Green Mile, The (1999) movie script

Screenplay by Frank Darabont.
From the novel by Stephen King.
First Draft, 11/4/97.

More info about this movie on IMDb.com

We each owe a death, there are no exceptions...

A SONG BEGINS, distant as a faded memory on an old Victrola:

Once I built a railroad, made it run... Made it race against

time...Once I built a railroad, now it's done...Brother, can

you spare a dime...

Opening credit sequence

plays against footage of the Great Depression, images

haunting and sepia-toned, defining an era. The bread

lines...the soup kitchens...the dust bowl refugees heading

west with their possessions on their backs and no hope in

their eyes...the strutting gangster royalty flaunting their

bootleg riches...an entire generation of lost youth riding

the rials...the U.S. army troops raining truncheon blows on

the half-starved and forgotten veterans of World War One as

"Hooverville" is set afire in the very shadow of the nation's

capitol...

All these faces, all these lives, in a world not really so

very long ago...

EXT. FIELD - DAY(SLOW MOTION)

...where cattails sway in the sepia-toned heat. A small scrap

of fabric is snagged in the nettles, fluttering languidly...

COLOR BLEEDS SLOWLY IN as mosquitoes swarm and dragonflies

skitter, showing the fabric scrap to be pale yellow...

Suddenly, a MAN WITH A SHOTGUN comes crashing through the

cattails, wiping through frame and exiting...

...then ANOTHER MAN...and ANOTHER...armed with rifles,

plowing through the brush, exiting frame...

...and now comes KLAUS DETTERICK, a farmer one step above

shirt-tail poor, a double-barrel shotgun in the crook of his

arm. He pauses, horrified, seeing the scrap of cloth. He

pulls it loose, turns back, screaming something in anguish...

...and still more men come crashing into view, flooding by us

with dreamlike, slow-motion grace. ONE MAN is leading a team

of DOGS, trying to untangle the leads. DEPUTY ROB McGEE is

shouting for everybody to stay together...

...and under it all, we hear a sibilant, frightening whisper:

WHISPERING VOICE (V.O.)

You love your sister? You make any

noise, know what happens?

And off that horrible voice, we

CUT TO:

INT. GEORGIA PINES NURSING HOME - MORNING(PRESENT DAY)

A CLOCK RADIO spews the morning weather report, abruptly

pulling us into the present with a prediction of rain. PAUL

EDGECOMB, late 70's/early 80's, wakes to another day...

INT. PAUL'S ROOM - MORNING

Paul stands at his bathroom mirror, meticulously buttoning

his shirt. He picks up a hairbrush, starts tidying his hair...

INT. CORRIDOR - MORNING

THE OLD AND INFIRM haunt these corridors like ghosts. A WOMAN

inches along on a walker. A MAN shuffles by with a rolling

I.V. stand. The floor is a limey, institutional green.

Paul comes into view, spry for his age, murmurs an occasional

greeting.

INT. BREAKFAST ROOM - MORNING

DOZENS OF RETIREES are having breakfast, sipping weak coffee

or tea. Some chat and gossip, other are content to keep their

own company, some just stare slackly into space.

Paul enters, sees ELAINE CONNELLY sitting with a few other

ladies, sipping tea. She's 80, refined and elegant, his best

friend here. She gives him a good-morning smile. He gives her

a rakish wink in return, which makes her smiles all the more.

Paul reaches past the people at the counter and sneaks two

pieces of cold leftover toast off a serving plate. He tosses

Elaine another look--catch ya later--and exits.

INT. HALLWAY PAST KITCHEN - MORNING

Paul slips to the back door unnoticed. Identical red plastic

rain ponchos line the wall on pegs. He helps himself to one

and eases outside, making good his escape.

EXT. NURSING HOME - ESTABLISHING - MORNING

Nestled in a valley of wooded hills, a drizzly mist rolling

over the treetops.

Paul appears f.g., coming up the ridge in his borrowed

poncho. He looks back at the valley below, inhales deeply--

this is a man who loves his walks.

He pulls a piece of toast from his pocket and starts to

nibble as he presses up on the ridge...

Low angle: nursing home and ridge beyond

...and we see Paul from a distance, just a speck trudging up

toward the treeline. A PICKUP TRUCK rumbles into frame and

parks, a bumper sticker looming large: "I Have Seen God and

His Name Is Newt Gingrich".

BRAD DOLAN gets out, an orderly in his late 20's/early 30's,

arriving for work in jeans and cheesy plaid shirt. He gazes

up toward the ridge, scowling and muttering softly:

BRAD

Old fuck.

He slams the door and heads for the nursing home...

EXT. WOODS - MORNING

...as CAMERA BOOMS DOWN through the trees to find Paul

wandering a wooded path, munching a tidbit of toast, looking

for all the world like Red Riding Hood in his plastic poncho.

It's silent here, like a church. The only sounds we hear are

the twittering of the birds and the hammering of the

woodpecker.

A RUSTLING SOUND makes Paul freeze. He turns, becomes

transfixed. Softly:

PAUL

Oh, my...

Reverse angle

reveals a magnificent BUCK, not twenty feet away, misty

breath punching the cold morning air. They watch each other

for an endless moment, both standing stock still...

...and then the animal bounds away, vanishing into the

foliage. Paul lets out a breath, shakes his head in wonder.

He takes another bite of toast, moves on...

...and WE PAN WITH HIM to reveal a pair of old wooden storage

shacks along the path up ahead.

INT. SHACK - MORNING

Dark in here, cobwebby and decrepit. We see Paul approaching

outside the grimy window. He steps up to the glass and shades

his eyes, peering curiously in as we

DISSOLVE TO:

EXT. NURSING HOME - DAY

Paul approaches the back door, returning from his walk. He

reaches for the knob...and a figure in white lunges from

behind the dumpster to grab his wrist. He whirls, gasping in

fright--it's Brad Dolan, wearing his orderly's uniform.

BRAD

Out for a little stroll, Paulie?

PAUL

Let go...

Paul tries to pull away, but Dolan's got him tight.

BRAD

What's with this poncho you got

on, huh? This isn't yours.

PAUL

I got it off the wall there.

There's a whole row of them.

BRAD

But not for you, Paulie, that's

the thing. Those are for the staff.

PAUL

I just borrowed it. Don't see what

harm it does.

BRAD

It's not about harm, it's about

rules. You probably don't think an

old fart like you has to mind

rules anymore, but that's just not

true.

Brad's eyes keep shifting--he obviously doesn't mind abusing

the elderly as long as he doesn't get caught doing it.

PAUL

I'm sorry if I broke the rules.

BRAD

You got no business up in those

woods anyway, especially in the

rain. What if you fall and bust a

hip, huh? Who you think's gonna

have to hoss your sorry old bacon

back down here? Me, that's who.

PAUL

You're hurting me!

BRAD

What do you do up there, anyway?

You're too old to go jerk off, so

what do you do?

PAUL

Nothing. I just walk, that's all,

I like to walk!

Brad lashes out and grabs Paul's other hand, which he's been

holding tightly clenched shut.

BRAD

Come on. Open up. Let Poppa see.

Paul uncurls his fingers, revealing the crushed remnants of

a bit of toast, his palm slick with a greasy oleo smear.

ELAINE (O.S.)

Paul?

They turn. Elaine stands just inside the screen door with a

cup of tea. Brad's eyes become calculated, wondering how much

she's seen. Elaine keeps her tone level, betraying nothing:

ELAINE

I saw you coming back, thought

you'd like some tea.

(beat)

Are you coming in?

PAUL

Mr. Dolan and I were...chatting.

About the weather. I think we're

through now.

Brad lets Paul loose, leans close:

BRAD

Paulie? You tell anyone I squeezed

your po' ol' hand, I'll tell 'em

you're having senile delusions.

Who you think they'll believe?

Brad walks off. Paul turns, watches him go. The screen door

opens and Elaine steps out, her face pale. Paul gives her a

strained, though grateful, smile as we

CUT TO:

INT. TV ROOM - DAY

Jerry Springer's on the tube, whipping his studio audience

into a frenzy. PAN OFF TO REVEAL DOZENS OF OLD FOLKS watching

on couches and folding chairs. An old black fellow named PETE

is grousing to a GROUP OF ELDERLY LADIES...

PETE

Why we always watch this crap?

ELDERLY LADY #1

It's interesting.

PETE

Interesting? Bunch'a inbred

trailer trash, all they ever talk

about is fucking...

...and WE CONTINUE PANNING to Paul and Elaine sitting near

the back, talking quietly as Paul rubs his bruised hand:

ELAINE

We should report him.

PAUL

That might just provoke him all

the more, make things worse for

everybody.

ELAINE

It's not everybody he has it in

for, Paul. It's you.

(off his look)

What did you do to provoke him in

the first place? Nothing. He's

just an abusive bully, and should

be made to stop.

PAUL

Ellie, please...

Pete

is at the TV, switching channels while:

ELDERLY LADIES

...no, the Movie Classic channel

is further down...past the Home

Shopping...keep going...

He finds the Movie Classic channel, which is playing an old

black and white musical--"Top Hat," with Fred Astaire and

Ginger Rogers. A delighted reaction:

ELDERLY LADY #2

Oh! This is wonderful...

Paul

idly shifts his gaze to the TV...and his expression goes

slack with recognition and dismay. Elaine sees the look in

his eyes.

He glances away...even briefly considers walking out...but in

the end, he can't help himself. The past just caught up with

him with a freight-train wallop, and, for one, he decides to

ride the rails...

He looks back at the TV. On screen, Fred and Ginger have

begun their famous "Cheek to Cheek" number, with Astaire

singing in that sublime, easy-go-lucky way of his:

FRED ASTAIRE

Heaven, I'm in heaven...and my

heart beat so that I can hardly

speak...

SLOW PUSH IN on Paul, watching. He'd like to take his eyes

off the screen, but the movie has him in a grip tighter than

Brad Dolan's. Elaine is watching him with puzzled concern:

ELAINE

Paul? What is it?

No response. All he can hear is that music, all he can see

are those dancers. The figures on TV are gliding with

ghostlike grace in their silvery, phosphor-dot world of long

ago...

Paul abruptly bursts into tears.

The room goes quiet, everything comes to a standstill. All

eyes turn, some concerned, others merely curious. Paul just

sits sobbing into his hands, shoulders heaving.

ELAINE

Paul...my God...

ORDERLY

(rushing over)

What is it? What's wrong?

PAUL

It's okay...I'll be okay...

Another orderly appears--Brad Dolan. He puts his hand on

Paul's shoulder and leans close, feigning concern.

BRAD

S'matter, Paulie? Why the boo-hoo-

hoo? Something nasty happen?

Elaine shoves his hand away, eyes flashing with anger.

ELAINE

Mr. Edgecomb will be perfectly

fine without your help, thank you.

Brad back off with a "hey, suit yourself" gesture. Elaine

helps Paul to his feet and leads him out.

CUT TO:

INT. SUN ROOM - DAY

Paul is staring out the windows, pensive and drained. It's

raining now, pattering the glass and the lawn beyond. Elaine

waits across from him, wishing he would speak. Softly:

PAUL

I guess sometimes the past just

catches up with you, whether you

want it to or not. It's silly.

ELAINE

Was it the film?

(off his look)

It was, wasn't it?

PAUL

I haven't spoken of these things

in a long time, Ellie. Over sixty

years.

She reaches out, gently takes his hand.

ELAINE

Paul. I'm your friend.

PAUL

Yes. Yes you are.

Paul wonders if he's even up to talking about it after all

this time...and decides that perhaps he is:

PAUL

I ever tell you I was a prison

guard during the depression?

ELAINE

You've mentioned it.

PAUL

Did I mention I was in charge of

death row? That I supervised all

the executions?

This does come as a surprise. She shakes her head.

PAUL

They usually call death row the

Last Mile, but we called ours the

Green Mile, because the floor was

the color of faded limes. We had

the electric chair then. Old

Sparky, we called it.

(beat)

I've lived a lot of years, Ellie,

but 1935 takes the prize. That was

the year I had the worst urinary

infection of my life. That was

also the year of John Coffey, and

the two dead girls...

FADE TO BLACK

In blackness, a title card appears:

"The Two Dead Girls"

CUT TO:

EXT. GEORGIA COUNTRYSIDE - DAY (1935)

HUNDREDS OF PRISONERS work the fields, pickaxes rising and

falling in waves, a prison song being sung in cadence with

the work. GUARDS patrol on horseback, rifles aimed at the sky.

A late 20's Ford PRISON TRUCK comes chugging into view along

the road, kicking up a long trail of dust in the heat. It

seems to be riding unusually low on its rear suspension.

EXT. COLD MOUNTAIN PENITENTIARY - ESTABLISHING - DAY

A Depression-era prison in the south. The prison truck sways

down the rutted dirt road toward the main gate...

INT. E BLOCK TOILET - DAY

...while Paul Edgecomb, early 40's, stands in a cramped

toilet in his guard's uniform, trying to piss. His face is

pained, his forehead beaded with sweat.

INT. E BLOCK (THE GREEN MILE) - DAY

BRUTUS HOWELL(nicknamed "Brutal" for his intimidating size,

but he's actually rather thoughtful by nature) stands at the

entry door of the cellblock, peering out through a viewing

slot. He sees the prison truck arrive at the main gate.

He turns and nods to fellow guard DEAN STANTON sitting at the

duty desk, then cross the Green Mile--a wide corridor of

faded green linoleum running some sixty paces top to bottom,

with four large cells to a side.

Brutal steps to the bathroom, listen a moment, knocks softly.

BRUTAL

Paul? Prisoner.

PAUL (O.S.)

Christ. Gimme a minute.

Brutal waits patiently, a bit embarrassed. He finally hears

a THIN TRICKLE, accompanied by a stifled groan of pain.

BRUTAL

You all right in there?

PAUL (O.S.)

For a man pissing razor blades.

The door opens, revealing Paul's pale and sweaty face.

BRUTAL

You should'a took the day off,

gone to see the doctor.

PAUL

With a new arrival? You know

better. Besides, it's not as bad

as it was. I think it's clearing

up.

They hear the truck HONKING as it rumbles up outside. Paul

gives them a nod to resume their positions. Paul walks down

the Mile, passing the cells where two inmates reside--the

first is ARLEN BITTERBUCK, a Washita Cherokee; the second is

EDUARD DELACROIX("DEL"), a skinny Cajun.

DEL

New boy coming in, boss?

PAUL

Never you mind, Del, you just keep

your nose quietly on your business.

Paul arrives at the end of the Mile, takes up a position at

an empty cell. (Down at this end, past the cells, is E

Block's version of the "hole" -- a padded room where violent

inmates are sent to cool off. It isn't used very often...in

fact, at the moment, it's doubling as storage space.)

Brutal

peers out the viewing slot as the truck stops outside.

BRUTAL

Damn, they're riding on the axle.

What'd they do, bust the springs?

GUARDS PERCY WETMORE AND HARRY TERWILLIGER OF E BLOCK emerge

from the back of the truck and step down, turn back...

Tighter angle on back of truck

We get our first glimpse of the new inmate as a pair of

GIGANTIC BLACK FEET step down into the yard...and the rear of

the truck bounces back up on its springs where it belongs.

Brutal

sees what's coming, eyes widening slightly.

BRUTAL

Paul? You might wanna reconsider

getting in the cell with this guy?

PAUL

Why's that?

BRUTAL

He's enormous.

PAUL

Can't be bigger than you.

Brutal tosses him a look--just wait. He swings the door open

in a hot flood of daylight, giving us our first good look at:

John coffey

is a huge black man, nearly 7 feet tall and 300 pounds, his

massive head shiny and bald, his skin a tapestry of old

scars, his prison overalls (the biggest size they had) ending

at mid-calf. He looks dull and confused, as if wondering

where he is and how he got there. Percy and Harry lead him

toward E Block in shackles. Percy's got his hickory baton out

of it custom-made holster, hollering:

PERCY

Dead man walking! Dead man walking

here!

Inside the cellblock

Paul can't see them approach from where he stands, but he can

certainly hear Percy:

PAUL

Jeezus, pleeze-us, what the hell's

he yelling about?

Up by the door, Brutal just rolls his eyes. Percy is the

first one through the door, still hollering...

PERCY

Dead man walking!

...then Coffey enters, ducking low to get through, his shadow

blotting out Brutal and Dean as his massive frame fills the

door. Everything hangs suspended for a moment, a look of

"hold shit" written on everybody's faces. Percy keeps yanking

on the big man's cuffs, leading him along with a cry of:

PERCY

Dead man walking! Dead man--

PAUL

Percy, that's enough.

Percy falls reproachfully silent. Paul doesn't dignify it,

just motions for them to come on. The procession comes down

the Mile, with Brutal and Dean bringing up rear.

BRUTAL

You sure you wanna be in there

with him?

PAUL

(looks to Coffey)

Am I gonna have trouble with you,

big boy?

Coffey shakes his head slowly. Paul takes the clipboard

transfer papers from Harry, turns and enters the cell.

Coffey just stands outside the cell and waits, as if he

doesn't understand the concept. Paul motions him to come on

in. Coffey starts to comply, but Percy raps him smartly with

the tip of his hickory baton to get him moving faster.

Coffey flinches, enters the cell. Paul stares angrily at

Percy, who stands slapping his hickory baton against the palm

of his hand like a man with a toy he's itching to use.

PAUL

Percy. They're moving house over

in the infirmary. Why don't you go

see if they could use some help?

PERCY

They got all the men they need.

PAUL

Why don't you just go make sure?

(off his look)

I don't care where you go, Percy,

as long as it's not here at this

very moment.

Percy flushes red, the baton hovering near his palm. He looks

like he's about to say something, but thinks better of it and

stalks angrily up the Mile instead...

...and sees Del at his bars, smiling. Infuriated, Percy

swings his baton and smashes Del's fingers with a LOUD CRACK.

Del jerks back, howling in pain:

DEL

OWW, GOD, HE BUS' MY FINGERS!

PERCY

Wiped that grin off your shitpoke

face, didn't I

PAUL

Goddamn it, Percy! Get the hell

off my block!

Percy throws Paul a look of disdain--your block, huh? He

swaggers out. Del's on his knees, weeping from the pain:

DEL

Oww, damn, boss, he done bus' my

fingers for true...

PAUL

We'll get it looked at, Del, now

keep yourself quiet like I said!

Del falls silent, moaning over his hand. Paul turns to

Coffey, who looks unsettled by all the commotion.

PAUL

If I let Harry take those chains

off you, you gonna be nice?

Coffey nods. Harry enters to remove Coffey's shackles.

PAUL

Your name is John Coffey.

COFFEY

(deep and quiet)

Yes, sir, boss, like the drink,

only not spelt the same.

PAUL

So you can spell, can you?

Coffey shakes his head. Harry steps out.

PAUL

My name is Paul Edgecomb. If I'm

not here, you can ask for Mr.

Terwilliger, Mr. Howell, or Mr.

Stanton...those gentlemen there.

(beat)

This isn't like the rest of the

prison. It's a quiet place, we

like to keep it that way.

Coffey considers this carefully, puzzled.

COFFEY

It weren't me making all the

noise, boss.

PAUL

(eyes narrowing)

You having a joke on me, John

Coffey?

COFFEY

No, sir.

Paul sees he isn't joking, continues:

PAUL

Your time here can be easy or

hard, depends on you. If you

behave, you get to walk in the

exercise yard every day.

We might even play some music on

the radio from time to time.

Questions?

Coffey doesn't miss a beat, as if he's been waiting to ask:

COFFEY

Do you leave a light on after

bedtime?

Paul blinks. It's the last thing he expected. Coffey smiles

uneasily, as if they might think him foolish for asking.

COFFEY

Because I get a little scared in

the dark sometimes. If it's a

strange place.

Paul looks to his men. The guards are trading glances.

PAUL

It's pretty bright in here all

night long. We keep half the

lights burning in the corridor.

COFFEY

Cor'der.

Coffey looks confused. Paul points to the lights lining the

ceiling of the Green Mile in wire mesh cages.

PAUL

Right out there.

Coffey nods, relieved. Then he surprises everybody by

offering Paul his hand, as if to show proper manners. Paul

hesitates, oddly touched, then surprised his men even more by

accepting. Coffey's hand swallows his. Coffey shakes gently,

lets go.

Paul steps from the cell. Brutal slides the door shut, locks

it. Coffey stands a moment as if unsure what to do, then

sinks onto the cot with his hands clasped between his knees.

He looks up at Paul, his voice soft as a whisper:

COFFEY

Couldn't help it, boss. I tried to

take it back, but it was too late.

Paul turns, leads his men up the Mile...

PAUL'S INNER OFFICE

...and they enter a few moments later. Paul is furious, but

keeping a lid on his temper:

PAUL

Dean, run Delacroix up to the

infirmary and see if his fingers

are broken.

BRUTAL

Course they're broken, I heard the

damn bones crack. Goddamn Percy.

HARRY

You hear what he was yelling when

we brought the big dummy in?

PAUL

How could I miss it, Harry? The

whole prison heard.

This makes Brutal snort, breaking the tension--the others

can't help smiling.

BRUTAL

You'll probably have to answer for

sending him off the Mile. He's

gonna cause you trouble over this,

you mark me.

PAUL

I'll chew that food when I have

to. Right now I wanna hear about

the new inmate...aside from how

big he is, okay?

BRUTAL

(smiles)

Monstrous big. Damn.

PAUL

Seems meek enough. Looks like they

sent us an imbecile to execute.

HARRY

Imbecile or not, he deserves to

fry for what he done. Here...

Harry tosses a pair of manila envelopes bound with rubber

bands on the desk before Paul--Coffey's file.

HARRY

...make your blood curdle.

CUT TO:

EXT. E BLOCK PRISON YARD - DAY

A small are reserved for inmates of the Mile, fenced-off from

the main prison yard. Arlen Bitterbuck walks the perimeter

under the watchful eyes of guard BILL DODGE.

We find Paul sitting by himself on the bleachers with

Coffey's file on his knees, thoughtfully unwrapping his brown-

bagged sandwich. PUSH SLOWLY IN as he begins to read...

EXT. DETTERICK FARM - DAWN (FLASHBACK)

...and we see Klaus Detterick walk from his house to the barn

with a milking pail, a solitary figure against a brightening

horizon. He disappears into the barn...

...and we hold for a long moment, the house silent

b.g.,chickens clucking and scratching in the front yard...

...until a WOMAN'S SCREAM shatters the silence. Klaus

reappears, dropping the pail, running toward the house...

PAUL ON BLEACHERS

...as Paul turns the page, keeps reading...

INT. DETTERICK HOUSE - DAWN (FLASHBACK)

...and Klaus bursts in to find his wife MARJORIE absolutely

frantic with terror:

KLAUS

WHAT? GOD SAKES, WHAT?

MARJORIE

THE GIRLS! THE GIRLS ARE GONE!

She drags him through the house to a screened-off porch area

where their 12 year old son HOWIE is pointing and shouting--

HOWIE

Papa! Papa, look! The blood!

--and Klaus freezes there, stunned to see blood spattered on

the floor and the screen door hanging off its hinges...

KLAUS

Oh my God.

PAUL ON BLEACHERS

...as Paul absently takes another bite of his sandwich, not

really tasting it, keeps reading...

INT. DETTERICK HOUSE - DAWN (FLASHBACK)

...plunging us back into the screaming chaos: Klaus grabbing

up shotgun shells, Howie loading the.22 rifle he got for

Christmas, Marjorie sobbing incoherently...

KLAUS

GODDAMN IT, WOMAN, GET ON THE

PHONE NOW! YOU TELL 'EM WE HEADED

WEST! MIND WHAT I'M SAYING! WEST,

Y'HEAR?

...and she goes stumbling through the house, grabbing for the

phone as her men disappear toward the porch b.g.:

MARJORIE

Central! Central, are you on the

line? Oh, God, please, somebody

took my little girls...

OUTSIDE THE HOUSE

Klaus and his son race from the house, following spatters of

blood across the yard...

PAUL ON THE BLEACHERS

...as Paul lets out a long breath, turns the page...

EXT. COUNTRY ROAD/FIELD - DAY (FLASHBACK)

---and we see CARS AND TRUCKS pulling up, MEN jumping out

with rifles, pouring down the incline toward the field where

Klaus is hollering and waving his arms. Deputy McGee comes

sliding down from the road, taking charge at the top of his

lungs--

McGEE

I WANT ALL THE WEAPONS UNLOADED,

Y'HEAR? TAKE OUT YOUR SHELLS, I

WON'T HAVE A MAN SHOT BY ACCIDENT

TODAY! BOBO, WHERE THEM DOGS?

--and the dogs come bounding out of the back of a truck,

howling down the incline to lead the chase...

VARIOUS ANGLES

...which takes us through the cattails and bulrushes...to the

spot where Klaus finds the little scrap of pale yellow

fabric, turns and screams...

KLAUS

Oh, Lord, this belongs to my

Katie...

...and they keep going, stopping abruptly as they find: A

blood-drenched area of tramped grass. A little girl's bloody

nightgown hangs in the low branches of a tree. Some of these

strong men look like they might throw up or faint at the

sight of it. Their blood freezes in their veins as an INHUMAN

HOWLING commences up ahead. It's like nothing they've ever

heard before, raising the hackles of men and dogs alike.

PAUL ON BLEACHERS

...as Paul quietly turns another page, shaking his head...

PAUL

Jesus.

EXT. FIELD - DAY (FLASHBACK)

The men reload their weapons. Everybody's terrified. McGee

starts off, the other following his lead toward--

THE RIVER

--where they emerge from the treeline, drawing ever closer to

the source of that INHUMAN HOWLING...

...and they stop, gazing in horror:

John Coffey sits on the riverbank in bloody overalls, his

huge feet splayed out before him. He's making that inhuman

howling sound, face twisted in monstrous grief, pausing

occasionally to take in a great hitching breath of air.

Curled in his massive arms are the naked bodies of

Detterick's 9 year-old twin girls, their once-blonde hair now

matted to their heads with blood.

A tableau. The men staring. John Coffey howling. A train

puffing smoke across the landscape.

Klaus Detterick breaks the moment, lunging down the riverbank

in a headlong rush. The others try to grab him, but he shrugs

them off and throws himself on Coffey with a scream of

inarticulate rage, kicking and punching, fists flying. Coffey

barely seems to notice.

The others catch up with Klaus, drag him off. He falls to his

knees on the riverbank, sobbing into his hands. Howie runs to

him, throws himself into his father's arm. They hug each

other tightly, overwhelmed with grief.

A semblance of quiet descends, except for Coffey's

heartbroken wailing. A ring of rifle toting men forms around

him, though he hardly seems aware of it. McGee steps forward,

uncertain:

McGEE

Mister.

Coffey goes quiet at once, eyes still streaming tears.

McGEE

Mister? Can you hear me?

(Coffey nods)

You have a name?

COFFEY

John Coffey. Like the drink, only

not spelt the same.

McGee hunkers carefully down, watching for any sudden moves.

McGEE

What happened here, John Coffey?

You want to tell me that?

COFFEY

I couldn't help it. I tried to

take it back, but it was too late.

McGEE

(pause)

Boy, you are under arrest for

murder.

McGee spits in Coffey's face...

PAUL ON BLEACHERS

...as Paul looks up with a slight start, jarred from his

reading to find WARDEN HAL MOORES standing before him.

HAL

I interrupt?

PAUL

I'm just about done.

Paul stows the file as Hal settles onto the bleachers.

PAUL

How's that pretty gal of yours?

HAL

Melinda's not so well, Paul. Not

so well at all. Got laid up with

another headache yesterday. Worst

one yet. She's also developed this

weakness in her right hand.

PAUL

Doctor still think it's migraines?

Hal gives a slight shake of his head.

HAL

I'll be taking her up to Indianola

next day or so for some tests. Had

X-rays and the like. She is scared

to death. Truth to tell, so am I.

PAUL

If it's something they can see

with an X-ray, maybe it's

something they can fix.

HAL

Maybe.

He pulls a letter, hands it to Paul.

HAL

This just came in. D.O.E. on

Bitterbuck.

Paul glances toward Bitterbuck, scans the letter, nods.

PAUL

You didn't come all the way down

here just to hand me a D.O.E.

HAL

No. I had an angry call from the

state capital about twenty minutes

ago. Is it true you ordered Percy

Wetmore off the block.

PAUL

It is.

HAL

I'm sure you had reason, but like

it or not, the wife of the

governor of this state has only

one nephew, and his name happens

to be Percy Wetmore. I need to

tell you how this lays out?

PAUL

Little Percy called his aunt and

squealed like a schoolroom sissy.

(Hal nods)

He also mention he assaulted a

prisoner this morning out of sheer

petulance? Broke three fingers on

Eduard Delacroix's left hand.

HAL

I didn't hear that part. I'm sure

she didn't either.

PAUL

The man is mean, careless, and

stupid. Bad combination in a place

like this. Sooner or later, he's

gonna get somebody hurt. Or worse.

HAL

You and Brutus Howell will make

sure that doesn't happen.

PAUL

Easy enough to say. We can't watch

him every minute, Hal.

HAL

Stick with it. May not be much

longer. I have it on good

authority that Percy has an

application in at Briar Ridge.

PAUL

The mental hospital?

HAL

(nods)

Administration job. Better pay.

PAUL

Then why's he still here? He could

get that application pushed

through...hell, with his

connections, he could have any

state job he wants.

Hal has no answer. Paul look off toward Bitterbuck.

PAUL

Tell you what I think. I think he

just wants to see one cook up

close.

Hal follows Paul's gaze, takes his meaning.

HAL

Well, he'll get his chance then,

won't he? Maybe then he'll be

satisfied and move on. In the

meantime, you'll keep the peace.

PAUL

Of course.

HAL

Thank you, Paul.

Hal rises, slapping yard dust off his trousers.

PAUL

You give Melinda my love, okay? I

bet that X-ray turns out to be

nothing at all.

Hal walks off looking like he's got the weight of the world

on his shoulders. Paul looks at the letter again...

TIGHT ON LETTER

...which is head: Date Of Execution."

DISSOLVE TO:

INT. PAUL'S HOUSE - NIGHT

Paul is at the kitchen table in the wee hours of the morning,

drinking buttermilk and listening to SOFT MUSIC on the radio.

JANICE EDGECOMB appears, shuffling sleepily downstairs.

JAN

Paul?

PAUL

Hey, you. Music too loud?

JAN

No. There's just this big empty

spot in the bed where my husband

usually sleeps.

PAUL

He said to tell you he's having a

little trouble with that tonight.

She comes into the kitchen, strokes his hair. There's an easy

familiarity and a deep love between these two.

JAN

Worried about Melinda and Hal? Is

that what's got you up?

PAUL

Yeah, that. Things.

JAN

Things.

She sits on his lap and gives him a crooked smile--you're not

getting off that easily.

PAUL

Got a new inmate today. Big,

simple-minded fella.

JAN

Do I want to hear what he did?

PAUL

No. One sleepless member of this

family's enough.

(softly)

The things that happen in this

world. It's a wonder God allows it.

She gives him a tiny kiss above his left eyebrow, in that

special spot that makes him prickle.

JAN

Why don't you come to bed? I've

got something to help you sleep,

and you can have all you want.

PAUL

Don't I wish. I've still got

something wrong with my

waterworks, I don't want to pass

it on.

JAN

You see Doc Sadler yet?

PAUL

No, because he'll want me to take

sulfa tablets and I'll spend the

rest of the week puking in every

corner of my office. It'll run its

course all by itself, thank you

very much for your concern.

She kisses that spot above his eyebrow again. He smiles.

JAN

Poor old guy...

DISSOLVE TO:

IN TIGHT ANGLES: Copper plugs are cleaned, switches are

oiled, circuits are tested...

INT. EXECUTION CHAMBER - NIGHT

...as maintenance is performed on Old Sparky by JACK VAN HAY

and a small crew. Paul is carefully sanding a connector plug.

Dean is waxing Old Sparky's wooden arms to a gleam.

Paul and Dean pause, thinking they hear a LAUGH drifting in

from E Block...and then Brutal calls softly to them:

BRUTAL (O.S.)

Paul? Dean?

INT. E BLOCK - NIGHT

Paul and Dean enter to find Brutal trying not to wake the

cons in their cells by laughing too loudly. They follows his

gaze down the Mile, see nothing, turn to him like he's crazy.

BRUTAL

I guess the legislature loosened

those purse-strings enough to hire

on a new guard.

(off their looks)

Look again. He's right there.

Paul and Dean look again and this time they see it:

A tiny brown mouse is coming up the Mile. It trots a short

distance, peers right and left as if checking the snoring

inmates in their cells, then makes another forward spurt.

PAUL

He's doing a cell check.

This gets them all trying not to laugh. The mouse draws ever

closer. Dean starts to look worried.

DEAN

It ain't normal for a mouse to

come up on people that way. Maybe

it's rabid.

BRUTAL

Oh, my Christ. The big mouse

expert. The Mouse Man. You see it

foaming at the mouth, Mouse Man?

DEAN

(dubious)

I don't see its mouth at all.

That does it--Paul and Brutal burst out laughing. The mouse

stops before them and peers up, curling its tail primly

around its paws as if to wait. The guards fall silent,

fascinated. Bitterbuck stirs in his cell, sits up to watch.

Brutal tears off a piece of his half-eaten corned beef

sandwich, holds it delicately out with two fingers. The mouse

rises up, appraising the morsel with shiny black eyes.

DEAN

Aw, Brutal, no! We'll be hip-deep

in mice around here...

BRUTAL

(to Paul)

I just wanna see what he'll do. In

the interests of science, like.

Paul shrugs. Brutal drops the scrap. The mouse grabs it and

eats, sitting up like a dog doing a trick.

The mouse turns and scurries back down the Mile, vanishing

under the restraint room door at the far end. Dean throws

Paul an "I told you so" look.

DEAN

He's in the damn restraint room.

You know he's gonna be chewing the

padding out of walls and making

himself a nice little nest.

Brutal give Paul a sheepish look--well? Paul sighs.

PAUL

All right. Let's get the damn

mouse.

They stride grimly down the Mile to the restraint room door,

men on a mission. Coffey's awake now, peering from his cot.

COFFEY

Saw me a mouse go by.

PAUL

It was a dream. Go back to sleep.

COFFEY

Weren't no dream. It was a mouse

all right.

PAUL

Can't put anything over on you.

Paul unlocks the door, revealing a padded room filled with

storage: cleaning supplies, buckets of paint, mops and

ladders, you name it. Brutal shrugs off his jacket. Paul

grabs a mop from a steel bucket, hands it to Dean.

PAUL

Dean, watch the door. He tries to

get past you, whack him.

DEAN

Brutal or the mouse?

BRUTAL

Har har, Mouse Man.

Brutal and Paul start doing the heavy lifting, muscling an

unused filing cabinet out the door...

DISSOLVE:

...and they finally relay the last few heavy buckets of paint

onto the Mile. Paul and Brutal catch their breath, scanning

the empty restraint room. Their eyes go glaringly to Dean.

PAUL

You let him get past you.

DEAN

No I didn't, I was here all the

time!

BRUTAL

Then where the hell is he?

They move slowly into the room, peering into every nook and

cranny, utterly mystified. Brutal shakes his head.

BRUTAL

Three grown men. Outsmarted by a

mouse.

DEAN

Well, bright side is, all this

commotion probably scared him off

for good.

PAUL

Yeah, that's right. That's the

last we'll see of him...

FADE TO BLACK

IN BLACKNESS, A TITLE CARD APPEARS:

"The Mouse on the Mile"

CUT TO:

INT. E BLOCK - DAY

A low, static shot. Green floor stretching before us. Harry

and Bill Dodge are at the desk b.g., doing paperwork and

filing chores. Percy is idling nearby, whistling softly and

combing his hair...

...and into this quiet shot, deep in foreground, creeps the

mouse. He starts walking the Mile as before...

...right toward Percy.

COFFEY

stares through his bars as the mouse goes by...

PERCY

keeps combing his hair, unaware...

DEL

sits quietly picking his nose in his cell. The mouse appears

outside the bars, cruising inexorably up the Mile. Del turns

slowly, watches the mouse go by...

PERCY

still grooming himself, still unaware...

THE MOUSE

keeps coming closer. ANGLE UP to Bitterbuck peering through

his bars, watching him go by...

PERCY

keeps working that comb--and freezes at the sound of a TINY

SQUEAK. His head swivels slowly...

...and there's the mouse. Staring at him.

That moment of eye contact reveals an enmity older than time

itself. If mice have a natural enemy, Percy is it.

PAUL

You little son of a bitch.

Harry and Bill glance up from their work.

HARRY

Well, I'll be damned. There he is,

big as Billy-be-frigged. I thought

Brutal was pulling my leg.

BILL

That's a goddamn mouse.

HARRY

Yeah. Brute said he was in here

last night begging for food, came

right up to the desk.

BILL

My ass. Give him some room, Percy,

see what he does.

Percy takes a few careful steps back, eyes never leaving the

mouse. (Percy's hand starts easing toward the handle of his

baton.) The mouse comes up to the desk as before.

HARRY

Brave little bastard, gotta give

him that.

Harry breaks off a small piece of cracker and drops it. The

mouse picks it up, starts to eat. (Percy's hand inches ever

closer to his baton).

BILL

Here, lemme try.

Bill drops a piece of cracker. The mouse ignores it

completely, keeping its beady little eyes on Harry. (Percy's

hand starts easing his baton from its holster.)

BILL

Maybe he's full.

HARRY

(grins)

Maybe he knows you're just a

floater. Gotta be an E Block

regular to feed the E Block mouse,

don'cha know...

Harry drops another piece--and sure enough, the mouse starts

to eat. Harry's smile fades. He and Bill trade a look.

HARRY

I was just kidding ab--

Percy lets rip a BELLOWING WAR CRY ("Yaaaahhh!") and launches

his baton like a spear, scaring the crap out of everyone.

The mouse ducks (yes, actually ducks) and the baton sail over

his head close enough to ruffle its fur, bouncing off the

floor. Apparently remembering a pressing engagement

elsewhere, the mouse takes off in a flash toward the

restraint room.

Percy roars with frustration and takes off after it, trying

to squash it with his heavy work shoes, leaping and stomping

with great big galloping strides, missing the mouse by

inches...

...and thus is the Green Mile traversed, with Percy stomping

and hollering like a spastic flamenco dancer, the convicts

yelling at their bars, the mouse zigging and zagging like Jim

Thorpe heading for the endzone...

The mouse wins, zipping to safety under the restraint room

door. Percy pounds his fist against the door in frustration:

PERCY

FUCK!

He fumbles with his keys, unlocks the door, yelling all the

while:

PERCY

I'M GONNA RIP YOUR DISEASED HEAD

OFF, YOU LITTLE PIECE OF SHIT!

OUTSIDE E BLOCK

Paul and Brutal are arriving for work--they pause, hearing

PERCY'S YELLS drifting from the windows. The regular CONS in

the yard are drifting curiously to the fence, wondering if a

riot's brewing. Paul and Brutal take off running--

INSIDE E BLOCK

--and rush in to find:

HARRY

Percy met your mouse.

Harry points. Percy's down at the far end, rummaging wildly

in the restraint room, tossing shit out onto the Mile.

PERCY

It's in here somewhere! I'm gonna

squish the little son of a bitch!

He starts muscling the filing cabinet out the door, kicking

buckets out of his way. Brutal calls out to him:

BRUTAL

Percy, we already tried that--

PERCY

What? Whad'ja say?

BRUTAL

I said--

Paul stops Brutal with a look--don't you dare stop him.

BRUTAL

--uh, knock yourself out. Hope you

nail the bastard.

Paul crosses his arms and smiles, leans back against the desk

to wait...

DISSOLVE:

...and Percy hauls the last of the stuff out, exhausted. He

steps back in and looks around, unable to believe there's no

mouse cowering in the corner. Paul and the men approach,

keeping straight faces, navigating the crap in the corridor.

BRUTAL

Gosh. Ain't in there, huh? Don't

that beat the mousie band?

Percy keeps scanning the restraint room. The others all look

to Paul, waiting for him to speak--you're the boss.

PAUL

Percy. You want to think about

what you were doing just now.

PERCY

(turns, glaring)

I know what I was doing. Trying to

get the mouse. You blind?

HARRY

You also scared the living crap

out of me and Bill. And them.

He cocks a thumb at the inmates in their cells.

PERCY

So what? They aren't in cradle-

school, case you didn't notice...

(directed at Paul)

...although you treat them that

way half the time.

BRUTAL

We don't scare 'em any more than

we have to, Percy. They're under

enough strain as it is.

PAUL

Men under strain can snap. Hurt

themselves. Hurt others. That's

why our job is talking, not

yelling. You'll do better to think

of this place like an intensive

care ward in a hospital--

PERCY

I think of it as a bucket of piss

to drown rats in. That's all.

(scans their faces)

Anybody doesn't like it can kiss

my ass. How's that sit?

Brutal steps forward, wanting to slug the little bastard.

Percy shies back, but keeps his bravado up:

PERCY

Try it. You'll be on the bread

lines before the week is out.

PAUL

We all know who your connections

are, Percy...

(steps close)

...but you ever threaten a man on

this block again, we're all gonna

have a go. Job be damned.

PERCY

Big talk. You done?

PAUL

Get all this shit back in the

restraint room. You're cluttering

up my Mile.

They turn and walk away, leaving Percy as we

DISSOLVE TO:

INT. E BLOCK - NIGHT

A SLOW TRACKING SHOT OF THE GREEN FLOOR takes us past a tiny

scrap of break...and then another...and then past a mousetrap

primed with a scrap of bacon...

...and we keep following a long trail of bread scraps and

mousetraps until we come to Percy, alone on the Mile,

carefully laying the last mousetrap down...

...and he scoots back against the desk to wait, crouched and

holding his breath, eyes riveted to the restraint room door

for any sign of his furry nemesis...

...and CAMERA BOOMS SLOWLY DOWN off his face, dipping down to

floor level...

...where the mouse is revealed under the desk, peering in the

same direction as Percy, wondering what the hell's so

interesting down there. It hops further out to see...

ANGLE OF PERCY FROM FLOOR LEVEL

...and the mouse enters frame, hopping out a few more steps,

mouse and man staring in the same direction.

A long beat. Percy turns, looks down at the mouse. The mouse

turns, looks up at Percy...

...and all hell breaks loose again. They race the Mile as

before, Percy hollering and stomping all the way, mousetraps

snapping and flying up into frame as they go charging wildly

past the cells.

The mouse wins again. Percy pauses, furious...and sees Coffey

staring at him from his cell.

COFFEY

Saw me a mouse go by.

Percy loses it, kicking and punching the restraint room door

in a screaming rage as we

FADE TO:

INT. E BLOCK - DAY

Paul appears at Bitterbuck's bars with a group of guards.

PAUL

Arlen? Your daughter and her

family are here.

Bitterbuck steps from his cell. Bill Dodge escorts him off

the block. The moment they're gone:

PAUL

Let's move. I want at least two

rehearsals before he gets back.

INT. VISITOR'S ROOM - DAY

Bitterbuck is led in. His DAUGHTER rises...an awkward

hesitation...and she touches his face, kisses him. He takes

her hands, kisses them, tries not to cry. The rest of the

family is there: SON-IN-LAW, GRANDCHILDREN, COUSINS. They

form around him, murmuring hellos, shaking hands...

INT. E BLOCK - DAY

...while TOOT-TOOT takes Bitterbuck's place in the cell. He's

a wiry and toothless old trusty, crazy as a tick. He sits:

TOOT

Sittin' down, sittin' down,

rehearsing now! Everybody settle!

He glances to Paul--okay, hit it.

PAUL

Arlen Bitterbuck, step forward.

Toot springs to his feet and steps from the cell.

TOOT

I'm steppin' forward, I'm steppin'

forward, I'm steppin' forward...

Toot turns, shows the top of his head to Dean.

PAUL

Is his head properly shaved?

DEAN

No, it's dandruffy and it smells.

PAUL

I'll take that for a yes. All

right, Arlen, let's go.

Toot starts up the corridor, ringed by guards.

TOOT

I'm walkin' the Mile, I'm walkin'

the Mile, I'm walkin' the Mile...

PAUL'S INNER OFFICE

Toot throws himself to his knees as soon as they enter:

TOOT

I'm prayin', I'm prayin', I'm

prayin'. The Lord is my shepherd,

so on an' so forth...

PAUL

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