    <character>FIRE INSPECTOR</character>
    <dialogue>Probably old wires. The place was a tinderbox just waiting to go.</dialogue>
    <character>BURKE</character>
    <dialogue>I guess we should have torn this old building down a long time ago.</dialogue>
    <character>FIRE INSPECTOR</character>
    <dialogue>Gibson made it this far before he was probably overcome by smoke. From the look of things, Banks never even made it out of bed.</dialogue>
    <scene_description>Burke watches solemnly as the coroners wheel the bodies past him .</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PRISON CEMETERY -- DAY</stage_direction>
    <scene_description>Jake and Leon shake their heads and look at the two fresh graves .</scene_description>
    <character>LEON</character>
    <dialogue>Man, you really bummed me out. That's a terrible story.</dialogue>
    <parenthetical>( looking at Jake . )</parenthetical>
    <dialogue>Nigger, you crying?</dialogue>
    <character>JAKE</character>
    <dialogue>Hell, no! I just got something in my eye.</dialogue>
    <character>WILLIE</character>
    <dialogue>It's alright for a man to cry once in awhile. Just do n't make a habit of it.</dialogue>
    <character>LEON</character>
    <dialogue>Hey, Willie, what was Claude's plan, anyway?</dialogue>
    <character>WILLIE</character>
    <dialogue>Nothing to it, really. Claude figured they could steal a couple of bodies from the morgue. They got a couple of crackers working there do n't know their asses from their elbows. Then they was gon na set fire to the infirmary and make it look like those bodies was them that got stuck inside. Claude figured during the commotion, it would n't be too hard to slip onto one of the fire trucks and hang tight until it rolled right on out of here in the morning.</dialogue>
    <scene_description>The young inmates share a look , then glance into the graves , then look back at Willie .</scene_description>
    <character>JAKE</character>
    <dialogue>What makes you think it did n't work?</dialogue>
    <character>WILLIE</character>
    <dialogue>I never said it did n't work.</dialogue>
    <scene_description>Leon and Jake do the arithmetic . You can almost hear the gears grinding under the strain .</scene_description>
    <character>LEON</character>
    <dialogue>You trying to tell us that's not Ray and Claude in those boxes?</dialogue>
    <scene_description>Willie starts to chuckle and sets his electric wheel chair on auto - pilot , leaving the young inmates to guess at the truth .</scene_description>
    <character>JAKE</character>
    <dialogue>What do you think about that?</dialogue>
    <character>LEON</character>
    <dialogue>I think that old man lost his marbles about a hundred years ago. Come on, let's get this over with.</dialogue>
    <scene_description>They pick up their shovels and go back to work burying the caskets .</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. GREENVILLE FIRE STATION -- DAY</stage_direction>
    <scene_description>The CAMERA MOVES PAST a FIREMAN hosing down the truck , past another group of soot - stained FIREMEN eating breakfast , and pauses in front of two lockers . A couple of FIREMEN emerge from the showers wrapped in towels and open their lockers . They share a look .</scene_description>
    <character>FIREMAN #1</character>
    <parenthetical>( to the room . )</parenthetical>
    <dialogue>Alright, which of you hambones took our clothes?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. YANKEE STADIUM -- DAY -- WIDE SHOT</stage_direction>
    <scene_description>Scalpers sell tickets . Vendors hawk souvenirs . Fans stream up from the subway and through the gates . Somebody is singing `` The Star - Spangled Banner . ''</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STANDS -- DAY</stage_direction>
    <scene_description>In the middle of a capacity crowd , a VENDOR fixes two hot dogs and passes them to a KID at the end of an aisle . The kid passes them to the MAN next to him , and so on down the line . The CAMERA FOLLOWS the hot dogs from face to face , some old , some young , some black , some white - it 's New York City , after all - and finally the hot dogs arrive in a pair of old , calloused black hands . Ray passes one of the dogs to Claude .</scene_description>
    <character>CLAUDE</character>
    <dialogue>I ca n't eat this.</dialogue>
    <character>RAY</character>
    <dialogue>Why the hell not?</dialogue>
    <character>CLAUDE</character>
    <dialogue>I saw that hot dog guy in the bathroom urinating. He did n't wash his hands.</dialogue>
    <scene_description>Ray and Claude glance around confused as the wave rolls through their section of the bleachers . What the fuck ? Claude inspects his hot dog .</scene_description>
    <character>RAY</character>
    <dialogue>Just put some mustard on it and eat it.</dialogue>
    <character>CLAUDE</character>
    <dialogue>You did n't get ketchup?</dialogue>
    <character>RAY</character>
    <dialogue>Gim me that damn thing.</dialogue>
    <scene_description>Ray snatches back the hot dog .</scene_description>
    <character>CLAUDE</character>
    <dialogue>What am I gon na eat?</dialogue>
    <scene_description>Ray is suddenly young again .</scene_description>
    <character>RAY</character>
    <dialogue>Have my ice cream.</dialogue>
    <scene_description>Claude takes the ice cream . He , too , is suddenly young again .</scene_description>
    <character>CLAUDE</character>
    <dialogue>Thanks.</dialogue>
    <scene_description>They look at each other and share a laugh .</scene_description>
    <character>RAY</character>
    <dialogue>Hell of a day for a ballgame, huh, Claude?</dialogue>
    <character>CLAUDE</character>
    <dialogue>Hell of a day, Ray. Yankees are on fire.</dialogue>
    <scene_description>Claude pops the top on his ice cream . Suddenly , they are both old again .</scene_description>
    <character>CLAUDE</character>
    <dialogue>No, this ai n't gon na work either. It's half chocolate, half vanilla.</dialogue>
    <character>RAY</character>
    <dialogue>So?</dialogue>
    <character>CLAUDE</character>
    <dialogue>They're touching.</dialogue>
    <scene_description>The CAMERA begins to pull back .</scene_description>
    <character>RAY</character>
    <dialogue>If you do n't eat that ice cream right now, I'm gon na strangle you until you are completely dead.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Yeah? You and what army?</dialogue>
    <character>RAY</character>
    <dialogue>Next thing, you're gon na be complaining about the seats.</dialogue>
    <character>CLAUDE</character>
    <dialogue>Well, if you must know, they could be closer.</dialogue>
    <character>RAY</character>
    <dialogue>Damn, I shoulda let Spanky Johnson drown you in the river when I had the chance.</dialogue>
    <scene_description>`` Pipe downs '' etc. from the people around them .</scene_description>
    <character>CLAUDE</character>
    <parenthetical>( glancing around . )</parenthetical>
    <dialogue>I know you're not talking to me.</dialogue>
    <character>RAY</character>
    <dialogue>I'm sorry, he's on medication.</dialogue>
    <scene_description>The CAMERA PULLS BACK as the arguing continues , just like the old days . MUSIC UP . THE END</scene_description>
  </scene>
</script>

Summary: At the Mississippi State Penitentiary, elderly convict Willie Long (Obba Babatundé) attends the burial of two friends and fellow inmates who recently died in an infirmary fire. As two younger inmates begin digging their graves, Willie begins to recount the life story of his deceased friends. In 1932, Rayford "Ray" Gibson (Eddie Murphy) and Claude Banks (Martin Lawrence) are two New Yorkers from two different worlds. Ray is a small-time hustler and a petty thief, and Claude, an honest, yet often selfish minded man, has just been accepted for a job as a bank teller at First Federal of Manhattan. One evening, they are both at a club called Spanky's when Ray picks Claude as his mark to pick-pocket. After a meeting in the bathroom, they both end up in the bad graces of the club's owner Spanky (Rick James), with Spanky threatening to drown Claude until Ray convinces Spanky to allow himself and Claude to do some boot-legging to pay off their debt. Claude is spared, and he and Ray begin heading down south in order to buy a carload of Mississippi 'hooch'. Upon arrival, they pay for the booze and enter a local bar, where Ray meets a man named Winston Hancock (Clarence Williams III) while playing cards. With no money, Ray bets his father's prized pocketwatch, but ends up losing the game and the watch to Winston. Dejected, Ray soon realises the game was fixed after discovering a waitress had helped Winston win the game. Outside of the bar, Hancock is shot and killed by the town's sheriff, Warren Pike (Ned Vaughn), who frames Ray and Claude for the murder. A short time later, they go to trial, are convicted, and sentenced to life in prison. Ray and Claude are sent to an infamous prison camp called 'Camp 8' to perform hard labor. Ray and Claude immediately run afoul of the guards, Sergeant Dillard (Nick Cassavetes) and Hoppin' Bob (Brent Jennings), and soon become acquainted with their fellow inmates. Claude first meets Jangle Leg (Bernie Mac), a homosexual inmate who makes a pass at Claude, and they are later introduced to Willie Long (Babatunde), Biscuit (Miguel A. Núñez Jr.), another gay inmate, Radio (Guy Torry), Goldmouth (Michael Taliferro), an imposing prison bully who initially picks a fight with Ray, Cookie (Anthony Anderson), the prison chef, and Pokerface (Barry Shabaka Henley). Shortly into his sentence, Claude has his attorney cousin, Melvin, appeal against his conviction with his girlfriend Daisy's help, but it is denied, and shortly afterwards he finds out that Daisy has left him for Melvin. With any chance of earning his freedom gone, Claude and Ray devise a plan to escape, getting as far as Tallahatchie before being captured and sentenced to a week each in solitary confinement. 12 years later, both aged 37 years old, Claude and Ray meet a young mute inmate nicknamed 'Can't-Get-Right' (Bokeem Woodbine), a talented baseball player who catches the eye of a Negro League scout who tells the warden that he can get his sentence pardoned if he agrees to play professional baseball. Ray and Claude, seeing an opportunity for freedom, introduce themselves to the scout as his "handlers", and tell him that Can't-Get-Right will struggle to play well without them. Despite his talent, Can't-Get-Right is often distracted by his attraction to Mae-Rose (Poppy Montgomery), the daughter of the Camp 8's superintendent. A short time later, the Superintendent's pregnant daughter gives birth, and he discovers that the baby is biracial. Enraged, the next day, he demands to know who the father is, and, although none of the inmates officially claim responsibility, it's revealed that Can't-Get-Right was the father. During a dance social, Biscuit confides to Ray that he is going to be released; however, now being gay, Biscuit is too ashamed to return to his family, and commits suicide by deliberately running across the "gun line", where he is shot and killed by a guard. After 'Can't-Get-Right' is released to play for the Pittsburgh Crawfords, Ray devises another escape plan but Claude refuses, upset with the fact that 'Can't-Get-Right' was released without them, leading to an argument that results in Ray and Claude going their separate ways – Ray attempts a number of escapes on his own, while Claude continues to work on the camp and the two remain distant. Twenty-eight years later, in 1972, Ray and Claude are now 65 years old and still not speaking to one another.  All of their fellow inmates are gone either by death or release from prison, except for Willie, now confined to a wheelchair. One day, Claude snaps and runs across the gun line to steal a pie from a windowsill, and is punished by having to stand barefoot on a case of bottles for 24 hours. Dillard tells Ray that he wants him to watch Claude, and instructs him to shoot him and kill him if he steps off of the bottles. Ray refuses, and is ordered to partake in the same punishment, where he and Claude begin to talk and repair their friendship. One day, Dillard informs Ray and Claude that they will be transferred to live and work at Superintendent Dexter Wilkins' (Ned Beatty) mansion. Ray works outside of the house, taking care of the yard, while Claude works inside the house and forms a friendship with Wilkins. Shortly after moving into the house, Claude is entrusted to drive and pick up the new superintendent, Sheriff Warren Pike (R. Lee Ermey), the same man who framed them for murder forty years earlier. While on a pheasant hunt, Ray notices that Pike still has his father's watch and confronts him, forcing him to the ground and threatening to kill him. Ray tells Wilkins that Pike framed he and Claude for murder, and the sheriff admits to it with no remorse, saying "at least the state of Mississippi got forty years of cheap labor out of the deal." As Claude struggles to stop Ray from killing Pike, Pike attempts to kill them both, but he is shot and killed by Wilkins, who, realizing that Ray and Claude are indeed innocent, covers it up as a hunting accident. He intends to give them a pardon, but dies of a heart attack that same night before he can do so. In 1997 (present day), Ray and Claude are elderly, aged 90 years, living in the prison's infirmary. Claude tells Ray of yet another plan he has devised, but Ray has accepted his fate of dying in prison. That night, the infirmary catches fire, and they seemingly perish in the flames. Willie concludes the tale by outlining Claude's plan: Ray and Claude would steal two bodies from the morgue, start the blaze, plant the bodies, hide in the fire trucks and depart with them in the morning. When the workers ask why the plan didn't work, Willie tells them that he never said it didn't work, as the inmates begin to realize that the bodies they buried are not Ray and Claude, who have escaped back to New York, and are watching a New York Yankees baseball game. The film concludes by revealing the two are again on good terms, free and living together in Harlem.