>> / Green Mile

/ Green Mile. .

: / Green Mile.

/ Green Mile

CUT TO:

INT. PAUL'S HOUSE - NIGHT

Paul enters in darkness, hangs his hat. He drifts into the
kitchen, clicks on the radio. SOFT MUSIC BEGINS: Gene Austin
singing "Did You Ever See A Dream Walking?"

He pours a drink at the kitchen table, takes a sip, lays the
glass down. Jan sleepily appears from the darkness behind
him, entering the kitchen. He realizes she's there, glances
back.

She can sense the weight on his soul. She comes to him, folds
his head into her arms. They stand that way, he drawing
strength and she giving it, as the music plays on...

DISSOLVE TO:

SEQUENCE WITH MUSIC:

INT. CHURCH - MORNING

CAMERA TRACKS the pews to find Paul and Jan seated together
in the congregation, voices raised in hymn...

EXT. COUNTRY ROAD - MORNING

Paul's Model T comes sputtering up the road. He and Jan are
taking a drive, still in their Sunday best...

EXT. HAL'S HOUSE - MORNING

Paul and Jan wait at the front door. Jan holds a baking dish.

PAUL
I hate this.

JAN
I know.

The door opens. Hal, looking tired, ushers them inside...

EXT. BACKYARD - MORNING

...and they walk outside to find MELINDA MOORES sitting in
the sun, frail and wasted, a blanket on her knees. She'd be
beautiful if not for the cancer killing her.

Paul is shocked at her appearance, hides it as best as he
can. Jan covers this for him--she drops to Melinda's side
with a warm smile and a kiss, takes the woman's frail hands
in hers.

Paul catches Jan's eye. The look he gives her says it all--I
don't know what I'd do without you...

DISSOLVE:

...and we find Paul and Hal talking quietly over beers while
the women visit b.g.:

HAL
She's having one of her good days.
I thank God for that.

PAUL
What a bad day?

HAL
(beat)
Sometimes she's...not herself
anymore. She swears.

PAUL
Swears.

HAL
It just pops out, the most awful
language you can imagine. She
doesn't even know she's doing it.
I didn't know she'd ever heard
words like that...and to hear her
say them in her sweet voice...
(gazes off)
I'm glad she's having a good day,
Paul. I'm glad for you and Jan.

DISSOLVE TO:

INT. PAUL'S BEDROOM - NIGHT

Paul is wide awake, staring at the dark. Jan can sense him
brooding. She rolls over sleepily.

JAN
Honey? If you don't say what's on
your mind, I'm afraid I'll have to
smother you with a pillow.

PAUL
I'm thinking I love you. I'm
thinking I don't know what I'd do
if you were gone.

JAN
Oh.

PAUL
(beat)
I'm also thinking I'd like to have
the boys over tomorrow.

Off Jan's look, we

CUT TO:

INT. DINING ROOM- DAY

Brutal, Harry, and Dean are seated at the table with Paul and
Jan. Serving plates are being passes, everybody digging in:

THE MEN
(various, ad-lib)
Ma'am, you sure know how to fry up
some fine chicken...Brutal, don't
hog the taters now...Try that corn
yet? It's something special...

Paul softly interjects:

PAUL
You saw what he did with the mouse.

This stops everybody cold. Dean puts his chicken down, wipes
his hands. Looks are traded in the silence.

BRUTAL
I could'a gone the rest of the day
without you bringing that up.

DEAN
I could'a gone the rest of the
year.

PAUL
He did it to me too. He put his
hands on me and took my bladder
infection away.

The men absorb this. Brutal glances to Jan.

JAN
When he came home, he was...all
better.

DEAN
You're talking about an authentic
healing. A praise-Jesus miracle.

PAUL
I am.

BRUTAL
If you say it, I accept it. But
what's it got to do with us?

Jan looks to Paul, realization starting to dawn:

JAN
Melinda? Oh, Paul...

BRUTAL
Melinda? Melinda Moores?

Paul nods--that's who we're talking about.

JAN
You really think you can help her?

PAUL
It's not a bladder infection, or
even a busted-up mouse. But there
might be a chance.

HARRY
Hold on now. You're talking about
our jobs. Sneak a sick woman onto
a cellblock?

PAUL
Hal would never allow that. You
know him, he wouldn't believe
something unless it fell on him.

BRUTAL
So you're talking about taking
John Coffey to her. That's more
than just our jobs, Paul.

DEAN
Damn right. That's prison time if
we get caught.

HARRY
Let's not discuss this like it's
even an option. Brutal, help me
out here...

Brutal lets out a deep breath, considering. He looks to Paul.

BRUTAL
I'm sure she's a fine woman...

JAN
The finest.

PAUL
What's happening to her is an
offense, Brutal. To the eyes and
the ears and the heart.

BRUTAL
I have no doubt. But we don't know
her like you and Jan do...do we?

PAUL
That's why it's a lot to ask.

HARRY
It is. Let's not forget Coffey's
a murderer. What if he escapes?
I'd hate losing my job or going to
prison, but I'd hate having a dead
child on my conscience even more.

PAUL
I don't think that'll happen...
(beat, softly)
...in fact, I don't think he did
it at all.

The men are stunned by this. Off their looks:

PAUL
I just can't see God putting a
gift like that in the hands of a
man who would kill a child.

DEAN
Well, that's a tender notion, but
the man's on death row for the
crime. Plus, he's huge. If he
tried to get away, it'd take a lot
of bullets to stop him.

BRUTAL
We'd all have shotguns in addition
to sidearms. I'd insist on that.
(to Paul)
He tried anything, we'd have to
take him down. You understand.

PAUL
I understand.

BRUTAL
(beat)
So. Tell us what you had in mind.

FADE TO BLACK

IN BLACKNESS, A TITLE CARD APPEARS:

"Night Journey"

CUT TO:

INT. INFIRMARY BUILDING/DISPENSARY - NIGHT

A FLASHLIGHT BEAM plays across a glass cabinet, scanning the
contents. The beam pauses. A hand enters frame, unlocks the
cabinet, pulls out a bottle of morphine tablets...

...and WE ANGLE TO Brutal as he shakes half a dozen pills
onto his palm, pockets them, replaces the bottle on the
shelf. He turns and slips five bucks to a NIGHTSHIFT ORDERLY.

BRUTAL
I was never here.

ORDERLY
Shit, for five bucks, you was
never nowhere.

INT. E BLOCK ACCESS TUNNEL - NIGHT

A MORPHINE PILL is being crushed to powder on the stainless
steel gurney. TILT UP to Paul crushing the pills. Brutal
carefully scrapes the powder onto a small sheet of paper...

INT. PAUL'S INNER OFFICE - NIGHT

Percy is parked in Paul's chair with his feet up, reading a
book titled: "CARING FOR MENTAL PATIENTS."

INT. E BLOCK - NIGHT

Harry and Dean are playing cards at the duty desk, tension
thick, cards slapping softly as the seconds tick by. Paul and
Brutal finally show up toting bottles of RC cola:

BRUTAL
Fellas thirsty? Fresh out of the
icebox.

DEAN
Oh, thanks. That's swell.

HARRY
Yeah, hot in here.

They begin popping the caps off, swigging cola. The sound of
it brings Billy to his bars.

BILLY
Hey. Hey, I'm'a get some too.

BRUTAL
My ass you get some too.

PAUL
You think you deserve any?

HARRY
(checks a clipboard)
Day report says he's been okay.

BILLY
Hell, yes, I been behaved. C'mon,
now, don't be stingy hogs.

Paul shrugs to Brutal--why not? Brutal pops the top off a
bottle, passes it to Paul. Paul grabs a tin cup, sets it on
the desk...and we see it contains the morphine powder. He
pours the cola, swirls it around...

ANGLE THROUGH COFFEY'S BARS

...as Coffey looks up, sensing something happening. He peers
up the Mile as Paul walks to:

BILLY'S CELL

Billy reaches for the cup, but Paul keeps it out of reach.

PAUL
You gonna stay behaved?

BILLY
C'mon, you clunk, gimme that.

PAUL
You promise me, or I'll drink it
myself right here in front of you.

BILLY
C'mon now, don't be that way. I be
good.

Paul lets him take the cup. Billy knocks it back, draining it
in three huge swallows. He lets out an awesome belch.

PAUL
Cup.

BILLY
We'll break out the fire hose and
take it anyway. And you will have
drunk your last R.C. cola. Unless
they serve 'em down in hell.

Billy's smile fades. He hands the cup through the bars. Paul
takes it, turns and heads back to--

THE DUTY DESK

--where Brutal, Harry, and Dean have been watching the entire
exchange with their hearts in their throats...

DISSOLVE:

...and we find Billy staring glassy-eyed at the ceiling. He
keels over on his bunk. ANGLE to Paul and Brutal stepping to
the bars with Harry and Dean.

PAUL
Anybody wants to back out, now's
the time. After this, there's no
turning back.
(off their looks)
So? We gonna do this?

A voice comes softly from down the way:

COFFEY
Sure. I'd like to take a ride.

Their heads come slowly around, staring at Coffey in shock.

BRUTAL
(to Paul)
Guess were all in.

INT. PAUL'S OFFICE - NIGHT

Percy looks up from his book as the door opens. Paul enters
with Brutal and Harry, ominously hemming the desk.

PERCY
What is this?

Paul pulls the canvas straitjacket from behind his back.

PAUL
Payback.

Percy jumps up and tries to the execution chamber, but Harry
grabs him, spins him back. A wild scuffle ensues as:

PERCY
Let go of me! Let go!

PAUL
Settle down, Percy!

Percy tries to jerk away, crashes into the desk. The book he
was reading falls to the floor--

--and a "Tijuana Bible" is revealed within the pages. It's a
pornographic cartoon book of the type popular in the '30's,
featuring crude drawings of famous cartoon characters or
movie stars engaged in outlandish sexual acts. This one has
Olive Oyl getting it doggy-style from Popeye. The word
balloon over his head features his famous laugh: "Uk-uk-uk-
uk!"

BRUTAL
Oooo, Poicy! What would your
mother say?

PERCY
Let go, you ignoramus! I know
people! Big people!

PAUL
So you've said. C'mon, stick out
your arms like a good boy.

PERCY
I won't. And you can't make me.

BRUTAL
You're dead wrong about that, you
know.

Brutal grabs Percy by the ears, twisting hard. Percy lets out
a shriek--not just of pain, but a dismayed understanding that
he's not going to bluster his way out of this one.

BRUTAL
You gonna put your arms up? I'll
rip your ears off. Use 'em for tea
caddies. You know I will.

PAUL
The man's ripping your ears off,
Percy. I'd do as he says.

Percy jerks his arms up before him. They get the straitjacket
on him within seconds. Percy turns to Paul on the verge of
tears. Softly:

PERCY
Please, Paul. Don't put me in with
Wild Bill. Please.

PAUL
You would think that.

Paul gives him a hard, angry shove...

INT. E BLOCK - NIGHT

...and they bring him down the Mile to the restraint room
door. Brutal takes Percy's holster and baton.

BRUTAL
You'll get 'em back, don't worry.

PERCY
That's more than I can say about
your jobs. All your jobs! You
can't do this to me! You can't!

Paul steps forward with a roll of strapping tape.

PAUL
Let you in on a little secret. We
can and we are.

He slaps the tape over Percy's mouth and shoves him back into
the restraint room. Percy stands breathing heavily through
his nose, making muffled mmmmph-mmmph! sounds under the tape.

PAUL
You're going to have a few hours
of quiet time now, so you can
reflect on what you did to Del.

BRUTAL
(grins)
If you get lonely, think about
Olive Oyl...
(thrusting his hips)
...uk-uk-uk-uk!

And they slam the door, shutting Percy into darkness.

A WALL-MOUNTED GUN SAFE

is unlocked, shotguns pulled out. The men load up, heading
down the Mile as:

PAUL
One more time--what do you say if
somebody comes by?

DEAN
Coffey got upset, so we put him in
the restraint room. They hear any
noise, they'll think it's him.

They come to Coffey's cell.

COFFEY
We goan for the ride now?

PAUL
That's right.

The cell is unlocked. Coffey emerges. Paul motions them
along, still grilling Dean:

PAUL
What about us?

DEAN
You're over in Admin, going over
Del's file. Brutal and Harry are
in the laundry doing their wash--

A skinny white arm suddenly shoots out from Wild Bill's cell
and grabs Coffey by the wrist. The men gasp, shocked to see
Billy on his feet, grinning and weaving like a punch-drunk.

Coffey's reaction is beyond simple surprise; he's actually
trembling at Billy's touch as if some electrical circuit were
engaged. His eyes are wide and horrified, as if he'd just put
his hand in a basket full of snakes. He tries to pull away,
but Billy has him tight, that mysterious circuit blazing.

BILLY
(slurring wildly)
Where you fink you're goin'?

Coffey responds softly, with utmost horror:

COFFEY
You're a bad man.

BILLY
S'right, nigger. Bad as you'd want.

Paul plucks Billy's hand off Coffey's arm--and Coffey
flinches back as the circuit is broken.

BILLY
Whooeee. Whole room's spinning.
Like I'm shit-ass drunk. I have me
some shine or what?

He turns and staggers back to his bunk, muttering all the way:

BILLY
Niggers oughtta have they own
'lectric chair. White man oughtn't
havta sit in no nigger 'lectric
chair, nossir...

He goes face-first onto his bunk. Coffey is still staring.

COFFEY
He's a bad man.

INT. EXECUTION CHAMBER - NIGHT

Coffey is brought in...and freezes in horror at the sight of
Old Sparky. A whisper:

COFFEY
They're still in there. Pieces of
them, still in there. I hear them
screaming.

All eyes go to the electric chair. It sits shrouded in shadow
like an ominous throne. Never before has this place felt so
haunted to the men. It makes the hairs on the neck stand up.

PAUL
John, come along! Right now,
y'hear? C'mon! Toward that door!

Coffey finally responds, pulling away...

INT. E BLOCK ACCESS TUNNEL - NIGHT

...and they come down the steps. They realize Coffey will
have to stoop all the way down the tunnel. Paul pats the
gurney.

PAUL
Lie down on this.
(off Coffey's look)
It'll be easier for you and no
harder for us.

Coffey eases carefully onto the gurney, lying on his back.
His knees hang over the edge and his toes touch the ground,
but it works. They push him along, traversing the pools of
light.

Coffey actually starts to smile. He reaches out his arms,
fingertips touching the tunnel walls as they go by.

COFFEY
Say. This is fun.

EXT. PRISON WALL - NIGHT

A massive iron door SQUEALS open onto a little-used fenced
enclosure. Paul and the others bring Coffey up from the
tunnel below, emerging into the night. Coffey's breath
catches as he gazes wondrously up at the stars, pointing:

COFFEY
Look, boss! It's Cassie, the lady
in the rocking chair!

PAUL
Shhh. John, you have to be quiet
now.

COFFEY
(whispering)
You see her? You see the lady?

BRUTAL
We see her, John.

Harry goes first, hugging the shadows as he pulls his keys to
unlock the gate...

WIDE SHOT OF PRISON

...while TOWER GUARDS huddle in their enclosure atop the
walls. An occasional SPOTLIGHT cuts the darkness. FIREFLIES
dance in the fields and trees as far as the eye can see.

Four dark figures detach from the shadows, hurrying across
the lonely country road into the fields on the far side...

EXT. WOODS - NIGHT

Coffey's hand scoops up some fallen leaves. TILT UP to his
face as he crunches them under his nose, inhaling their smell.

He see the guards throwing him anxious looks. He misreads
this, holds out his hand so they can smell too. They do it,
just to make him happy.

PAUL
C'mon, big boy, keep moving.

A FEW FIREFLIES come winking through frame as the group
presses on...

ANOTHER AREA/WOODS

The trees are growing sparser, opening onto fields. MORE
FIREFLIES are flitting into view, trailing in their wake...

BRUTAL
How far is it?

HARRY
Just up ahead...

Harry brings them to a thicket of trees. They start removing
branches and boughs, uncovering a battered old FARMALL TRUCK
hidden in the brush.

The men pause. Even more fireflies are swirling around them,
growing in number. It's getting downright weird.

Coffey laughs softly, drawing their attention. A childlike
smile has utterly transformed his face. He raises his hand,
letting a firefly weave playfully in and out of his fingers.

COFFEY
Hey there, little firefly. Where's
Mrs. Firefly this evening?

Another firefly joins the first, both now dancing and
blinking around his fingers. Coffey laughs again.

COFFEY
Oh, there you is. You come out to
play too?

The men stand gaping. The fireflies are flitting to Coffey as
if to a beacon. He waves his hands slowly, fireflies blinking
and trailing from his fingertips like magic dust.

They begin orbiting his shiny bald head like tiny glowing
planet orbiting a sun, their light kicking a mellow sheen off
his ebony skin. Coffey's eyes meet Paul's.

PAUL
They seem...drawn to you.

COFFEY
I love 'em, is why. They don't
think no hurtful thoughts. They's
just happy to be. Happy little
lightning bugs...

The men don't know whether to be enchanted or terrified.
Harry gives Paul a look--can we go? Please?

PAUL
C'mon, big boy. Upsy-daisy.

Coffey clambers up on the stakebed. Paul and Brutal join him.
Harry gets in behind the wheel, jabs the starter button...

ON THE STAKEBED

...while Coffey sits with his back to the cab.

PAUL
John? Do you know where we're
taking you?

COFFEY
Help a lady?

PAUL
That's right. Help a lady. But how
did you know?

COFFEY
Dunno. Tell the truth, boss, I
don't know much'a anything. Never
have.

The truck pulls out. Coffey waves as the fireflies get left
behind, dwindling away like stars.

COFFEY
Bye, fireflies. Bye.

WIDE ANGLE OF COUNTRYSIDE

The truck rumbles from the fields onto a dirt road, countless
fireflies swirling in its wake...

DISSOLVE TO:

EXT. MOORES HOUSE - NIGHT

Headlights come over the rise. The truck appears, rumbling
down toward the house. The world is isolated and still.

IN THE TRUCK CAB

Harry stops and cuts the engine, leaving the headlights on.
Silence now, save for the trilling of crickets.

IN THE STAKEBED

Paul and Brutal both look terrified now that they're actually
here. An urgent whisper:

BRUTAL
We can still turn back.

Paul hesitates, wanting to do just that, but:

COFFEY
Boss, look. Someone's up.

Lights are coming on inside the house. Coffey rises and steps
down from the truck, pulling Paul along. Brutal follows them.

BRUTAL
This is a mistake. Christ, Paul,
what were we thinking?

PAUL
Too late now. Harry, keep John
here until we call you.

Paul and Brutal walk to the front door as the lights inside
the house keep clicking on. The last one finally comes on
over the stoop, the front door opens a crack...and the twin
barrels of a shotgun poke out into the night.

HAL
Who the hell goes there at two-
thirty in the goddamn morning?

PAUL
Hal, it's us! It's Paul and
Brutal--it's us!

The door swings wider, revealing Hal's face gaunt and haggard
in the yellow porch light, stunned to see them:

HAL
Paul, what are you doing here at
this hour? Jesus, it's not a
lockdown, is it? Or a riot?

PAUL
Hal, God's sakes, take your finger
off the trigger...

Hal doesn't, aiming past them at the truck in the yard.

HAL
Are you hostages? Who's out there?
Who's by that truck?

Coffey steps into the glare of headlights with Harry tugging
on his arm, trying to hold him back. Hal cocks both hammers.

HAL
John Coffey! Halt! Halt right
there or I shoot!

His aim wavers as a woman's voice comes from upstairs:

MELINDA (O.S.)
Hal? Who are you talking to, you
fucking cocksucker?

A frozen moment. Hal mortified. Paul gives him a look--is
that Melinda?

Hal's shotgun shifts back to Coffey--but Paul steps in front
of the muzzle.

PAUL
No one's hurt. We're here to help.

HAL
Help what? I don't understand. Is
this a prison break?

PAUL
I can't explain what it is. You
just have to trust me.

Coffey comes up the steps, brushes Paul aside, stops before
the warden. Hal blinks, his thoughts suddenly fuzzy--it's
that benign hypnotic effect Coffey has.

HAL
What do you...want?

MELINDA
Hal! Make them go away! No
salesmen in the middle of the
night! No Fuller brushes! No
French knickers with come in the
crotch! Tell them to take a flying
fuck in a rolling d...d...

We hear the sound of GLASS BREAKING, then she begins to sob.

COFFEY
(a whisper)
Just to help. Just to help, boss,
that's all.

HAL
You can't. No one can.

Coffey pulls the shotgun gently from Hal's grasp, hands it to
Paul. Coffey moves past Hal into the house...

INT. HOUSE - NIGHT

...and comes up the hallway toward the stairs.

HAL
Don't you go up there! Don't you
do it!

COFFEY
Boss, you just be quiet now and
let me be.

Coffey mounts the stairs with the others at his heels,
heading up toward that quavering voice:

MELINDA (O.S.)
Stay out of here! Whoever you are,
just stay out! I'm not dressed for
visitors, you rat's asshole!

INT. BEDROOM - NIGHT

Coffey enters, trailed by the others. Paul pauses, horrified.

The woman propped in bed barely resembles Melinda Moores
anymore--she looks made up like a Halloween witch, her livid
skin hanging in a loose trail of wrinkles, one corner of her
mouth twisted. Yellowish bile stains her chin and the front
of her nightgown. Her hair has gone white and straw-like, her
eyes glowering at Coffey with lively, irrational interest:

MELINDA
Oh, so big! Pull down your pants!
Let's have a look!

Hal groans with despair. Coffey just stands there for a
moment, watching her from a distance, then approaches the
bed...

MELINDA
Don't come near me, pigfucker.

...but as he draws closer, a change occurs. Her features
soften, her eyes become more sane and aware.

MELINDA
Why do you have so many scars? Who
hurt you so badly?

COFFEY
Don't hardly remember, ma'am.

Coffey sits on the edge of the bed. The lights seem to flare
hotter and brighter. Tears are forming in Melinda's eyes.

MELINDA
What's your name?

COFFEY
John Coffey, ma'am. Like the
drink, only not spelt the same.

She lays back, staring at him with shining fascination. The
world seems to be slowing down, growing very still indeed...

...and he starts bending slowly toward her.

COFFEY
Ma'am?

MELINDA
Yes, John Coffey?

COFFEY
I see it. I see it.

He comes closer...closer still...

COFFEY
You be still now. You be so quiet
and so still.

He brushes her forehead with his lips...the gentlest whisper
of a kiss...then moves his mouth down to hers. For a moment
we can see one of her eyes staring past him, filling with an
expression of surprise...

...and then her face is lost to view as Coffey puts his lips
on hers. We hear a soft whistling sound as he begins inhaling
the air deeply from her lungs. Something hot and glowing
starts passing between them, drawn on his breath...

The men watch. The house seems to shudder in that moment, as
if the entire world has shifted an inch to the right...

DOWNSTAIRS PARLOR

...and the grandfather clock stops ticking, the pendulum
stopping dead, the glass face cracking neatly up the center...

BEDROOM

...and a windowpane cracks. Then another. A picture falls off
the wall. A lightbulb bursts, showering glass.

Paul smells smoke, realizes the fringed coverlet of the bed
has caught fire. Moving like a man in a dream, he reaches for
the waterglass on the nightstand, douses the flames.

Coffey keeps kissing Melinda in that deep and mysterious way,
inhaling and inhaling, her hand held in his like a tiny white
bird. For a moment we actually hear something screaming, as
if some willful imp were being extracted by force...

...and then it's over. Coffey raises his head, revealing:

Melinda's beautiful face. Her mouth no longer droops. Color
is coming back to her hair. Her skin is shining with life.

Coffey regards her raptly for a moment or two, then starts
coughing violently.

He turns away and drops to his knees, hacking like a man in
the last stages of tuberculosis.

Paul and his men are expecting Coffey to spit out the "bugs",
but he doesn't--he just keeps coughing, deep and hard, barely
finding time to snatch in the next breath of air.

Hal goes to his wife, beyond stunned, sits at her side. She
looks back at him with amazement, her face like a dirty
mirror that's been suddenly wiped clean.

John's coughing grows even worse. Brutal drops to his side
and slaps his broad, spasming back.

BRUTAL
John! Sick it up! Cough 'em out
like you done before!

Coffey just keeps retching, eyes watering from the strain,
spit flying from his mouth.

BRUTAL
He's choking! Whatever he sucked
out of her, he's choking on it!

Paul starts toward them. Coffey crawls away, pressing himself
into a corner with his face against the wallpaper. He's still
making gruesome deep hacking sounds, but getting it under
control. He weakly waves Paul off--let me be.

Paul looks to the bed. Hal sits with Melinda, stroking her
brow. Color is blooming in her cheeks even as we watch.

MELINDA
How did I get here? We were going
to the hospital in Indianola,
weren't we? We stopped and you
bought me a packet of posies...

HAL
Shhh. It doesn't matter. It
doesn't matter anymore.

MELINDA
Did I have the X-ray? Did I

PAUL
Yes.

They both look at him.

PAUL
It was clear. There was no tumor.

Hal bursts into tears. Melinda sits up, comforting him. Her
eyes are drawn to the corner.

MELINDA
Who is that man?

Coffey is struggling to rise. Brutal does his best to help.

PAUL
John? Can you turn around? Can you
turn around and see this lady?

Coffey turns. His face is ashen gray, seriously ill.

MELINDA
What's your name?

COFFEY
John Coffey, ma'am.

MELINDA
Like the drink, only not spelled
the same.

COFFEY
No, ma'am. Not spelt the same at
all.

She pushes the covers aside to rise. Hal tries to stop her...

HAL
Melly, no...

...but she pushes his hand gently aside. Hal watches in
wonder as she stands, takes a first tentative step...and
walks to Coffey. She gazes up and touches his face.

MELINDA
I dreamed of you. I dreamed you
were wandering in the dark, and so
was I. We found each other. We
found each other in the dark.

She undoes her necklace, holds it up for him. He hesitates,
glances to Paul. Paul nods--it's all right. Coffey lowers his
head. Melinda affixes the delicate chain around his neck.

MELINDA
It's St. Christopher. I want you
to have it, Mr. Coffey, and wear
it. He'll keep you safe. Please
wear it for me.

COFFEY
Thank you, ma'am.

MELINDA
Thank you, John.

Her arms go around his neck, hugging him tightly as if she
might never let go.

EXT. MOORES HOUSE - NIGHT

Paul and the men hustle Coffey out the front door toward the
truck, helping him as best they can. He's weak as a baby,
knees threatening to give out at any moment.

PAUL
C'mon, John, stay on your feet.

HARRY
Christ, he goes down, we'll need
three mules and a crane to pick
him up again...

They get Coffey to the truck and throw their backs into it,
helping him crawl up onto the stakebed. He rolls over on his
back. Harry hops up, covers him with an old blanket. Brutal
pulls aside, speaking low:

BRUTAL
He'll never sit in Old Sparky. You
know that, don't you?
(off Paul's look)
He swallowed that stuff for a
reason. I give him a few days. One
of us'll be doing a cell check and
there he'll be. Dead on his bunk.

PAUL
If that's his choice, he's earned
it.
(beat)
Let's get him back on the Mile.

FADE TO BLACK

IN BLACKNESS, A TITLE CARD APPEARS:

"Coffey on the Mile"

CUT TO:

INT. E BLOCK - NIGHT

Dean starts babbling with relief as they return:

DEAN
Am I glad to see you! You were
gone so long! Wild Bill's making
noises like he's gonna wake up...
(notices Coffey)
What the hell's wrong with him?

BRUTAL
He's hurting, Dean. Hurting bad.

Dean jumps in, helps them steer Coffey into his cell.

PAUL
John, we're gonna set you on your
bunk now. Ready?

Coffey nods, sits heavily on the bunk. He lowers his head,
breath rasping like a rusted hinge. The guards step out.

DEAN
What about Mrs. Moores? Was it
like the mouse? Was it a...you
know...a miracle?

PAUL
Yes. Yes it was.

Paul scans their faces. Smiles are traded. An exultant beat.

HARRY
Damn. I think we got away with it.

BRUTAL
We still gotta convince a certain
somebody to keep his trap shut.

PAUL
Get his stuff.

Dean hurries off to retrieve Percy's holster and baton.
Brutal unlocks the restraint room door, swings it open. Percy
is revealed sitting against the wall, glaring, his mouth
still taped. Paul crouches down. Brutal joins him.

PAUL
I want to talk, not shout. I take
the tape off, you gonna be calm.

Percy nods. Paul takes hold of the tape, preparing to yank.

BRUTAL
My mother always said if you do it
fast, it won't hurt so much.

Paul rips the tape off. Percy's eyes water with pain.

BRUTAL
I guess she was wrong.

PERCY
Get me out of this nut-coat.

PAUL
In a minute.

PERCY
Now! Now! Right n--

Paul slaps him hard, knocks him sideways. Percy looks up,
blinking in surprise. Paul grabs him, yanks him back up.

PAUL
You shut up and listen. You
deserved to be punished for what
you did to Del. You'll accept it
like a man, or we'll make you
sorry you were ever born. We'll
tell people how you sabotaged
Del's execution--

PERCY
Sabotaged!

PAUL
--and how you pissed yourself like
a frightened little girl. Yes,
we'll talk, that's a given--but,
Percy, mind me now...we'll also
see you beaten within an inch of
your life.

Percy blinks, unable to grasp that.

PAUL
We know people, too, are you so
foolish you don't realize that?
People with friends and loved ones
doing time in this prison. People
who'd be happy to amputate you
nose or your penis just so someone
they care about could get an extra
three hours in the exercise yard
every week.
(off Percy's look)
Let bygones be bygones. Nothing's
hurt so far but your pride...and
nobody need ever know about that
except the people in this room.

BRUTAL
What happens on the Mile, stays on
the Mile. Always has.

A long pause. Softly:

PERCY
May I be let out of this coat now?

They pull him to his feet, undo the straps. He shrugs out of
the straitjacket and adjusts his clothes, trying to maintain
a shred of dignity.

PERCY
My things?

Dean hands them over. Percy smooths his hair and puts his hat
on, starts strapping on his holster belt.

PAUL
Think it over, Percy.

PERCY
Oh, I intend to. I intend to think
about it very hard. Starting right
now.

Percy exits the restraint room. Brutal whispers to Paul:

BRUTAL
He'll talk. Sooner or later.

Paul nods with weary resignation--yeah, I know.

ON THE MILE

Percy pauses near Coffey's cell, careless as always, getting
his holster buckled--and a massive black arm grabs him
through the bars. His SCREAM brings Paul and the others from
the restraint room.

Coffey's face is pressed so tight between his bars it looks
like he's trying to push his head through. He draws his lips
back, baring his teeth in an awful sneer...

Percy whacks him with his baton. Coffey barely seems to feel
it. He curls his free hand around the back of Percy's head,
pulling him ever closer...

...and Percy's screams are muffled as their mouths come
together. Coffey begins exhaling as if he'd held his breath
for hours. Percy jerks like a fish on a hook, but can't get
away. The men jump in, try to pry Percy loose, hollering for
Coffey to let him go.

The black "insects" are flowing from Coffey to Percy,
swirling into his mouth, up his nose, down his throat.

Several lightbulbs explode in their steel cages up and down
the Mile. Percy's baton drops from his nerveless fingers and
clatters to the floor, never to be picked up again.

And then Coffey steps back, rubbing his mouth as if he's
tasted something bad. The color has returned to his skin.

Percy, however, is ashen gray. His expression is blank as a
sheet of paper, not a trace of awareness in his eyes.

The men are stunned. Paul raises his hand to Percy's face,
snaps his fingers. Nothing. He tries again, clapping loudly.
Percy reacts slightly, eyes fluttering, swaying a bit.

PAUL
Easy, easy. You all right?

Percy says nothing. He turns and walks slowly up the Mile,
his movements vacant and disjointed. He comes to a swaying
stop at Wild Bill's cell...and turns slowly to look in.

Wild Bill is coming painfully around, groggily clutching his
head. He looks up, see Percy.

BILLY
What'a you looking at, you limp
noodle? You wanna kiss my ass or
suck my dick?

Nothing for the longest moment. Percy just staring...

...and then he pulls his gun and empties it into Wild Bill as
fast as he can pull the trigger. BAM!BAM!BAM!BAM!BAM!BAM!
Bill takes all six rounds in the chest, reeling back across
the cell. He hits the wall and slides down, leaving a smear,
his face registering a final look of stunned surprise.

Paul and the other tackle Percy and bring him down, wrestling
the gun out of his hand. Dean is almost weeping:

DEAN
Oh God, oh God, no...

Percy is flat on his back, staring up at nothing. The black
"bugs" come drifting out of nose and mouth, swirling in the
air over his head. They turn white and disappear.

The men are speechless. Paul turns, sees Coffey sitting on
the floor at his bars, watching.

COFFEY
Punished them bad men.

PAUL
Why Wild Bill? Why?

COFFEY
I saw in his heart. When he grab
my arm, I saw what Wild Billy
done. Saw plain as day. Can't hide
what's in your heart.

PAUL
What? Saw what?

Coffey reaches toward him, straining through the bars.

COFFEY
Take my hand, boss. You see for
yourself.

BRUTAL
Paul, no!

Paul hesitates, torn between reason and Coffey's pleading
eyes. A whisper:

COFFEY
My hand.

Paul can't help it. He has to. Their hands come together.
Paul lurches wildly as that circuit starts blazing between
them...

PAUL
No...please...

COFFEY
Gots to, boss. Gots to give you a
little bit of myself. A gift,
like. A gift of what's in me so
you can see...

...and Paul sees:

The Detterick twins. Kathe and Cora. Laughing and playing
hopscotch in the dust under a later afternoon sun...

A dinner table. Family having supper late in the day, basket
of biscuits being passed. Twelve year old Howie Detterick
taking it, passing it on...

An hand with a paint brush slopping bright red paint on the
side of a barn...

Kathe skipping to the head of the hopscotch squares, turning
and starting back, laughing in the sun...

The paint brush slopping more paint, dripping like blood...

Paul jerks and twists, trying to pull away, trying to break
the circuit, but he can't, not till all is seen and done:

Marjorie Detterick calling from the porch for everybody to
come eat, supper's ready...

A hammer pausing. Klaus looking down from atop the barn...

The Detterick twins finishing their hopscotch, gathering
their jump ropes from the dust, running across the yard...

The basket of biscuits being passed to little Cora, who takes
a biscuit and passes it on...

Klaus coming down the ladder, calling to his daughters. The
little girls running past the man with the paint brush, who
turns and smile as they go by...it's Wild Bill.

The basket of biscuits is passed one last time. A hand pulls
one out, raises it for a bite. It's Wild Bill, smiling at the
little girls as conversation flows around the table...

Paul screams, trying to pull away, but:

The porch door is kicked off its hinges just before dawn, a
figure looming in the doorway. Kathe wakes, her scream cut
short as the man's fist punches her hard in the face...

Paul trembles violently as if riding the lightning himself,
pleading for it to stop, but there's one last thing:

Wild Bill looms over the terrified little girls like a
horrendous boogeyman, whispers to Kathe:

BILLY
You lover your sister? You make
any noise, know what happens? I'll
kill her instead of you.
(to Cora)
And if you make any noise, I'll
kill her.

And he drags them out into the coming dawn...

...as Coffey lets Paul go. Paul is gasping, back in the real
world where his men are staring at him with wide eyes.

COFFEY
He kill 'em with they love. They
love for each other. You see how
it is?

Paul nods, numb. Tears are flowing down Coffey's face. Softly:

COFFEY
That's how it is ever' day. That's
how it is all over the worl'...

CUT TO:

WILD BILL

lies dead, staring with glassy eyes. A FLASHBULB POPS,
rimming him with harsh blue light...

INT. E BLOCK - DAWN

...as Hal arrives, wearing his pajama top under his overcoat.
He sees the POLICE PHOTOGRAPHER taking pictures. The guards
are giving statements to GROUPS OF COPS, everybody murmuring:

DEAN
...well, I dunno, he just snapped,
I guess...

HARRY
...s'right, one minute he's fine,
the next--blammo...

BRUTAL
...bastard grabbed him through the
bars a few days back, scared the
boy so bad he wet himself...

Hal turns, sees:

PERCY

sits handcuffed on the floor of the Mile, eyes glassier than
Wild Bill's. TWO COPS are trying to snap him out of it:

COP #1
Son! Son! Can you hear me?

COP #2
Speak up if you can hear us! We
gotta ask you some questions!

A MEDIC is raising Percy's eyelid with his thumb, shining a
penlight, getting no reaction.

MEDIC
I think this boy's cheese slid off
his cracker.

HAL

sees Paul, motions him aside to talk privately:

HAL
I'll cover you as much as I can,
even if it mean my job, but I have
to know. Does this have anything
to do with what happened at my
house? Does it, Paul?

Paul looks Hal in the eye. As with Bitterbuck, the lie comes
easy:

PAUL
No.

DISSOLVE TO:

INT. HOSPITAL ROOM - DAY

TRACKING A PAIR OF FEET shuffling into the room in hospital
slippers, escorted by TWO ORDERLIES. The patient is brought
to a window. The orderlies turn to leave...

...and we BOOM UP to reveal Percy, catatonic, staring out the
same window where we met Wild Bill...

EXT. HOSPITAL - DAY

...and we WIDEN SLOWLY from Percy at the window to reveal his
last stop in life. It's emblazoned on the gate: BRIAR RIDGE
MENTAL HOSPITAL. He finally got that transfer.

CUT TO:

EXT. PAUL'S HOUSE - DUSK

TIGHT ON PAUL as softly:

PAUL
It makes sense. I read the file.
Hal even said it himself. Wharton
rambled all over the state last
few years, causing trouble. Hell,
longer than that. Been at it since
he was ten. Vandalism. Petty
theft. Setting fires.

ANGLE SHIFTS to include Jan, Brutal, Harry and Dean. They're
in the brambly patch that borders the woods behind the house.
The sun is setting, turning the horizon fiery.

JAN
You saw him. You actually saw this
Wild Bill person take those girls.

PAUL
Their father hired him on for a
few days last spring, help repair
the barn. Cheap labor, just
another drifter...

BRUTAL
Only not.

PAUL
Sick bastard came back a month
later, just before dawn. Took the
girls...did what he did. Coffey
found them afterwards and tried to
help. It was too late.

JAN
(absorbs this)
Then you can stop it. The
execution, I mean. Get Coffey a
new trial.

PAUL
Based on what, honey? Some kind of
magical vision I had?

JAN
Show this farmer--what's his name,
Detterick?--show him a picture of
Wild Bill.
(off their looks)
Why not? If Wharton was there...if
the farmer can identify his
picture and they know he was
there...

BRUTAL
Him being there in May doesn't
mean he came back and killed those
girls in June. Even if he was
committing other crimes.

PAUL
They got their killer as far as
they're concerned.

Hell, Coffey's own lawyer would
come throw the switch if we let
him.

JAN
Then lie.

PAUL
Lie? About what?

JAN
Tell them Wharton confessed to the
crime. Brutus, you can back him
up, say you heard it too. You can
say that's what set Percy off. He
shot Wharton because he couldn't
stand thinking of what happened to
those two little girls, it snapped
his mind...
(seeing their looks)
...what? What now?

DEAN
We never reported anything like
that. We would've, too, everybody
knows it. It's part of our job.

BRUTAL
Besides, confessing don't make it
so. Slugs like Wild Bill lie about
everything. Crimes they committed,
women they had, even the weather.

JAN
But he was there! He painted their
barn! He ate dinner with them!

PAUL
All the more reason he might take
credit for the crime. He's gonna
fry anyway, so why not boast?

Jan stands thinking for a moment, then:

JAN
All right. Then you've got to get
John Coffey out on your own.

HARRY
Ma'am?

JAN
You did it once, didn't you? Only
this time, don't bring him back.

Dean blinks, stunned by this notion. Gently:

DEAN
Ma'am, your son's grown up and
moved away. My kids are just
starting kindergarten. Will you be
the one to explain to them why
their daddy's in prison?

JAN
Work out a plan. Make it look like
a real escape.

HARRY
Better be a plan an imbecile could
dream up. Nobody'd believe it
otherwise.

BRUTAL
Even if we did think of something,
it wouldn't do any good.

JAN
Why not? Just why the hell not?

PAUL
Because he's a six-foot-eight-inch
baldheaded black man with barely
enough brains to feed himself. How
long you think it'd be before he
was recaptured? Two hours? Six?

Jan swipes a tear away with the heel of her hand. Softly:

JAN
Do you mean to kill him, you
cowards? Do you?

Paul tries to take her hand. She wrenches away, furious.

JAN
Don't touch me! Next week this
time you'll be a murderer, no
better than that man Wharton, so
don't touch me!

She runs off toward the house, starting to sob as we

DISSOLVE TO:

INT PAUL'S KITCHEN - NIGHT

Paul is at the kitchen table in the wee hours, at his regular
place, sipping his beer. Irving Berlin's "Remember" PLAYS
SOFTLY on the radio. Jan comes down, looking miserable and
exhausted.

JAN
I'm so sorry I called you a
coward. I feel worse about that
than anything I've ever said to
you in our whole marriage.

PAUL
Even that time we went camping and
you called me Old Stinky Sam?

She can't help smiling at that. He returns the smile, offers
her a sip of beer. She takes it, sits.

JAN
Does Hal know? That Coffey's
innocent, I mean?
(Paul shakes his head)
Can he help? Does he have the
influence to do something about
this?

PAUL
No.

JAN
Then don't tell him. If he can't
help, don't tell him. Ever.

PAUL
I won't.

JAN
(beat)
There's no way out of this for
you, is there?

PAUL
No. I've been thinking about it,
too, believe me.
(beat)
Tell you the truth, honey. I've
done some things in my life I'm
not proud of, but this is the
first time I've ever felt in real
danger of hell.

JAN
Hell? Oh Paul...
(touches his face)
Talk to him. Talk to John. Find
out what he wants.

CUT TO:

INT. E BLOCK - NIGHT

Coffey sits quietly in his cell, a solitary firefly flitting
in circles around his finger. Paul and the men appear. The
firefly flits away, vanishing through Coffey's tiny window.

COFFEY
Hello, boss.

PAUL
Hello, John.

Brutal unlocks his cell. Paul enters.

PAUL
I guess you know we're coming down
to it now. Another couple of days.
(beat)
Is there anything special you'd
like for dinner that night? We can
rustle you up most anything.

Coffey gives it some careful thought.

COFFEY
Meatloaf be nice. Mashed taters
with gravy. Okra, maybe. I's not
picky.

PAUL
What about a preacher? Someone you
could say a little prayer with?

COFFEY
Don't want no preacher. You can
say a prayer, if you want. I could
get kneebound with you, I guess.

PAUL
Me?

Coffey gives him a look--please.

PAUL
S'pose I could, if it came to that.

Paul sits, working himself up to it:

PAUL
John, I have to ask you something
very important right now.

COFFEY
I know what you gonna say. You
don' have to say it.

PAUL
I do. I do have to.
(beat)
John, tell me what you want me to
do. You want me to take you out of
here? Just let you run away? See
how far you can get?

COFFEY
Why would you do such a foolish
thing?

Paul hesitates, emotions swirling, trying to find the right
words.

PAUL
On the day of my judgement, when
I stand before God, and He asks me
why did I kill one of his true
miracles, what am I gonna say?
That is was my job? My job?

COFFEY
You tell God the Father it was a
kindness you done.
(takes his hand)
I know you hurtin' and worryin',
I can feel it on you, but you
oughtta quit on it now. Because I
want it over and done. I do.

Coffey hesitates--now he's the one trying to find the right
words, trying to make Paul understand:

COFFEY
I'm tired, boss. Tired of bein' on
the road, lonely as a sparrow in
the rain. Tired of not ever having
me a buddy to be with, or tell me
where we's coming from or going
to, or why. Mostly I'm tired of
people being ugly to each other.

I'm tired of all the pain I feel
and hear in the world ever' day.
There's too much of it. It's like
pieces of glass in my head all the
time. Can you understand?

By now, Paul is blinking back tears. Softly:

PAUL
Yes, John. I think I can.

BRUTAL
There must be something we can do
for you, John. There must be
something you want.

Coffey thinks about this long and hard, finally looks up.

COFFEY
I ain't never seen me a flicker
show.

CUT TO:

TIGHT ON COFFEY'S FACE

gazing with wide-eyed, open-mouthed wonder, the light of a
motion picture projector flickering on his skin...

INT PRISON AUDITORIUM - NIGHT

...while Fred Astaire and Ginger Rogers dance up there on the
big screen, images flowing in magical black and silver tone.

FRED ASTAIRE
(singing)
Heaven, I'm in heaven...and my
heart beats so that I can hardly
speak...

Paul and the men are scattered about in the otherwise empty
auditorium, also watching.

PROJECTION BOOTH

Toot operates the projector, peering through the tiny window
into the theater. He yawns, glances at his watch. Late.

IN THE AUDITORIUM

Fred and Ginger are now in the most passionate and graceful
part of the dance. Irving Berlin's music swells.

COFFEY

can't believe what he's seeing. He's so excited his breath is
caught in his throat. Softly:

COFFEY
Why, they's angels. Angels. Just
like up in heaven...

DISSOLVE TO:

INT. E BLOCK - NIGHT

FOUR PAIRS OF FEET come marching up the Green Mile.

ANGLE ON COFFEY

Paul appears at the bars with Brutal, Harry, and Dean.
Nothing is said. Coffey knows why they're here. He rises as
Brutal unlocks the cell, slides the door open. Coffey steps
out, looks around at their dazed and sad faces.

COFFEY
I be all right, fellas. This
here's the hard part. I be all
right in a little while.

Paul indicates St. Christopher medal around John's neck:

PAUL
John, I should have that just for
now. I'll give it back after.

John lets him take the necklace. Paul pockets it. They start
to walk the Mile as:

COFFEY
You know, I fell asleep this
afternoon and had me a dream. I
dreamed about Del's mouse.

PAUL
Did you, John?

COFFEY
I dreamed he got down to that
place Boss Howell talked about,
that Mouseville place. I dreamed
there was kids, and how they
laughed at his tricks! My!

He laughs at the memory of it, then grows more serious:

COFFEY
I dreamed those two little blonde-
headed girls were there. They 'us
laughing, too. I put my arms
around 'em and sat 'em on my
knees, and there 'us no blood
comin' outta their hair and they
'us fine. We all watch Mr. Jingles
roll that spool, and how we did
laugh. Fit to bus', we was.

Behind them, Dean stifles a sob.

PAUL'S INNER OFFICE

Coffey kneels. Paul joins him, self-conscious and uncertain.

PAUL
What should we pray for, John?

COFFEY
Strength?

Paul nods--strength it is. Dean surprises Brutal and Harry by
also kneeling. Brutal and Harry hesitate...then join them.

PAUL
God, please help us finish what
we've started, and please welcome
this man, John Coffey--like the
drink, but not spelled the same--
into heaven and give him peace.
Please help us to see him off the
best we can and let nothing go
wrong. Amen.

Paul starts to rise, but Coffey takes his hand.

COFFEY
I know a prayer I once heard. Can
I say it?

PAUL
You go right ahead, John. Take all
the time you need.

Coffey closes his eyes, frowning in deep concentration.

COFFEY
Baby Jesus, meek and mild, pray
for me...

And Paul sees:

Kathe and Cora Detterick kneeling together in the enclosed
porch that night, just before their bedtime:

KATHE AND CORA
...and every child. Be my
strength, be my friend...

And then the vision is gone as:

COFFEY
...be with me until the end. Amen.

Coffey rises, offers Paul his hand, helps him up.

EXECUTION CHAMBER

Full house tonight. Bill Dodge is waiting at Old Sparky.

Silence as Coffey is led in, all eyes on him. Klaus and
Marjorie Detterick are in the front row. She mutters:

MARJORIE
Die slow, you bastard.

COFFEY

is faltering as Paul and Brutal bring him to the chair.

COFFEY
They's a lot of folks here hate
me. A lot. I can feel it. Like
bees stinging me. It hurts.

BRUTAL
Feel how we feel, then. We don't
hate you--can you feel that?

Coffey tries to take comfort in it, but flinches as:

MARJORIE
Kill him twice, you boys! You go
on and kill that raping baby-
killer twice, that'd be fine!

She dissolves into tears. Klaus pulls her against his
shoulder, looking dazed by the whole thing.

Paul and Brutal turn John around, sit him down. Paul notices
Dean crying again, his back to the witnesses. They kneel to
apply the leg clamps, while Brutal and Harry secure the arms.

PAUL
Wipe you face before you stand up,
Dean.

Dean nods, wiping his face with the sleeve of his coat. They
rise, stepping back. This time, Paul's out front:

PAUL
Roll on one.

Van Hay cranks the generator. The lights flare hotter and
brighter. It's just like in Melinda's bedroom the night
Coffey cured her with a kiss. Airless and bright, dreamlike.

MARJORIE
Does it hurt yet? I hope it does!
I hope it hurts like hell!

PAUL
John Coffey...you have been
condemned to die in the electric
chair by a jury of your
peers...sentence imposed by a
judge in good standing in this
state. Do you have anything to say
before sentence is carried out?

John hesitates, nods.

COFFEY
I'm sorry for what I am.

MARJORIE
You ought to be! Oh, you monster,
you damn well ought to be!

Brutal takes the mask from the hook to draw it over Coffey's
head. Coffey looks to Paul with terrified, pleading eyes.

COFFEY
Please, boss, don't put that thing
over my face. Don't put me in the
dark, I's afraid of the dark.

PAUL
All right, John.

Brutal puts the mask back, proceeds with the sponge.

IN TIGHT ANGLES

The cap is lowered, the straps drawn. Coffey is breathing
fast, terrified, muttering under his breath:

COFFEY
...heaven...I'm in heaven...
heaven...heaven...heaven...

THE WITNESSES

sit and wait, barely breathing.

JACK VAN HAY

is poised at the switch, wondering why the order won't come.

PAUL

is staring at Coffey, unable to say the words.

BRUTAL
(whispers)
Paul. You have to say it. You have
to give the order.

Paul can't. He reaches out and touches Coffey's hand. Their
fingers clasp. In that moment, staring into his eyes, Paul
hears the last thought that ever goes through Coffey's head:

COFFEY
(whispered V.O.)
He kill 'em with they love. That's
how it is ever' day. All over the
worl'...

Their fingers disengage. Paul steps back, eyes still locked
with Coffey's, and says the hardest words he's ever spoken:

PAUL
Roll on two.

Van Hay throws the switch. Coffey surges forward, fingers
splayed and jittering past Old Sparky's arms.

Lights begin blowing out all over the Mile, raining shattered
glass and sparks. Some of the witnesses scream.

A thin line of blood comes trickling out of Klaus Detterick's
nose. He reaches up, absently wipes it away.

Coffey's eyes are locked on Paul's, riding the lightning all
the way. He finally slumps. Van Hay kills the current.

Coffey's expression is peaceful, as if sleeping. A final pair
of tears drift gently down his cheeks.

CUT TO:

INT. ACCESS TUNNEL - NIGHT

Paul ever so carefully replaces the St. Christopher's medal
around Coffey's neck. They wheel him down the tunnel.

CUT TO:

INT. PAUL'S MODEL T - NIGHT

Paul drives home, his heart numb.

EXT. PAUL'S HOUSE - NIGHT

Paul pulls in, cuts the engine. He sits for a moment, then
gets out and heads for the house.

The door opens. Jan steps out in her nightgown and robe to
meet him on the stairs. She takes him in her arms.

Paul can't hold it back anymore. He breaks down sobbing
against her as we

DISSOLVE TO:

INT. NURSING HOME SUNROOM - PRESENT DAY

It's late in the day as:

PAUL
That was the last execution I ever
took part in. Just couldn't do it
anymore after that. Brutal either.
We both transferred out, took jobs
with Boys' Correctional.
(beat, nods)
That was all right. Catch 'em
young, that became my motto. Might
even have done some good.

ANGLE SHIFTS TO Elaine listening. Uncertain.

PAUL
You don't believe me.

ELAINE
I don't imagine you would lie to
me, Paul. It's just that...

PAUL
...It's quite a story.

ELAINE
Yes. Quite a story.
(pause)
One thing I don't understand. You
said you and Jan had a grownup son
in 1935. Is that right?
(Paul nods)
But if that's true...

PAUL
The math doesn't work, does it?

She shakes her head. Paul thinks for a moment, comes to a
decision.

PAUL
You feel up to a walk?

CUT TO:

EXT. GEORGIA PINES - DAY

The rain has mostly stopped. Brad Dolan, back in street
clothes, gets in his pickup truck and drives away...

INT. NURSING HOME - DAY

...while Paul and Elaine watch from a window.

EXT. GEORGIA PINES - DAY

This time, we see two red specks trudging slowly up the ridge
toward the treeline.

CUT TO:

EXT. WOODS - DAY

Paul brings Elaine along the wooded path into view of the
storage shacks. They're both wearing ponchos.

PAUL
There. It's in there.

ELAINE
Paul? This thing you want to show
me. Is it scary?

PAUL
Scary? No. Not really.

He gives her a smile, offers his hand. She takes it.

INT. SHACK - DAY

We see Paul approach through the grimy window as before, this
time bringing Elaine. ANGLE SHIFTS to the door as they
arrive, creaking open on rusty hinges to reveal them.

They enter. Elaine looks around at the musty nooks and
crannies, wondering what they're doing here. Paul touchers
arm, directs her attention:

PAUL
There.

Elaine moves closer, sees it on the dusty floorboards:

An old cigar box.

For a moment, she doesn't know what to make of it.

PAUL
Hey. Wake up, old boy. Wake up.

Elaine's breath catches in her throat...

...as a pair of bright oilspot eyes peer over the edge of the
cigar box. It's a mouse. His fur, once brown, is now all gray.

ELAINE
Paul? It isn't...it can't be...

Paul gets down on the floor, holds out his hand.

PAUL
Come over here, boy. Come on over
her and see this lady.

The mouse tries several times to get over the side of the
cigar box before he finally makes it. He comes to them,
hobbling and crippled with arthritis. Paul pulls a slice of
toast from his pocket, breaks off a small piece for the mouse.

ELAINE
That can't be Mr. Jingles.

Paul says nothing, just pulls a spool from his pocket. Mr.
Jingles might be old, but he's as obsessed as ever. He gets
ready to fetch, eyes riveted to the spool. Softly:

PAUL
Messieurs et mesdames. Beinvenue
au cirque du mousie.

Paul tosses the spool. The mouse limps painfully after it. He
reaches it, goes around...and has to lay down to catch his
breath. Elaine starts forward, but Paul holds her back.

After a moment, Mr. Jingles finds his feet again. He rises
and starts nosing the spool back to Paul.

ELAINE
Oh, Paul. Don't make him do it
again. I can't bear to watch.

PAUL
(softly)
But he loves it so much.

He glances around at the shack with a sad smile.

PAUL
This isn't exactly the Mouseville
we had in mind...but we make do,
don't we, old fella?

BRAD (O.S.)
As I live and breathe!

They gasp and spin. Brad Dolan stands in the doorway.

BRAD
Fooled you, didn't I Got yourself
a little love nest here, I see...

He pauses, seeing Mr. Jingles.

BRAD
...what the fuck? Is that a mouse?

PAUL
Don't hurt him, okay? Okay?

BRAD
It's a goddamn mouse, y'old fool,
they carry all kind'a disease...

Brad grabs an old garden hoe--the blade's rusted, but still
sharp enough to cut a mouse in two.

BRAD
...now step aside.

Paul rushes in front of Brad, fists clenched, yelling:

PAUL
You leave him alone, Percy! You
leave him alone, or by God I'll--

Brad gives Paul a hard shove, pins him against the wall.

BRAD
Who you calling Percy? Name's
Brad, you senile fucker. And I'm
gonna nail that mouse, you can
take that to the everfucking bank.

Elaine is suddenly at Brad's elbow, seething with fury:

ELAINE
How dare you? Get out!

BRAD
Piss off, you wrinkeldy old bitch.
Me and Paulie are talking.

ELAINE
His name is Mr. Edgecomb. If you
ever call him Paulie again, your
days of employment at Georgia
Pines will end.

BRAD
Who the hell you think you are?

ELAINE
I am the grandmother of the man
who is currently Speaker of the
Georgia House of Representatives.
A man who loves his relatives, Mr.
Dolan. All it would take is a
phone call.

Brad's smile falters. Elaine steps closer.

ELAINE
At first I thought I'd let you be.
I'm old, and that seemed easiest.
But when my friends are threatened
and abused, I do not let it be.
(icy beat)
Now get out, or you won't work
another day here. Not another
hour. I swear it.

Brad eases his grip on Paul...and backs off.

BRAD
Don't know what you're getting so
het up about. Just a damn mouse.

ELAINE
Get out, you ignorant man. What
little mind you have is ugly and
misdirected.

Brad flushes red, heads for the door. He pauses.

BRAD
Don't bother coming back here
tomorrow...Mr. Edgecomb Gonna be
a new lock on this door. This is
off-limits to residents, no matter
what Mrs. My Shit Don't Stink has
to say about it.

And off he goes. Paul tries to control the shaking in his
hands, looks to Elaine.

ELAINE
Little trick I learned from Percy
Wetmore.

PAUL
Is your grandson really Speaker of
the House?

ELAINE
He is.

Paul bends down, picks Mr. Jingles up.

PAUL
You gonna thank the lady? She just
saved your old mousie hide.

The mouse stretches his neck forward, nose twitching,
smelling Paul's breath. Paul looks to Elaine. Softly:

PAUL
I think Mr. Jingles happened by
accident. I think when we
electrocuted Del, and it all went
so badly...well, John could feel
it, you know...and I think a tiny
part of whatever was inside of him
just leapt out...
(beat)
Me, I was no accident. John had to
give me a little part of
himself...a gift, like...so I
could see for myself what Wild
Bill had done. When John did that,
a part of whatever power worked
through him spilled into me.

ELAINE
He...what? Infected you with life?

Paul looks at the mouse, strokes him gently between the ears.

PAUL
That's as good a word as any. He
infected us both, didn't he, Mr.
Jingles. With life.
(beat)
I'm a hundred and five years old,
Elaine. I was forty the year John
Coffey walked the Green Mile.

ELAINE
...oh my God...

CAMERA PUSHES SLOWLY IN on Paul as:

PAUL
I haven't even had a cold since
1935. I've had to watch my friends
and loved ones die off through the
years...Hal and Melinda...Brutus
Howell...my wife...my son...
(beat)
...and you, Elaine. You'd die,
too, and my curse is knowing I'll
be there to see it...

DISSOLVE TO:

INT. FUNERAL HOME - DAY

Paul, dressed in a dark suit, comes up the aisle. ANGLE
SHIFTS to reveal Elaine Connelly lying in the open casket.

PAUL (V.O.)
...that's my punishment, you see?
My punishment for letting John
Coffey ride the lightning...for
killing a miracle of God...

Paul lays a rose atop the casket.

PAUL (V.O.)
...you'll be gone, like all the
others, and I'll have to stay...

EXT. CEMETERY - DAY

Paul stands at the graveside as the casket is lowered.

PAUL (V.O.)
I'll die eventually, I imagine. I
have no illusions of immortality.
But I will have wished for death
long before death finds me.

He turns and walks away.

PAUL (V.O.)
In truth, I wish for it already.

INT. E BLOCK - NIGHT(1935)

Empty and silent. Young Paul walks the Mile alone, listening
to the quiet. He pauses, seeing something. A whisper:

PAUL
Mr. Jingles?

It is Mr. Jingles. The little mouse is peering from under the
restraint room door. He's come home, looking bedraggled. Paul
bends down, gently picks him up.

PAUL
Where you been, boy? I've been
worried about you. You hungry?

Paul turns and head back up the Green Mile, carrying the
mouse cupped in his hands as we

MATCH DISSOLVE TO:

INT. NURSING HOME - DAY

Young Paul transforms into Old Paul in the dissolve, the
corridor of the Green Mile becoming the corridor of the
nursing home. He's walking along, holding the little mouse
the same way he did over sixty years ago.

PAUL (V.O.)
I lie in bed most nights, thinking
about it. And I wait...

DISSOLVE TO:

INT. PAUL'S BEDROOM - NIGHT

Paul lies awake, staring at the moon outside his window.

PAUL (V.O.)
I think about all the people I've
loved, now long gone.

I think about my beautiful Jan,
and how I lost her so many years
ago. I think about all of us
walking our own Green Mile, each
in our own time. But one thought,
more than any other, keeps me
awake most nights...
(beat)
...if he could make a mouse live
so long, how much longer do I have?

He looks over at the nightstand...

PAUL (V.O.)
We each owe a death, there are no
exceptions, but sometimes, oh God,
the Green Mile is so long...

...and WE PAN to reveal Mr. Jingles sleeping fitfully in his
cigar box, chasing that spool in his dreams as we

FADE OUT:

<<<

/ Green Mile.
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