Cool Hand Luke Page #13

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DRAGLINE:

(to Koko)

Blind Dick is payin' us off three

and borrowin' back five. Next!

It is Tattoo.

DRAGLINE:

Borrowin' or payin' back?

TATTOO:

Borrowin'.

DRAGLINE:

Mister Cool Hand here is the soft

heart in our Loan Department. Next!

ON CARR AT THE WICKER (NIGHT)

He has just been handed a telegram by the Wicker Man. He

reads it impassive as always, while in b.g., the business

continues and we HEAR:

SOCIETY RED'S VOICE

I believe I still owe you thirty. I

don't suppose you'd take a check.

TATTOO'S VOICE

(to Luke)

My Navy disability didn't come yet.

You know how it is.

Carr finishes reading and we FOLLOW HIM as he walks to the

table.

LUKE:

Sure do... that's why we didn't bet

with the Navy.

DRAGLINE:

Oh, that's mah darlin' Luke. Grins

like a baby and bites like a 'gator.

Carr sets the telegram on the table next to Luke.

CARR:

Sorry, Luke.

Luke picks up the telegram and reads. Then he sets it down,

stands and goes to his bunk. Dragline looks after him, takes

up the telegram and hands it up to Society Red.

SOCIETY RED:

(after reading)

His mother's dead.

ANGLE ON LOUDMOUTH STEVE

As he sees Luke go to his bunk, he picks up his sex book and

moves down to the other end of the barracks. Alibi does the

same with the cigarette papers and tobacco he has been

rolling.

ANGLE ON LUKE:

sitting on his bunk, bare feet tucked up beneath his drawn-

up legs, softly picking out a slow hymn melody on his banjo.

Tears slowly stream down his cheeks.

ANGLE ON CARR:

as Luke continues playing softly. He walks down to the other

end of the barracks, too.

FULL SHOT BARRACKS

All of the other men are congregated at the other end, giving

Luke what privacy they can. There is no conversation, only

the slow, plaintive plucking of the banjo.

ANGLE ON LUKE CLOSE

playing, the tears coursing.

NEW ANGLE ON LUKE

in his bunk now, staring wet-eyed up at the ceiling.

CARR'S VOICE

Fifty, boss.

WICKERMAN'S VOICE

Fifty, awright, Carr.

EXT. MESS HALL (PRE-DAWN)

As the men pour out they see that the light on the box is

burning, a nightshirt is hung on the fence. Their usual hurry-

up pace is slowed to a nervous, apprehensive gait.

BOSS PAUL:

Awright, git lined up here.

ANGLE ON CAPTAIN'S PORCH

He has been watching, rocking. As the men line up, he gets

up and goes down the steps toward the yard.

CAPTAIN'S P.O.V.

pushing the gate open, moving in front of Boss Paul, facing

the men.

CAPTAIN:

Luke, fall out.

Luke steps forward, pulls off his shirt and jacket. He steps

behind the latticework screen to take off his pants as the

Captain speaks.

CAPTAIN'S VOICE

(emotionless)

When a man's mother dies and he gits

to thinkin' about her funeral and

payin' respects, before he knows it

his mind ain't right and he's got

rabbit in his blood and runs. We're

keepin' you off the road fer awhile.

He has said all he has to say. He walks off.

FULL SHOT LUKE AND THE MEN

They are watching him slip on the nightshirt. Boss Kean opens

the box.

BOSS KEAN:

(to Luke)

Ah'm jus' doin' mah job, Luke. You

gotta appreciate that.

ANGLE ON LUKE IN BOX

LUKE:

Boss, when you do somethin' to me

you better do it because you got to

or want to... but not because it's

your damn job.

ANGLE ON KEAN:

His eyes narrow. The box door slams. Greyness.

BOSS PAUL'S VOICE (O.S.)

Awright, let's move it out!

And o.s. the SOUNDS of the men counting through the gate and

the truck engines coughing.

EXT. ROAD DAWN (NIGHT)

The bull gang truck pulling out. In b.g. the barracks and

the light over the box.

EXT. CAMP

The bull gang truck stopping. The back is opened and the men

jump out, line up and begin counting off through the gate.

In b.g. as they count is Luke's voice singing.

CLOSE ON DRAGLINE

He smiles... oh that Luke!

CLOSE ON BOSS GODFREY

listening to the mocking voice.

EXT. BARRACKS

It is the next morning. The tire iron SOUNDS.

CARR'S VOICE

First bell! First bell! Let's go!

The figures of Boss Paul and Boss Seven go to the box. Seven

carries Luke's food.

INT. BOX PAUL'S P.O.V.

as it is opened. The dimness of the overhead bulb illuminates

Luke.

LUKE:

Shut the door, Boss. You're lettin'

in a draft.

ANGLE ON PAUL:

His face corrodes in fury.

BOSS PAUL:

Git on your feet! Ah'm gonna teach

you some respect right now!

Furiously he tries to cane Luke with his walking stick. But

the cramped quarters restrict him. The cane clangs wildly

against the sides of the box as Luke crouches in a corner,

covering his head.

ANGLE ON LUKE:

protecting, as Boss Paul retreats. The box door slams!

Greyness.

EXT. BARRACKS (AFTERNOON)

as the bull gang counts in after the day's work. The light

on the box still burns. No sound from Luke.

CLOSE ON DRAGLINE

He looks worried.

EXT. BARRACKS (NIGHT)

The tire rim SOUNDS and the men scurry for their bunks.

CARR'S VOICE

Last bell! Last bell!

(the pacing of his

steps)

Forty-nine, Boss. And one in the

box.

WICKERMAN'S VOICE

Forty-nine and one in the box. Right,

Carr.

EXT. BARRACKS (PRE-DAWN)

Boss Paul, carrying a shotgun, and Boss Seven are opening

the box. In b.g. the tire rim SOUNDS.

CARR'S VOICE

First bell! First bell! Let's go!

And the uproar of the men getting out of their bunks, hurrying

to dress and line up by the chute.

INT. BOX CLOSE SHOT LUKE'S P.O.V.

as the door opens and the double muzzle of Boss Paul's shot-

gun stares.

BOSS PAUL'S P.O.V.

Luke is standing at the rear of the box, his arms crossed

over his chest, his eyes slightly wild, his face dirty and

stubbled. In b.g. the SOUND of Rudolph, the pet bloodhound

puppy, yipping.

LUKE'S P.O.V.

Paul's gun draws back. Boss Seven hands Paul a heavy biscuit,

grinning. Rudolph is sniffing, nipping at Paul's trousers,

smelling the biscuit.

BOSS PAUL:

You look hongry, Luke.

(tosses biscuit in

his hand)

Reckon this would taste mighty good,

but Rudolph looks pretty hongry,

too. Why don't we split it with the

pooch, okay?

He breaks the biscuit and dangles half over Rudolph who nips

and barks for it.

BOSS PAUL:

(feeding Rudolph)

Tha's a good boy.

(to Luke)

Well, here's your piece, Luke.

ON LUKE:

He speaks in a low, uneven voice.

LUKE:

Might as well give it all to him,

Boss. I just ain't much hungry.

ON BOSS PAUL:

Livid with rage, he slams the door! Greyness.

EXT. LAUNDRY FENCE CLOSE ON LAUNDRY FLYING OVER FENCE

(AFTERNOON)

as LAUNDRY BOY tries to catch the flying sheets, pants and

shirts being tossed by the men. Behind him we SEE the

steaming, pumping cleaning machines.

EXT. YARD (AFTERNOON)

Laundry boy and machines in b.g. as Boss Kean and Boss Seven

go to the box. Boss Seven carries Luke's shoes and a freshly

cleaned set of state issues. The men turn.

INT. BOX (AFTERNOON)

as the door opens. Luke looks up. Kean's face stares down,

not unkind. Luke moves forward.

OMITTED:

EXT. BOX (AFTERNOON)

as Luke emerges, Kean behind him.

BOSS KEAN:

(gently)

She's in the ground now, Luke. Best

forget about it. You got a day ana

half lay-in... and tomorrow's a

holiday.

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