The Meanest Man in Texas Based on A true story

Screenplay written by

Justin Ward & Don Umphrey

Based on his book of the same title. Copyright 2013 by Don Umphrey Registered with WGAw 1630076

Producers: Brad Wilson Casey Bond HIGHER PURPOSE ENTERTAINMENT In Asocciation with OHANA FILMS, INC. 3940 Laurel Canyon Blvd. Suite 275 Studio City, CA 91604 FADE IN:

EXT. WOODS - DAY Massive Bald Cypress and Bur Oak trees reach towards the sky for light. A clear water creek feeds their roots. --SUDDENLY, WE HEAR TWIGS SNAPPING, LIKE FIRE-CRACKERS! CREDITS ROLL Now we are on the move-- --Those same trees whip past us at a dizzying pace-- and from the back WE SEE-- A YOUNG BOY, (10) dashing through the forest, dodging branches, leaping over shrubs and dead, fallen tree limbs. His heart racing. His BREATH labored. He’s sweating. His face still obscured. We keep wondering... Who is this kid? What’s he running from? Then-- --Suddenly, the boy breaks out of the forest. There are rolling hills and farm land as far as the eye can see. He stops and looks down at his bloody knuckles. Through his long, wild, auburn hair, we now see the abrasions on his face-- and one eye nearly swollen shut. Wincing in pain, the boy grins from ear to ear, beaming with pride. He runs off-- TITLE: THE MEANEST MAN IN TEXAS

EXT. CISCO, TEXAS - DAY Spectacular view of a small cluster of trees, and sweeping fields, just outside Cisco, Texas. FINAL DRAFT 2.

EXT. THOMPSON HOUSE - DAY Clothes hang on a line to dry. Swaying in the breeze.

EXT. THOMPSON HOUSE - DAY

EXT. THOMPSON HOUSE - LIVING ROOM - DAY Clyde, the boy from the woods, now 17, enters. WILLIAM REES THOMPSON (50), Clyde’s father, a bible salesman and minister turned farmer, sits reading The Cisco Telegram. Clyde crosses to the table to a self-made bird cage, built out of scrap wood. TITLE: BASED ON A TRUE STORY He carefully places some water in a tiny dish for a wounded bird inside. CREDITS END Clyde starts to leave-- REES (looking up) Where you goin’, son? CLYDE Huntin’ raccoons with the Welsey boys. REES (teasing) You sure you’re not really going over there to see their sister, Ruthie? CLYDE I might see her. Clyde smiles innocently, and heads for the door. REES Clyde, no fightin’. I mean it. Clyde nods and exits. His father smiles. FINAL DRAFT 3.

EXT. THOMPSON HOUSE - DAY Clyde steps out onto the front porch, grinning ear to ear, then rushes off. SUPER: CISCO, TEXAS - SEPTEMBER 7, 1928

EXT. WELSEY HOUSE - FRONT PORCH - DAY Clyde and RUTHIE WELSEY (14), back-country girl beauty, sit together cleaning green beans, innocently, LAUGHING and flirting, making eyes at each other. CLYDE Hey. RUTHIE Hi. CLYDE Can I help you with these? RUTHIE Sure. REUBEN WELSEY (18), with a shotgun, and MARK WELSEY (13), with a lantern, interrupt them. REUBEN Hey, lover-boy, you gonna cook green beans or go huntin’ with us? Clyde looks at Ruthie exchange secret look-- then Clyde nods. REUBEN (CONT’D) Then let’s go! MARK Come on! The brothers knock over the bucket of green beans and exit. Clyde looks at Ruthie with regret. He helps her clean them up, then follows them. She watches him go.

EXT. WOODS - LATER Reuben, Mark and Clyde enter the woods. Reuben reaches into his belt and pulls out a .45 revolver. Surprised, Clyde takes it and looks at it with curiosity. FINAL DRAFT 4.

REUBEN Can you hit the broad side of a barn? CLYDE I can shoot out the eye of a coyote at a hundred yards. Clyde tucks the revolver into the front of his belt. REUBEN Just make sure you don’t shoot off what you’re aiming at right now. Mark and Reuben LAUGH. Clyde doesn’t get the joke. CLYDE I won’t. Reuben stops. REUBEN Let’s head over to Web O’Dell’s place... You know, he’s been spreadin’ rumors about Ruthie? CLYDE What d’ya mean? REUBEN Daddy heard him say, she’ll hunt with any dog that comes sniffin’. CLYDE You mean? That ain’t right. Reuben shakes his head affirmatively. Clyde bristles. MARK Yeah, daddy’s real mad about it. REUBEN You got my back on this? CLYDE I’ll make sure ya get a fair fight. REUBEN Just shoot ‘im, just to see if he kicks. You know, like a dyin’ animal. Clyde CHUCKLES, as if hearing a joke, but Reuben isn’t laughing. FINAL DRAFT 5.

EXT. CABIN IN THE WOODS - NIGHT Reuben KNOCKS on the door. Clyde and Mark stand back within ear shot. The door opens to reveal WEB O'Dell (28). REUBEN Our dogs got a bobcat holed up. Could you help us dig ‘im out? WEB Yeah, sure... JAKE! JAKE O’DELL (20) appears. Reuben studies him. WEB (CONT’D) This is my brother, Jake, visiting from college. He can help. Mark shoots Reuben a concerned look. Reuben is not happy.

EXT. WOODS - CREEK BED - NIGHT Reuben leads, then Mark with his lantern, Web with a pickax and lantern, Jake with a shovel, and followed by Clyde. WEB I don’t hear your dogs barking? JAKE Nah... REUBEN They must be restin’. The group continues walking, as Reuben drops back. REUBEN (CONT’D) (whispering to Clyde) Shoot ‘em! CLYDE What? REUBEN (louder whisper) I said shoot ‘im. He insulted your girl, didn’t he? CLYDE I didn’t hear him. Web, Jake and Mark stop walking and turn around. FINAL DRAFT 6.

WEB What’s going on? REUBEN Bastard. You insulted my sister. WEB I don’t even know your sister. REUBEN Get ‘im, Clyde. Reuben shoves Clyde toward Web, who swings the lantern at Clyde’s head. Clyde ducks. Reuben attempts to hit Jake in the face with the shotgun barrel. Jake rebuffs the attack with his shovel. Mark, with lantern, moves away from the action, as Web swings again at Clyde. Clyde steps back, trips, and falls down. Web steps toward Clyde, his pickax raised like a weapon-- --Clyde pulls the .45 from his belt and aims it at Web-- SMASH CUT TO BLACK: WE HEAR THE BLAST OF A GUNSHOT OVER BLACK

EXT. THOMPSON HOUSE - DAY Clyde stands at the front window.

INT. THOMPSON HOUSE - LIVING ROOM - DAY Rees enters, newspaper in hand, and spots Clyde. REES You alright, Clyde? Clyde nods. Rees sits in his chair and opens the newspaper. REES (CONT’D) Did you see this, Clyde? “Two Local Men found Dead at Grisly Murder Scene. The Killer’s still on the loose.” (Clyde in horror, shakes his head no) (MORE) FINAL DRAFT 7. REES (CONT’D) They found two boys out in the woods. Murdered. Been dead three or four days. Jake and Web O’Dell. (beat) You know them? (Clyde shakes his head no) The older brother lived in a cabin out near the oil wells. He was helping the younger boy go through college. Poor boys. CLYDE What’s gonna happen to whoever did this? REES They’ll be punished to the full extent of the law, son. As they should be... Clyde considers this-- EXT. WOODS - CREEK BED - NIGHT Web’s pickax flies at Clyde’s face-- It hits the ground. Web strikes again. This time Clyde pulls the trigger. Web staggers backward, as Jake rushes Clyde, out for blood-- --Clyde aims at Jake. BANG! Misses. Web, bloodied, charges with his pick ax, aiming to kill Clyde-- REUBEN Kill ‘im, Clyde! Kill ‘im. Clyde FIRES TWICE at Web, who MOANS and falls to the ground. Jake escapes into the woods. Reuben takes the his lantern, and runs after Jake. Mark follows. SFX: A GUN SHOT! Clyde, now in shock, hesitates, then runs after them.

EXT. WOODS - NIGHT Clyde approach the MUFFLED SOUNDS OF A STRUGGLE... ALL WE SEE is Web's lantern on the ground. FINAL DRAFT 8.

BUT WE HEAR MEN STRUGGLING... IT’S GROWING LOUDER-- --Reuben on Jake, beats his face with his shotgun. Jake tries to fend off the blows with decreasing success. Reuben stops. Jake doesn’t move. Then SILENCE... Reuben stands up and catches his breath. He looks at Clyde and Mark, then runs towards the direction where they left Web. REUBEN Come on! Let’s go!

EXT. WOODS - CREEK BED - NIGHT Reuben carries Web's lantern and the bloodied pistol. As they approach, Web is on the ground, GROANING. Reuben hands Mark the pistol. REUBEN Beat the bastard’s head in. Mark obediently takes the pistol and bashes in Web’s face. Mark stops, out of breath, and looks to his big brother, who nods his head in approval. Reuben then turns to Clyde. REUBEN (CONT’D) Now we’ve all had a part in this. We can’t tell on each other without all getting in trouble... We’re all in this together... Right, Clyde? Clyde. Clyde... SFX: REUBEN’S VOICE TURNS INTO THE VOICE OF REES--

INT. THOMPSON HOUSE - LIVING ROOM - DAY REES --Clyde. Clyde... Wake up. Clyde tosses in his sleep, as Rees shakes his shoulder. CLYDE No. No. FINAL DRAFT 9.

REES Clyde... Wake up. Clyde’s eyes open, petrified, then nods yes to his father. REES (CONT’D) There’s two deputies at the front door. They wanna talk to you. CLYDE I did it, daddy... REES Did what? What are you talking about. ANGLE ON: Clyde, sweat dripping down his face--

INT. SHERIFF’S OFFICE - DAY Fingers STRIKE the keys of a typewriter.

INT. SHERIFF’S INTERROGATION ROOM - DAY SHERIFF KILBORN (47) enters with BILL MCDONALD, the clerk (39). Rees and Clyde sit at a table. SHERIFF KILBORN Based on conversations with Reuben and Mark Welsey, we’ve prepared this confession. Can you read, Clyde? CLYDE I finished the fourth grade. The Sheriff shows the confession, as Bill the Clerk hands Clyde a pen. SHERIFF KILBORN Read it. But only sign it if it’s true. Clyde stares at the confession and then starts to sign it. REES Wait, son. Let me read it to you. CLYDE It dudn’t matter, daddy. Clyde signs it. FINAL DRAFT 10.

INT. SHERIFF’S OFFICE - LATER The Sheriff and the Clerk are mid-argument-- BILL MCDONALD You know, everyone in this county is calling these the most brutal murders in history. That poor, fine Christian family deserves justice. SHERIFF KILBORN I just get the feeling we don’t really know the whole story. What if it was self-defense and they send this boy to the chair for it? Is that justice? (beat) Or worse, what if he’s being framed? Amos Welsey, he’s a mean ol’ cuss. I arrested him a few years back when he knocked a man in the head with a pipe wrench, over a few bucks... What if Welsey thought this whole thing up so his son could have the O’Dell boy’s job with the oil company? BILL MCDONALD You don’t really believe he’d go that far, do you? SHERIFF KILBORN My experience, there’s no telling what some people’ll do for money. But I got no proof. All we got is this confession. Well, I guess it’s up to a jury to decide his fate now.

INT. COURTROOM - DAY SUPER: EASTLAND COUNTY, DECEMBER 31, 1930 JUDGE ELZO BEEN (30) presides. Clyde sits at a table with Rees and his LAWYER. The ALL-MALE JURY, SPECTATORS, the Clerk, the Sheriff and FATHER WELSEY, (60), are present. THE PROSECUTOR (32), a pit bull, questions Mark on the stand. PROSECUTOR Then what happened? FINAL DRAFT 11.

MARK Clyde said it would be a good night to kill O’Dell. That he wanted to shoot ‘im to see if he kicked; you know, like a wounded animal that’s dying. PROSECUTOR (repeats for emphasis) That’s why they call him the kick- killer. (to Mark) Did you actually see Clyde Thompson kill Web O’Dell? MARK Yessir. We were hidin’ in the bushes. Clyde shot O’Dell. Then beat him over the head with the pistol. There was blood and brains all over Clyde’s shirt. PROSECUTOR Why didn’t you run away and call the police? MARK My brother said that if we did, Clyde would kill us, too. PROSECUTOR (To the Jury) “If we did Clyde would kill us too” (Back to Mark) Thank you, young man. I know this has been difficult. (To the Judge) No further questions, your honor. Ruthie Welsey bursts into the courtroom. JUDGE BEEN What is the meaning of this? RUTHIE I’m Ruthie Welsey, and I would like to testify, sir. The audience GASPS. WHISPERING. Clyde sees her and smiles. JUDGE BEEN Quiet down. She has been summoned. The witness may proceed. FINAL DRAFT 12.

Mark steps down, and glares at her as she takes the stand. Amos leans forward. Ruthie holds her hand over the Bible-- RUTHIE I swear by God to tell the whole truth and nothing but the truth. PROSECUTOR Miz Welsey, we’re surprised to see you here today-- RUTHIE Everyone has this wrong. Clyde’s not a killer. He’s a fine boy. PROSECUTOR Were you with him on the night in question? RUTHIE Yes. After he came back from huntin’ we walked up to the mountain top together. PROSECUTOR When did you get home? RUTHIE Around eleven, I suppose. PROSECUTOR Did he say if anything was bothering him that night? RUTHIE No. He didn’t say. But he seemed very sad. PROSECUTOR Is it true that you ran away from home about ten days before this trial started? RUTHIE Clyde would never have killed anyone. It was self-defense-- PROSECUTOR --And didn’t your father have no choice but to put out a warrant for your arrest? Ruthie locks eyes with Clyde, with tears in her eyes. FINAL DRAFT 13.

PROSECUTOR (CONT’D) Please answer the question. Is there a warrant out for your arrest on a charge of juvenile delinquency? Ruthie starts to cry. Clyde’s lawyer shakes his head. RUTHIE Yes, but... PROSECUTOR I have no further questions for this witness, your honor. Clyde’s lawyer makes no attempt to cross examine her. JUDGE BEEN Please step down, Miz Welsey. As she does, a POLICE OFFICER approaches, grabs Ruthie and turns her around, handcuffing her behind her back. Clyde sits, realizing his fate is setting in.

INT. COUNTY JAIL - NIGHT A handcuffed Clyde is escorted to his cell. Sheriff Kilborn opens the door, and removes the handcuffs. SHERIFF KILBORN You let me know if there is anything you need, Clyde. Clyde steps into the cell. The Sheriff locks him in. RUTHIE The things they’re saying about you out there are horrible, Clyde... Clyde’s eyes light up when he sees Ruthie in the cell across from him. She flashes a warm smile. CLYDE You don’t deserve to be here, Ruthie. It ain’t right. Clyde manages a smile. The Sheriff watches, out of sight. CLYDE (CONT’D) Did you really run away from home? FINAL DRAFT 14.

RUTHIE Are you scared, Clyde? CLYDE Those poor O’Dell boys... It’s like someone took these pictures and stuck ‘em in my head. RUTHIE I’ll do whatever it takes to help. I’ll go to the guv’ner if I have to... Just promise me that you’ll never give up. Clyde sticks his arms through the bars toward her cell. Ruthie does the same, but their hands don’t touch...

INT. SHERIFF’S OFFICE - DAY The Sheriff sits at his desk. Rees is pacing. REES The younger Welsey boy was lying-- and they let him off on account of being a juvenile? And Reuben only gets ten years, while my son is sentenced to death? It ain’t right Pat! SHERIFF KILBORN That’s what having money does for a man. Plus, Rees, your boy wouldn’t testify on his own behalf. He signed the damn confession! REES I know, I know. How long before... SHERIFF KILBORN He’ll be here in the jail for another week or so. Then I’ll take him to the state prison over in Huntsville. To death row. ANGLE ON: REES. The words “Death Row” hits him hard.

INT. DEATH ROW - NIGHT Whatever your worst fear of prison is, this is it! Clyde, now 19, enters death row. A green door leads to the death chamber. FINAL DRAFT 15.

Clyde is led past SCREAMING INMATES BANGING ON THE BARS. He fights to keep his knees from buckling, as he enters a cell. The GUARD slams it shut.

INT. DEATH ROW - CELL - DAY Clyde sits alone, leaning against the wall, fear setting in. Rees enters, holding a bible. REES I haven't done right by you. The divorce. Her moving to Oklahoma. You never getting to see your momma and sisters up there. And taking you outta school to work the farm for me. I’ve not done right in any way by you, son. CLYDE It’s alright. REES No, it's not. What preacher quits the church and doesn't even baptize his own son? (hands him a bible) Please take this and read it. CLYDE You know I can’t read too good. (off his father’s look) I’ll try... REES You remember when you was little and I used to sell bibles? You’d help me when I struggled. You’d tell me “Daddy, we just have to keep asking ‘til someone says yes.” Well, that’s what I’m gonna do: just keep asking the guv’ner til he says yes. He’s gonna help us, Clyde. I promise... He has to! CLYDE If the guv’ner won’t help, how much time do I have? REES Two months. FINAL DRAFT 16.

INT. DEATH ROW - CELL - DAY On his bunk, Bible in his hand, lost in thought, as THE DEATH ROW GUARD strolls by. CLYDE Hey, can I speak to the prison chaplin? The Death Row Guard LAUGHS, but then nods affirmatively.

EXT. DEATH ROW - DAY PERRY WILMETH (34) walks past a police car and enters. INT. DEATH ROW - CELL - DAY Clyde (now 20) sits on his bunk, as Perry Wilmeth enters. PERRY WILMETH I understand you wanted speak to me, son. CLYDE I want to get baptized, but I’m not sure I deserve it. PERRY WILMETH There are a lot of people outside this prison who will never forgive you for what you’ve done. CLYDE There are a lot of people inside who feel the same. PERRY WILMETH God is not one of them. CLYDE In five days I’m supposed to walk through that door down there. After that, I don’t know what happens. I try to read this Bible. But I don’t really understand any of it... I’m scared. A beat passes, as Wilmeth ponders this. PERRY WILMETH Do you understand how a light bulb works? FINAL DRAFT 17.

Puzzled, Clyde shrugs his shoulders. PERRY WILMETH (CONT’D) So it is with God. What matters is that you believe. That we have faith. The proof is in the light.

INT. DEATH ROW - CELL - DAY Rees watches with the Death Row Guard, as Wilmeth dunks Clyde in the water. As Clyde emerges, Rees can’t help but weep.

INT. DEATH ROW - CELL - DAY SUPER: DEATH ROW, AUGUST 5, 1931 Clyde sits in his cell. Waiting... Rees comes rushing in-- REES Clyde! Clyde! You’re saved! Guv’ner Ross Sterling has reprieved your sentence to life. I told you he’d do it! You’re off death row! Oh, Thank God! The Death Row Guard unlocks Clyde’s cell. Rees grabs and squeezes Clyde, holding him tight, shedding tears of joy.

INT. PRISON HOSPITAL UNIT - HALLWAY - DAY Clyde walks down a hallway past CLYDE BARROW (20’s)-- yeah that Clyde Barrow (Of Bonnie & Clyde fame!) He’s on crutches and a bandaged foot. Barrow leans back against a wall coolly, sticks out his crutch, trying to trip Clyde. Clyde wheels around with his fists doubled-up, ready to fight. CLYDE What’dya tryin’ to do? Barrow holds up both hands as if to say, “I surrender.” BARROW I don’t see nuthin’ wrong with you. Are you in crazy row? FINAL DRAFT 18.

CLYDE What’s it to ya? BARROW Nuthin’. I’m kinda’ fond of crazy. That’s all. Name’s Clyde Barrow. He smiles charmingly and extends his hand. They shake. CLYDE Clyde Thompson. BARROW So you’re the “Kick-Killer.” Barrow studies him. BARROW (CONT’D) Bonnie and me could use a guy like you. When I get outta here, we got plans. Clyde looks at Barrow with skepticism. BARROW (CONT’D) The thing about guys like you and me is the world’ll never forget or forgive us for the things we’ve done. So I say use it to gain respect. CLYDE (RE: his bandaged foot) What happened? BARROW I cut it with an ax at the Farm. I meant to take off the whole foot but missed, and only got the first two toes. CLYDE You did it yourself? Barrow nods. CLYDE (CONT’D) Well, I ain’t crazy... Barrow lights a cigarette. They stand in silence, then-- CLYDE (CONT’D) They are sending me up to the Farm tomorrow. FINAL DRAFT 19.

BARROW This is the only way to get outta that hell-hole alive. CLYDE Well, I ain’t cuttin’ off my foot. BARROW You should. Otherwise it’s a death sentence. If sunstroke don’t kill ya, the bastard Captain Colt will beat you to death. Clyde hides his sudden fear. BARROW (CONT’D) The Farm’ll make a rattlesnake outta’ a school boy... (Barrow laughs) Good luck. You’re gonna need it.

EXT. PRISON FARM - THE BARRACKS - DAY SUPER: “THE PRISON FARM” - JANUARY 4, 1932 The Prison Farm includes the fields, barracks (think “Cool Hand Luke”), a chow hall and a visiting area.

INT. PRISON FARM - THE BARRACKS - DAY Inside the Barracks is a chain-linked, fenced-in enclosure called “The Picket.” A GUARD cleans his pistol behind a desk. GUARD ZEKE (30’s) armed with a double-barrel shotgun, a billy-club and a chip on his shoulder, leads the new PRISONERS into the Barracks. Joe sets down his gun and hands out blankets and pillows to them as they enter. BARNEY ALLEN, a witty, sharp-tongued con, TOMMY REIS, (22), a calculating weasel, GEORGE RIVAS, a born-and-bred criminal, LESTER WARD, (19) lanky, with school boy charm enter, followed by Clyde. They all hold their belongings. Clyde crosses to a bunk bed, and places his pillow and blanket on a bottom bed. He takes it all in. Barney approaches and claims a top bunk across from Clyde. BARNEY So this is bloody Eastham. Besides the company, doesn’t seem so bad. I’m Barney Allen... I haven’t seen you before... but I know who you are. Ciggie? FINAL DRAFT 20.

Clye shakes his head. Barney lights one for himself awkwardly. Clyde studies him. BARNEY (CONT’D) Some advice, if you need cash, George is the butter and egg man... That’s Tommy Reis, a greaseball, but good guy to have on your side, and poor Lester shouldn’t even be here-- bound to end up someone’s tomato-- GUARD ZEKE Line up! I don’t see you movin’ fast enough! I said, line up for the Captain! The newbies all form a line. CAPT. JACK COLT, an intimidating figure enters wearing a long coat and a shotgun at his side. CAPT. COLT Welcome to the Farm. I’m Capt. Jack Colt, I’m the man in charge, and I know everything about each and every one of you maggots. Here’s what you need to know about me: There are three things I cherish: my devoted wife, a fierce whisky, and corporal punishment. You convicted cockroaches are all guilty felons to me, and now slaves to the state. This ain’t no rehabilitation center like they want you to believe, this is where they send the rotten fruit from the bottom of the barrel to get the punishment they deserve. You maggots better get it through your thick skulls, if I catch you outta’ line, I’ll make you pay with pain. If you try and escape, you'll be shot and killed on the spot. Zeke LAUGHS. CAPT. COLT (CONT’D) (locking eyes on Clyde) As far as you’re concerned, I am God. And it is your job to remember this: God giveth and God taketh away. Unapologetically. FINAL DRAFT 21.

GUARD ANDREW (30’s), brawny, enters, dragging a tough-looking con, MAC JAMES (31), by a rope tied around his neck. CAPT. COLT (CONT’D) What do we have here, Andrew? GUARD ANDREW Laziness and insubordination, captain. Mac stares at Capt. Colt coldly, masking his fear. CAPT. COLT Laziness and insubordination? (his eyes pierce the inmate) You think my rules don’t apply to you, Mac? Guard Zeke points his shotgun at Mac’s head. Clyde and the others watch, as Mac reluctantly drops his pants and looks up, fear flashing across his face. CAPT. COLT (CONT’D) “Where the offence is, let the great axe fall” (to Clyde, Barney, George and Tommy) You four clowns. Hold him down. They take hold of Mac, and drop him face down on a cot. Guard Andrew grabs a bat with a thick leather strap and a wooden handle. GUARD ZEKE (RE: Pants) Drop ‘em. CAPT. COLT Now boys, you’re gonna see a tough guy cry. No con has ever taken the bat without screaming. GUARD ANDREW The law says I can lay out 20 licks, or until I draw blood. Captain Colt nods to Andrew, who applies the bat to Mac’s bare buttocks. WHACK! THE Prisoners START COUNTING-- PRISONERS One! FINAL DRAFT 22.

WHACK. PRISONERS (CONT’D) Two! WHACK. Clyde watches as Mac shamefully BEGS FOR MERCY, but doesn't get any from anyone. It’s clear that it’s every man for himself here at The Farm. PRISONERS (CONT’D) Three! WHACK! PRISONERS (CONT’D) Four! The BEATING and COUNTING continue, and by 6 licks, Mac finally breaks. The Captain holds up his hand. CAPT. COLT That’s enough. I expected at least ten licks out of you, Mac. (addressing them, but focusing on Clyde) Settle in boys. You better get some shut eye, tomorrow is going to be a very long day. Captain Colt looks up and locks eyes with Clyde. Dismissed, everyone turns and walks back to their cots. Barney offers Clyde a cigarette. Clyde takes it. The Captain exits. Zeke and Andrew follow. Baby-faced JAMES CRAIG “WILLIE” WILLIAMS, 19, and EVERETT MELVIN, (30’s), ruthless with violent eyes, enter. LESTER Whew! That looked rough, boys. Clyde It ain’t right. BARNEY Wanna’ know what I think-- Barney lifts his leg and BLASTS A BIG FART. Clyde and the others start LAUGHING. FINAL DRAFT 23.

A fist smashes into Barney’s face, knocking him to the floor. The fist belongs to Everett Melvin, the only con in stripes. MELVIN We don’t need punks like you stinkin’ up the place. Clyde doubles up his fists, but decides this is not his fight to fight. Melvin stares everyone down, then-- MELVIN (CONT’D) Come on, Willie. Willie reluctantly obeys. The two of them exit. Everyone else knows poor Willie is Melvin’s “bitch,” but Clyde. But he’s realizing he’s just checked into Hell.

EXT. PRISON FARM - DAY The blistering sun beats down on Clyde, Barney, Lester, Melvin, Willie and Tommy, as they dig a ditch. Barney is telling a wild story. Guard Zeke, on horseback, oversees them. Barney approaches Zeke. BARNEY Hey Boss, the boys could use some water down here! GUARD ZEKE What’d you say? Come over here. BARNEY I’m just saying if we could get some water-- Before he finishes, Zeke rams the butt of his shotgun into Barney’s face. Clyde starts to help him up, but Zeke pulls back one of the hammers on the shotgun. Clyde quickly picks up his shovel and starts digging. The others turn and dig faster. A SERIES OF SHOTS: --Men sweating, working, slaving in the fields --A rattlesnake in the dirt --Clyde sits on the bottom bunk with his father’s bible --Tommy tosses his bedding on clyde’s bed and points Clyde to the top bunk. Clyde swallows his pride, moves his stuff FINAL DRAFT 24.

--Clyde flinches, as George cut off A PRISONER’S heel --Clyde says good night to Lester --Clyde struggles to read his father’s bible. Finally, he tosses it aside. He lights a cigarette, looks towards Heaven --Smoke bellows upward

EXT. PRISON FARM - BARRACKS - DAY The sun rises, and beats brutally down on the barracks.

INT. PRISON FARM - BARRACKS - DAY As they rise, Clyde whispers to Barney. Tommy approaches. They all whisper in conspiracy, and nod affirmatively.

EXT. PRISON FARM - BARRACKS - THE NEXT DAY Clyde, Barney, Lester dig a trench. Tommy and other PRISONERS work on another trench a 100 yards away. Clyde glances towards a clearing with a fence. Zeke dismounts his horse, his back to them now. Tommy nods to Barney and Clyde. TOMMY NOW! Clyde, Barney and Lester sprint towards the fence. TOMMY (CONT’D) Boss! Boss! They’re runnin’ for it. They’re runnin’ for it! Guard Zeke whips around, and grabs his gun, as they continue running. Zeke levels his shotgun. BOOM! Lester falls face-down. Zeke aims again. BOOM! Clyde's hat flies off, and he falls face-down. Barney stops at his feet. Captain Colt appears out of nowhere on horseback. Caught. FINAL DRAFT 25.

Captain Colt jumps off his horse, and draws his pistol. Barney throws his hands in the air. Clyde jumps up, sticks his finger through the hole in his hat and smirks. The men CHEER. He approaches Clyde with Barney, pistol drawn. CAPT. COLT Thompson, go see if Lester’s still alive. He rushes to Lester, who is still face-down in the field. Clyde turns his body over. He’s alive. Barely. CLYDE Lester! Lester... come on, you’re okay... you’re going to be alright. LESTER It was Tommy... Promise me, you’ll kill that squealer... CLYDE If you’re not able to, I will, Lester. I promise. LESTER Clyde... tell my sister I love her. CLYDE What’s her name? Lester? Lester? Lester stops breathing... CLYDE (CONT’D) I’ll get ‘im, I promise... ANGLE ON: Clyde, holding his dead body in his arms...

INT. SMALL CHURCH - DAY Rees, alone, on his knees, praying under a cross.

INT. PRISON FARM - BARRACKS WASHROOM - DAY Clyde and Barney wash up, when Tommy enters. FINAL DRAFT 26.

TOMMY (mockingly) Well, if it isn’t Barney and Clyde. BARNEY Haha! If it isn’t Tommy and his tiny salami. Barney shoots a glance at Clyde, who nods for him to go. BARNEY (CONT’D) (to Clyde) Please don’t do it without me, pal. Barney exits. Clyde and Tommy are now alone. Tension. CLYDE I told Lester I’d kill you... I like to keep my promises. Tommy slowly backs out, eyes on Clyde, then exits. Clyde continues washing his hands.

INT. PRISON FARM - VISITING AREA - DAY Clyde enters with a cigarette hanging out of his mouth, holding his father’s Bible. He sits facing Rees. They are separated by a wire mesh. CLYDE Got a light? REES I didn’t travel over three hundred miles to watch my son smoke. No. (LONG SILENCE) I sure am sorry things are so tough for you down here, Clyde. CLYDE Hell couldn’t be any worse. REES I miss you, son... It’s good to see you’ve still got your Bible. CLYDE The only reason I brought it is to give it back to ya. This book ain’t good for nothing but using the pages to roll cigarettes for the boys. FINAL DRAFT 27.

REES That’s no way to talk about God’s word, Clyde. CLYDE There ain’t no God, and he ain’t got no word. REES There is a God, Clyde. Use this to guide you-- CLYDE --It ain’t doing much for me in here, daddy-o. And it hasn’t done much for you and your cheatin’ ways, neither. REES You’re right... I’ve made a lot of mistakes... done a lot of things I’m not proud of son, and I beg for forgiveness for them every day. CLYDE Do you really think this is what The Lord God wants for me, to live this nightmare? He ain’t got no say in here. And I ain’t got no use for this. (sliding the Bible aside) You don’t get it... I got no use for this! Clyde stands and exits, leaving Rees alone with the bible.

EXT. PRISON FARM - DAY PRISONERS digging. Clyde bends over and picks up a piece of glass out of the dirt. Clyde turns around to see Tommy staring at him. Clyde just smirks back with menace.

INT. PRISON FARM - BARRACKS - NIGHT SUPER: “THE PRISON FARM” - FEBRUARY 12, 1933 The BELL RINGS TWICE. PRISONERS start to line up to leave for dinner. Clyde falls in toward the back of the line. Tommy spots Clyde, and draws a knife. FINAL DRAFT 28.

BARNEY Look out, Clyde! Tommy attacks Clyde. Clyde spins, as Barney grabs Tommy from behind. Clyde reaches down into his boot and produces his shiv. Tommy breaks free. They square off, knives drawn. Barney grabs Tommy from behind again. Clyde plunges his shiv into Tommy's chest-- CLYDE For Lester. Tommy struggles, then slumps to the floor, dead. THE SOUND OF A judge’s gavel SLAM DOWN HARD, AS WE-- CUT TO:

INT. COURTROOM - DAY Again, Clyde sitting in a courtroom. This time with Barney. Rees sits behind them, emotional. JUDGE (O.S.) Unfortunately for the State of Texas, you have been spared the electric chair due to one member of the jury. I thereby sentence each of you to life in prison. Barney sighs a breath of relief. Clyde sits stone-faced. GEORGE (PRE-LAP) (Singing) Amazing Grace...

EXT. PRISON FARM - DAY SUPER: “THE PRISON FARM” - JANUARY 25, 1934 Clyde, Barney, George and other PRISONERS dig a ditch by a road. George works on the opposite side of Clyde. GEORGE (singing) ...how sweet the sound... ROOKIE GUARD (O.S.) You men stop yelling. FINAL DRAFT 29.

Clyde, George and the other PRISONERS continue working. CLYDE Don’t listen to him George, you got a beautiful singing voice. Keep singing! GEORGE (continues singing) Amazing Grace... A young ROOKIE GUARD (22) approaches Clyde, with attitude. ROOKIE GUARD I thought I told you to stop yellin’! CLYDE I wasn’t yelling, boss. ROOKIE GUARD You calling me a liar? CLYDE I call it like I see it. ROOKIE Guard I oughtta blow your damned head off. Clyde stares him down. TENSION. Then out of nowhere, Clyde rears back and throws his shovel at the Rookie. The Rookie ducks. The other PRISONERS stop digging and watch in shock. The Rookie Guard pulls out his shotgun and levels at Clyde's chest. Clyde rips open the front of his shirt. The guard’s hands shake, as he holds his aim. Clyde reaches up and steadies barrel, then plants it on his bare chest. CLYDE It takes guts to kill a man. And ya ain’t got any. Captain Colt appears. FINAL DRAFT 30.

CAPT. Colt It looks like you’re wanting a fight? Alright, you and me Thompson! CLYDE Not you, Captain. I know you’ve got guts. Bring that chicken-shit down here, and I’ll teach him a lesson. CAPT. COLT Give me your shotgun. Go on. Get down there and fight ‘im. A long BEAT. The Rookie Guard is frozen. CAPT. COLT (CONT’D) Is there a problem, rookie? Rookie Guard shakes his head negatively. CAPT. COLT (CONT’D) Then gimme that damn shotgun. He’s right, you are chicken-shit. You’re fired! Get the hell outta here. The Rookie Guard hands over his shotgun and storms off. All the prisoners stare at Clyde in admiration, as George starts singing again.

INT. PRISON FARM - BARRACKS - EVENING PRISONERS coming in from the field. Barney and Clyde, arm in arm, LAUGHING. Captain Colt steps in front of Clyde-- CAPT. COLT Thompson. You really didn’t think you’d get away with that, did you? You, me and the bat are gonna set things straight. Zeke grabs Clyde. The prisoners gather in a semi-circle around Clyde. Guard Andrew enters with the bat. Clyde doesn’t struggle. He just stares at the captain defiantly. CLYDE “Let the great axe fall.” FINAL DRAFT 31.

BARNEY (to Clyde) Ciggy? He hands it to Clyde. Clyde takes it. He lays face-down on the table, and sticks the cigarette between his lips. Barney and THREE INMATES secure his arms and legs. CAPT. COLT (to Clyde) Don’t embarrass yourself by squalling like a little girl. BARNEY Sorry, pal. CLYDE (with resolve) They ain’t gonna break me, Barney. CAPT. COLT Oh, you’ll break, Thompson. Eventually, they all do. Captain Colt nods to Andrew, who hits Clyde on the buttocks with all he’s got. Clyde flinches in pain, still clinching the cigarette in his teeth. GUARD ANDREW One. WHACK. THE INMATES JOIN IN-- INMATES Two. WHACK. Clyde stares straight at Captain Colt in defiance. CLYDE (through clinched teeth) Three. WHACK. SLO MO. TIGHT ON CLYDE’S FACE, WE LOSE TRACK OF COUNTING... WE HEAR THE RINGIN IN HIS EARS! BACK TO REAL TIME: The beating continues with the PRISONERS COUNTING LOUDER and grow more impassioned with each hit. WHACK. FINAL DRAFT 32.

ALL THE PRISONERS Eighteen! Guard Andrew looks over at the CHEERING prisoners, wipes his brow and brings down the bat again. WHACK. CLYDE (teeth gritted, in agony) Nineteen! BARNEY They’re drawing blood. They gotta stop! CAPT. COLT (Under his breath, with disdain) Son of a bitch. WHACK. BARNEY One more. WHACK. CLYDE Twenty. Captain Colt nods to Guard Andrew to keep going-- WHACK! All the PRISONERS (not in unison) Twenty-one? BARNEY They can’t go over twenty! WHACK. PRISONERS Twenty-two?! CAPT. COLT Alright. That’s enough. A dead silence fills the air, as all eyes focus on Clyde. CAPT. COLT (CONT’D) What you got to say for yourself now, Thompson? FINAL DRAFT 33.

Pained and dizzy, Clyde struggles to his feet, cigarette still between his lips. CLYDE Got a light? The Captain exits. The prisoners BREAK OUT INTO A CHEER. SERIES OF SHOTS: --Clyde smoking like he’s untouchable --Melvin passes Clyde and Barney, lowers his shoulder, and clips Clyde. Clyde turns, fists up-- ready to fight-- But Melvin just blows him a kiss, as he walks away --Clyde stands defiantly, refusing to work in the field

INT. PRISON FARM - BARRACKS - NIGHT SUPER: “THE PRISON FARM” - MAY 24, 1935 Clyde takes off his boots, as Melvin enters. They are alone. MELVIN My little lady, Willie, got transferred, and you’re prettier than any woman I ever saw. Melvin flashes a knife. He approaches and stands over Clyde, his crotch inches from Clyde’s face. MELVIN (CONT’D) It’s about time you were my boy. He grabs the back of Clyde’s head, but Clyde breaks free, flips over the bunk and stands. Clyde pulls a knife from his boot. Melvin moves towards him-- CLYDE One step closer and you’ll lose your other Willie. They circle each other. Then Melvin lurches at Clyde. Clyde dodges, Melvin lunges again, and Clyde sidesteps and plants his knife into his chest. He thrusts it in again. And again. Then dashes out, right into Captain Colt. CLYDE (CONT’D) Well, Captain, looks like I’m in trouble again. He sets down the bloody knife. FINAL DRAFT 34.

INT. COURTROOM - DAY JUDGE WILSON (V.O.) Clyde Thompson, although it should be death by electric chair, I hereby add a third life sentence and hard labor at the Central Farm Unit. His Gavel STRIKES!

EXT. PRISON FARM - BARRACKS - DAY Establish shot of the Prison Farm. SUPER: “THE PRISON FARM” - TWO YEARS LATER

INT. PRISON FARM - BARRACKS - DAY Clyde enters the barracks. Barney, George, DONALD WAYNE (36), a World War I veteran, mentally unstable, and a menacing- looking new con RALPH (25), all prepare for bed. Brooding in the shadows is a dark-haired fellow, covered in tattoos. Barney and George cross to Clyde. Donald follows. BARNEY Well if it ain’t “Raw Hide Ass” Thompson refusing to sit on the hotsquat. Congratulations on another life sentence! GEORGE You are one lucky son of a-- BARNEY --Someone up there’s sure lookin’ out for you. Sheesh, wish you’d rub some of that dumb luck on me! They LAUGH. BARNEY (CONT’D) It’s been a long time, pal. DONALD It’s been a long time, pal. Barney looks at Donald with irritation, Clyde with curiosity. FINAL DRAFT 35.

CLYDE Yeah, spent a year and a half up at the Central Farm. BARNEY You kill anyone else while you were up there? CLYDE Naw. But I danced with the warden a few times. DONALD I danced with the warden a few times. CLYDE (turns on Donald) Oh, you did, did ya? Are ya mocking me? BARNEY He’s harmless, Clyde. We call Donald the human echo. Lost his wits fighting in the great war. Hasn’t been the same since. GEORGE Glad you’re back, Thompson. DONALD Glad you’re back, Thompson. RALPH (From across the room) Shut the hell up, you nut-bag! CLYDE (RE: Donald) What’s he in for? BARNEY Took the fall in a heist-murder. DONALD I can break into anything. ROY THORNTON (20’s), steps out of the shadows. ROY THORNTON You’ve got quite the reputation, Mr. Clyde Thompson. Hear they call you the “thrill-killer?” FINAL DRAFT 36.

CLYDE They call me a lot of things. ROY THORNTON Name’s Roy. Roy Thornton. Roy extends his hand-- arm covered in tattoos. Clyde nods and takes it. The two men stand eye to eye. CLYDE What’re you in for, Roy? ROY THORNTON Fifty years on robbery. CLYDE Either you’re a busy thief, or you got a lousy lawyer. They size each other up. Clyde grins. Finally Roy CHUCKLES, and they all LAUGH.

INT. PRISON FARM - BARRACKS - DAY Clyde rolls a cigarette. George and Barney whisper behind him GEORGE My cousin’s visiting today. BARNEY How is it a snake like you gets visitors, but no one ever comes to see me? GEORGE Cuz you’re a grifter, that’s why. (to Clyde) He might be able to smuggle in a couple of guns for us. CLYDE Keep talkin’! GEORGE The way I see it, if he walks through the yard, there’s only one guard watching. Someone distracts him, my cousin hides us a couple guns that we could pick up later-- FINAL DRAFT 37.

BARNEY That’s your plan? Are you serious? Donald walks up to them. DONALD Are you serious? GEORGE Get the hell outta here, you little twit! DONALD You little twit! GEORGE Shuddup, ya dim-wit! Beat it before I slice you up! Clyde stands, and leads him out of earshot. CLYDE What’s your deal? DONALD What’s your deal? CLYDE You really a vet? Or is this all an act? DONALD Is this all an act? CLYDE Did you really fight in the great war? DONALD The Great War? It wasn’t a great war... Terror in the skies. Blazing airships. Searchlights of death... Gas bombs, men clutching our throats, a bullet in the eye, they died in the muddy trenches... but I put flowers on their graves... CLYDE Well if you’re not careful, and don’t keep your mouth shut, we’ll be putting flowers on your grave. FINAL DRAFT 38.

DONALD Violet blue with reddish overtones. CLYDE Keep it up, and you’re gonna’ get yourself killed. DONALD You’re gonna’ get yourself killed. Clyde grabs him by the back of the neck and drags him over to where Ralph and A PRISONER are playing cards. CLYDE Donald wants to talk to you, Ralph. RALPH Well, I don’t wanna’ talk to him. DONALD Well, I don’t wanna’ talk to him. Ralph raises his hand to back-hand him-- but Clyde steps between them. Now Ralph raises his fists. CLYDE Let it go, Ralph... He’s not worth bloodying your knuckles over. Ralph shoots Clyde a death stare, then simmers. RALPH Thanks for nuthin’. Donald sits down, pulls out a file, and starts secretly filing his nails. Ralph just glares at Clyde, as Clyde crosses back. GEORGE The picket guard is wearing iron, and there’s another gun in the drawer. BARNEY Even if we get the picket guard’s gun and even if the gun’s in the drawer and if your cousin is able to hide a couple more guns, we still have to make it out alive-- do the math, Clyde-- that’s whole lot of “ifs” to risk your life on. FINAL DRAFT 39.

CLYDE Who else can we get to back us up? GEORGE What about Ralph? BARNEY Not that hot-head! We don’t need him gumming the works. CLYDE What about Roy? BARNEY You know who Roy is, don’tcha’ Clyde? That’s Bonnie of the Bonnie and Clyde fame’s husband. The whole time she was with Clyde she was still married to Roy-- Even had his name tattooed on the inside of her thigh in a little heart. Imagine having to see that every time they-- CLYDE --Everyone knows that, Barn. BARNEY So you wanna’ bust outta here and give a gun to a guy who can’t even control his own wife? CLYDE What’s your problem, Barn? BARNEY I just don’t want this to turn into a bloody massacre, that’s all, pal. CLYDE Barney, either commit or walk away. BARNEY I’m in. Of course I’m in, Clyde. CLYDE Glad you’re finally with us, Barn.

INT. PRISON FARM - BARRACKS - NIGHT SUPER: “PRISON FARM” - OCTOBER 3, 1937 FINAL DRAFT 40.

Clyde gets out of his bunk, and Barney, George and Roy follow. CLYDE Let’s go. Clyde pulls his gun as they all approach The Picket. CLYDE (CONT’D) (to The Picket Guard) Wake up, old man. The Picket Guard, obeys. His eyes flash over to bell rope. CLYDE (CONT’D) Touch that bell rope, and I’m gonna have to kill ya. JOE WILLIAMS Please, I’ve got a wife and six kids. CLYDE Well, Joe, for your kids’ sake, I suggest you do as I say. JOE WILLIAMS I will. I will. CLYDE Open this door. He pulls out the keys, and with a shaky hand, opens the door.

INT. PRISON FARM - THE PICKET - NIGHT As they enter, Clyde grabs the keys. Barney extracts the gun from Joe’s holster and hands it to George. Clyde opens the drawer and takes out the gun and gives it to Roy. CLYDE Grab him, and let’s go. ROY THORNTON You and I are walkin’ outta this cow barn together. You’re my life insurance policy, pally. Roy puts a gun to the back of William’s head. BARNEY Roy. This is Joe Williams. He’s got six kids. FINAL DRAFT 41.

ROY THORNTON Well aren’t you a busy bastard, “Joe with six kids?” They all enter. Clyde tries to unlock the door to the outside. It doesn't work. He tries a second key. Doesn’t open. He tries a third key. Nothing. Clyde turns to Joe. CLYDE Which key is it? JOE WILLIAMS None of ‘em. Clyde slaps his face and aims the gun at his forehead. CLYDE What the hell are you saying? ROY THORNTON Where is the key to this door? Clyde draws back the hammer on the revolver and shoves it into his mouth-- CLYDE Where is the key? JOE WILLIAMS Uggh gahh gooo uhhh... CLYDE (takes barrel out of his mouth and puts it to his forehead) I’m sorry I didn’t get that, Joe. JOE WILLIAMS The outside guard has it. For this very reason. ROY THORNTON Now, why didn’t you say that in the first place? JOE WILLIAMS I didn’t have a chance. Observing PRISONERS start to gather around, curious. FINAL DRAFT 42.

Seeing it’s an escape, they all start to CHEER! BARNEY Shut up! If you want to join our little wingding outside these walls tonight, you better all keep back and quiet! DONALD You better all keep back and quiet! GEORGE Go on, get away, you half-wit! DONALD Go on, get away, you half-wit! GEORGE Shut-up, you dim-wit! DONALD Shut-up, you dim-wit! Barney stares at Donald, who is nervously filing on a key. BARNEY What are you doing, Donnie? Everybody turns and looks at Donald. DONALD What are you doing? CLYDE Wait a minute, you said you can break in to anything-- How about breaking out of anything, huh, Donnie? Donald blows on the key. He slides his home-made key into it, listens, pulls it out and continues to file. ROY THORNTON I’m about to shoot somebody here pretty quick if we keep wasting time. CLYDE You got one last shot, Donnie-boy. He slides it in again, twists it. Nothing. He jiggles it, and the door cracks open. FINAL DRAFT 43.

BARNEY Oh Donnie, “I could love you to death!”

EXT. PRISON FARM - BARRACKS - NIGHT Clyde looks through the crack in the door, then opens it. CLYDE There’s usually a guard on horseback outside, so this could come to an all-out shoot-out. Be ready. The yard outside is illuminated, but it’s empty. DONALD I’m not ready... Donald exits. BARNEY Donnie? CLYDE Clear. Let’s go! Clyde takes the lead now, followed by Barney. Roy uses Joe as a shield, and they all exit. They make their way around the outside of the building towards the yard. Clyde scans the yard, surprised not to see the mounted guard. A GROUP OF PRISONERS stack up behind them. The CRACK OF A RIFLE-- ROY’s neck explodes. His hostage, Joe, runs for cover. ANOTHER GUN SHOT-- A hole the size of a silver dollar rips through Clyde’s shoulder. The gun-fire ceases, then, George runs-- --BULLETS fly from every direction, and he’s hit in the chest. He falls. FINAL DRAFT 44.

Barney follows, taking two bullets simultaneously, and he drops dead-- --RIFLE FIRE RATTLES LOUDLY! Bullets hit all around Clyde, as he drags himself to safety. He peeks around the door, and stares horrified at his friends’ bodies laying on the ground dead.

EXT. SMALL CHURCH - DAY A SIGN THAT READS: CHURCH FUND-RAISER. A table with fresh cookies, punch and balloons. The entire town is there. A CROWD is gathered, gossiping about the newspaper with a crazed-looking Clyde on the front page. THE HEADLINE READS: “Prison Pandemonium. Biggest Escape Attempt in Texas History.” JULIA PERRYMAN (early 20’s), beautifully angelic, but self- conscious, with a spinal deformity that makes her look like a hump-back, pushes her way through the crowd, trying to exit. She approaches a CRIPPLED MAN in a push cart, who sits in a corner with a HARMONICA and a cup. Julia’s mother, MYRTLE PERRYMAN, conservative, 45, approaches. Julia extracts a coin from her mother’s purse, and places it in the man’s cup. Two girls (early 20’s) pass Julia as they enter. They shoot a smile towards Julia, but she quickly looks down and avoids eye-contact. MYRTLE Wasn’t that Mary Janis and Betty Mae from your high school? JULIA Yes. MYRTLE Why didn’t you greet them? JULIA They didn’t want to talk to me. FINAL DRAFT 45.

MYRTLE Julia, you should never let your insecurities stop you from making friends. JULIA I don't need to beg anyone for their friendship, mother. She exits, leaving her mother alone, concerned.

INT. PERRYMAN HOUSE - DINING ROOM - DAY Julia works on a puzzle at the kitchen table. MYRTLE Still working on that puzzle? JULIA Yes. Why mother? MYRTLE It’s just you have been working on it for so long, that’s all. JULIA Well, it takes time. MYRTLE Yes, I suppose so. JULIA Are you worried about me too? MYRTLE Why would you ask such a thing? JULIA Because I over-heard Aunt Jeanie and father discussing how I am 27 years old, with no job, and no husband. MYRTLE Don’t you want a man in your life? JULIA When I find a man who loves me for my mind and treats me with respect. FINAL DRAFT 46.

MYRTLE You’re father and I are just worried that if you don’t start thinking about your future, and we’re gone, you may end up on a street corner playing a guitar for money. JULIA I don’t even play guitar, mother. MYRTLE That’s my point, dear. Myrtle exits, leaving Julia with that thought.

INT. PRISON FARM - BARRACKS - DAY SUPER: “THE PRISON FARM” - JULY 27, 1938 Ralph plays cards with A PRISONER. Clyde (now 27) sits on a bunk. Donald approaches Ralph. Hovering over him. RALPH Go on. Get outta here! DONALD Go on. Get outta here! Ralph reaches over and grabs Donald’s nose, twisting it, forcing Donald to the floor in pain. RALPH Now get the hell outta here before I gut you alive! DONALD Or maybe I’ll gut you alive-- --Ralph leaps up, puts Donald in a headlock and drags him out. Clyde watches apathetically, as Ralph produces and a knife cuts Donald’s throat. Donald, bleeding, slumps to the floor. The Prisoner looks over at Clyde, catches him fighting back tears. Clyde senses he’s being watched, and smirks-- FINAL DRAFT 47.

CLYDE Why do I get the feeling I’m gonna take the wrap for this one? Ralph lays the bloody knife at Clyde’s feet. ANNOUNCER (O.S.) You have a prisoner locked up who’s being called the meanest man in Texas. Tell us about Clyde Thompson. CAPT. COLT (O.S.) There’s no doubt about it. He is the Meanest Man in Texas. ANGLE ON: CU of Clyde on a cot, smoking... dressed in striped prison garb, worn only by the most dangerous inmates. ANNOUNCER (V.O.) How did he earn this dubious distinction? CAPT. COLT (V.O.) He’s a cold-blooded killer with three life sentences.

INT. THOMPSON HOUSE - LIVING ROOM - DAY Rees sits by his radio, listening... CAPT. COLT (V.O.) Now he’s indicted for killing a man who fought in the great war.

INT. PRISON FARM - Barracks - DAY Clyde lays on his bunk. Joe the picket guard approaches. JOE WILLIAMS Get goin’, Thompson. (no answer) I said get goin’. CLYDE I’m staying right here, where it’s nice and comfy. JOE WILLIAMS You know the punishment for laziness. FINAL DRAFT 48.

CLYDE I can take anything you dish out, Joe. You’re lucky I ain’t killed ya already. Joe Williams exits. CAPT. COLT (V.O.) We’ve got two eye witnesses. And they’re both willing to testify.

INT. PERRYMAN HOUSE - LIVING ROOM - DAY Julia and her mother Myrtle sit listening to the radio. CAPT. COLT (V.O) Even the Prison Chaplain said, “Clyde Thompson is a man without a soul. Executing him would be no different than shooting a mad dog. MYRTLE I hope that murderer finally gets what’s due to him: A good fryin’ in the ‘lectric chair. Julia is shocked at her mother’s cold words.

INT. PRISON FARM - BARRACKS - DAY Clyde stares out the window. His face goes white. He rushes to his bunk. Clyde pulls out a blade from his bunk. Zeke and Andrew enter with the “bat,” to find Clyde’s pants around his ankles, flashing a bloody knife at them. Blood runs down his leg-- CLYDE You can’t hit a bleeding man! Joe the picket guard joins them, sickened at the sight-- GUARD ANDREW We’ll see about that. They grab him, slam him face-down, holding his arms and legs. Guard Zeke uses a handkerchief on Clyde’s posterior. FINAL DRAFT 49.

Captain Colt enters and takes the bat from Andrew. He brutally brings down the bat on Clyde’s buttocks. WHACK! And again. And again. Clyde SCREAMS in pain.

INT. PRISON FARM - BARRACKS - WEEKS LATER - DAY Clyde lies face-down on his bunk. Captain Colt enters. CAPT. COLT Looks like you got away with murder again, Thompson. (beat) The D.A. dropped the murder charge. The two witnesses backed out. Probably figured you’d kill ‘em. CLYDE Damn right. What’d ya promise ‘em to squeal, cushy jobs? CAPT. COLT Watch yourself, Thompson... It’s been two weeks, that’s enough R&R. You’re back in the fields tomorrow. (he starts to leave) Oh, and you got a visitor. Clyde sits for a moment as Capt. Colt exits.

INT. PRISON FARM - VISITING AREA - DAY Clyde enters expecting to see his father, but finds the Sheriff from his hometown waiting. Clyde approaches, but doesn’t sit. He pulls out a cigarette. SHERIFF KILBORN Good to see you, Clyde. It’s been a long time... How are you? CLYDE Got a light? The sheriff pulls out a match and lights his cigarette. FINAL DRAFT 50.

SHERIFF KILBORN I’m really sorry about... everything. Clyde scans the visiting area. CLYDE Where’s my father? SHERIFF KILBORN Please, have a seat. CLYDE I’d rather stand. SHERIFF KILBORN I came all the way up here to tell you myself. Rees and I have known each other for along time. I watched him work three jobs to pay those lawyers, he fought appeal after appeal... and he never gave up...

SHERIFF KILBORN (CONT'D) CLYDE I figured it best to hear it No... don’t say it... Don’t from someone you knew. ya dare say it. SHERIFF KILBORN I’m sorry, Clyde. You’re father’s dead... He died of cancer... We buried him four days ago. Clyde fights to hold it together, but guilt, fear, and grief all strike him at once.

INT. PERRYMAN HOUSE - DINING ROOM - DAY Julia, (now 28), sits at the table writing a letter. JULIA (V.O.) “Dear President Roosevelt. My spine is really crooked because of scoliosis. Because of this people assume my mind isn’t right. That’s not true. I was valedictorian of my high school class. I am looking for something meaningful to do with my life.” Julia signs it. Then seals it and addresses it to “The President of the United States of America.” FINAL DRAFT 51.

INT. TEXAS REHABILITATION COMMISSION OFFICE - DAY Julia enters the office of MR. KILPATRICK, (50), a by the book, yet quirky and sarcastic, government bureaucrat. KILPATRICK Good morning, Miss Perryman. What can I do for you? JULIA Thank you for taking the time to see me, Mr. Kilpatrick. KILPATRICK Well, I really didn’t have much of a choice, now did I? JULIA I’m sorry. I don’t mean to be a burden. I’ll see myself out. She turns to leave. KILPATRICK No, I was only joking. Please sit down. I was very impressed by your letter to the president. That takes spunk. Tell me, what you would like to do, as a vocation, Miz Perryman. JULIA Momma thinks I could be a hair dresser-- I do her and my sister’s hair. KILPATRICK Have you ever worked in a salon? JULIA No, I haven’t. I do sew, so I suppose I could be a seamstress. He notices her hump. KILPATRICK That’s very hard on your back. Julia I also type. KILPATRICK Do you know shorthand? FINAL DRAFT 52.

JULIA No, but I could learn. He smiles faintly. KILPATRICK Well, I will do my best to try and find the right vocation for you. Julia notices a photograph. JULIA Oh, is that in Tennessee? KILPATRICK Yes, we vacation often at Trigger Island. You know it? JULIA One summer I lived with my aunt and uncle near that lake. They own a photo studio. I helped them during the week, hanging backdrops and lighting portraits. Sometimes they let me take pictures of that lake. Oh, don’t you just melt when you see a black and white landscape, or a perfectly lit portrait? It’s an art, really... That was the best summer of my life. Kilpatrick is momentarily transfixed, then smiles. KILPATRICK I’m very glad you came in today, Miz Perryman.

INT. PRISON FARM - BARRACKS - DAY Captain Colt, Andrew and Zeke enter. Clyde rolls out of his bunk, and holds up a razor. CLYDE I’m not gonna let ya do it again. CAPT. COLT No one’s going to whip you. Zeke and Andrew jump on Clyde and quickly subdue him. CAPT. COLT (CONT’D) This is worse. FINAL DRAFT 53.

EXT. THE OLD MORGUE - DAY Captain Colt and Guard Andrew lead Clyde blindfolded, in chains and leg irons toward a small, concrete building. CAPT. COLT Welcome to solitary confinement. Colt takes the blindfold from Clyde, and he looks around. CAPT. COLT (CONT’D) Let me give you a tour of your new home. The barracks are over there ‘bout a quarter mile behind that hill. These walls are pure concrete. No way to escape... Texas first started using the electric chair in 1924. Before that, they just strung up fellows like you. The gallows used to stand right there. Dead men were put in here ‘til someone claimed them. If no one did, they were buried out behind it... There’s no one left to claim you, Thompson. You’re luck has run out. You’ll probably die in there before you pay your debt to society. Clyde looks around, suddenly his fate is starting to sink in. CAPT. COLT (CONT’D) As far as the state is concerned, you’re a dead man. Captain Colt opens the steel door. Guard Zeke and Andrew strip him naked, and hand him shorts and the bucket. Clyde takes a step forward-- CAPT. COLT (CONT’D) You don’t move... you don’t move again until I tell you to. Captain Colt shoves Clyde inside. Tiny streams of light pierce through the ventilation holes. The DOOR SLAMS SHUT and Clyde is in darkness. Guard Andrew LOCKS it. FINAL DRAFT 54.

Clyde BANGS ON THE DOOR-- CLYDE (O.S.) I’m not dead. Ya can’t just leave me in here! Captain Colt and Guard Andrew walk away. CLYDE (O.S.) (CONT’D) I’ll kill ya! I swear I’m gonna’ kill ya’ll! Every last one of you! The only sounds WE HEAR are a FEW BIRDS CHIRPING IN THE DISTANCE and a faint POUNDING from the isolation cell.

INT. SMALL CHURCH - DAY Julia enters. Harper is making notes for his sermon. JULIA Good afternoon, Brother Harper. HARPER Hello, Julia. How are you doing today? JULIA I’m fine. HARPER Are you sure, because you look sad enough to bring a tear to a glass eye. JULIA I’m fine. I just came to have a solitary moment and a prayer. She makes her way to a pew and sits. Harper crosses to her. HARPER If you want to talk about it, I am all ears. JULIA That’s very kind of you... Mr. Kilpatrick at the State Rehabilitation Commission office set me up with a job interview this morning. I was so excited. It was to be an assistant at a photo studio in Lovelace. (MORE) FINAL DRAFT 55. JULIA (CONT'D) But the owner told me I am too old to start a career. HARPER Some people are as rough as cob. Julia forces a smile, as her eyes swell. Harper hands her a handkerchief. She wipes her eyes. JULIA (regaining composure) I want to offer my services to the church. HARPER Well, unfortunately, at the moment, I’m not sure what there is for you to do, Julia. JULIA Anything, please... (fighting an emotional breakdown) People look at me like I’m a leper, and I have spent my whole life hiding because of it... I don’t want to hide in the shadows anymore. I don’t want live a life of quiet desperation. I want to do something meaningful in this world... but no one will give me that chance! Tears fall down her face.

INT. THE OLD MORGUE - DAY Light pierces into Clyde’s cell, as Captain Colt opens the door. Clyde looks like Charles Manson on a bad day. Captain Colt hands him a plate of bread and water. Clyde devours it like a famished animal. Guard Andrew trades the bucket out. CAPT. COLT Bread and water... well I ain’t bringing it in, you come and get it. FINAL DRAFT 56.

Captain Colt hands him a plate of food. Clyde grabs it and sits back down. He stares at him coldly. CLYDE Can I get a light? Same old Clyde. Captain Colt isn’t amused and shuts the door.

SERIES OF SHOTS: --SPARKS FLY! --Andrew cuts a hole in the steel door, which now has bars. --Captain Colt peers through. CAPT. COLT That enough light for you, Thompson? CLYDE How long ya figurin’ to keep me locked up in here? CAPT. COLT ‘Til hell freezes over. -- Clyde watches a black widow scurry across its web --Guard Andrew hands Clyde a spicy bowl of chili. Clyde has to eat with this hands. Then realizes he can’t wash them... --Andrew LAUGHS --With sticky fingers, Clyde stares back with hate in his eyes

INT. THE OLD MORGUE - DAY Clyde tosses rocks into his bucket. Captain Colt appears. CLYDE If the goal is for me to go crazy, Captain I think it’s working. CAPT. COLT You only have yourself to blame for this torture, Thompson. FINAL DRAFT 57.

CLYDE Well, can ya bring me a newspaper, or a magazine? Something? CAPT. COLT No. CLYDE A Bible? Anything? CAPT. COLT What do you think a Bible is going to do for you now, Thompson? CLYDE I want to prove that all these churchgoers are a bunch of damned hypocrites! Captain Colt walks away, shaking his head. A MONTAGE: --Captain Colt passes a Bible through the bars to Clyde --Clyde opens it and recognizes it immediately, it was his father’s. Clyde slides over to the hole in door, reading by its light --Julia sits at her table applying for a government grant to purchase a photo studio of her own --A light lights up a dark room --A clock passes time --In the darkroom, Julia stares at a photo of herself with sadness. All she can see is a deformed woman with a hump --Julia develops photograph of a married couple --Julia colors in the photographs with color --Clyde reading bible, grabs a small rock, and starts writing on the cement wall END MONTAGE FINAL DRAFT 58.

INT. THE OLD MORGUE - DAY Captain Colt opens the door. Clyde sits on the ground. CLYDE Are you a religious man, Captain? CAPT. COLT Why? CLYDE (points to the Bible) That bible. It was my father’s. JULIA CAPT. COLT It wasn’t sent down from God, if that’s what your asking. Your father left it with your belongings. CLYDE He wrote a note for me in it: “the truth will set me free...” What does that mean? CAPT. COLT Let’s be honest, Clyde, you’re not the type of man to let anything go. CLYDE No, I wouldn’t. Because now I’m questioning everything... CAPT. COLT The truth is a man can twist God’s words to justify anything he wants. For all I know, you’re plotting to use your new-found faith to win our trust just to get outta this hole. I’m sure you’d slit our throats first chance you got. CLYDE I am just seeking the truth. Captain Colt reaches into his pocket and pulls out a ring of keys. He holds them up. CAPT. COLT This is your truth. FINAL DRAFT 59.

CREATIVE MONTAGE: As if inside his head, as Clyde struggles with his reality, he questions his life, his faith and fights for his sanity... REES THOMSPON (V.O.) I want you to take this here bible, and I want you to read it... WILMETH (V.O.) What matters is that you believe... --Clyde writing on the wall CLYDE “I am the light of the world...” JUMP CUT TO: CLYDE (CONT’D) If you are the light of the world, why don’t you put some light in here? --A dictionary flies in and lands at Clyde’s feet WILMETH (V.O.) ...that we have faith... --Clyde grabs it, and looks up a word CLYDE Verb. Third person. To follow. “...He that followeth me shall not walk in darkness but shall have the light of life.” --Erratic jumps cuts and strange dissolves REES THOMPSON (V.O.) Don’t let this place turn you into something your not! --Clyde SLAMS the bible shut CLYDE The truth is you took my father from me! The only one who could’ve saved me. I have been wronged. You did this to me! That’s the truth! (MORE) FINAL DRAFT 60. CLYDE (CONT'D) What kind of God lets one of his children live in a morgue? WILMETH (V.O.) The proof is in the light...

--Tight on Clyde’s face.

PULL OUT TO REVEAL: There are several hundred words scrawled on the walls, and now a single light bulb hangs above. Clyde stands, back against the wall, looking toward Heaven. END CREATIVE MONTAGE

INT. THE OLD MORGUE - DAWN Captain Colt opens the door to Clyde’s cell. Light spills in. Cockroaches scurry across the floor. Clyde MOANS. CAPT. COLT Smells like you could use a bath. Clyde stands up looking weary and ragged. CAPT. COLT (CONT’D) I’m gonna’ get you a shower and shave, once every week from now on. And some clothes. Captain Colt removes his hat. CAPT. COLT (CONT’D) You asked earlier if I’m a religious man. I'm not... My wife is, though. So I asked her minister about your question. He just said, “Seek and ye shall find.” ANGLE ON: Clyde, what does that even mean? LONG DISSOLVE: Clyde turns around, clean-shaven, dressed in prison whites. CLYDE God, Please forgive me... FINAL DRAFT 61.

A SERIES OF SHOTS: --The sun pierces through the clouds --Clyde studies --A pile of books grows in his cell --Clyde sends out a letter addressed to Lee College --Captain Colt hands Clyde an envelope with a return address of Correspondence Division, Lee College, Baytown Texas --Clyde receives a Journalism and Bible degree --Clyde hands Captain Colt a stack of outgoing letters, including a letter to the Gospel Advocate --Clyde is published in the Gospel Advocate

INT. THE OLD MORGUE - DAY Clyde and Capt. Colt are mid-conversation-- CLYDE Can I ask you something? Why are you helping me? After all, you were the one who said we’re all nuthin’ but a bunch of rotten fruit. CAPT. COLT You know I got this fig tree in my backyard, and every year there are more figs growing than we know what to do with. You can’t eat ‘em fast enough, they get rotten, fall to the ground, and it’s a huge mess... On Sundays, I pick them all up and toss ‘em. Makes my wife, Evelyn, furious. She wants me to save ‘em all, so she can make fig jam or fig cider for her church. Her fig jam is damn good! (beat) Evalyne would look for the good in you-- studying the bible and all-- so I figure, maybe you’re one of those rotten fruit hadn’t fallen yet. CLYDE Naw. I’m fairly certain I’m a fallen fig. FINAL DRAFT 62.

CAPT. COLT Well, then I suppose you’re lucky I ain’t step on you yet. Capt. Colt exits, shutting the door. Clyde smiles.

INT. SMALL CHURCH - DAY SUPER: MERIDIAN, TEXAS - 1944 Julia (35), enters carrying her camera, tripod, flash and suitcase full of equipment. Marvin rushes over to her. HARPER Julia, let me help you. JULIA Thank you, brother Harper. HARPER No, thank you. I appreciate you coming all this way. The Church felt my portrait for their magazine should be taken inside the church. She starts setting up the camera and her gear. HARPER (CONT’D) Well? How does it feel to be the owner of your very own photo studio? JULIA I still can’t believe it. It felt so good to hang that “We’re Open” sign out front of my own studio. It’s amazing. HARPER You deserve all your success, Julia. Embarrassed, she changes the subject quickly-- JULIA This young lady next door married a man last year, and he told her she’d have to give up her three year old daughter When she refused, he ran off and left her pregnant with this gem. (MORE) FINAL DRAFT 63. JULIA (CONT'D) (She shows him a picture) I sure would like to adopt him but-- HARPER --What is stopping you? JULIA My parents don’t support my decision. This poor little boy. HARPER You have such a big heart, Julia. Listen, let me talk to my wife. We’ve actually have been discussing adoption. Perhaps we could see if-- JULIA --Really? You should! He needs a good home. Look at that face! HARPER Well, if it all works out, I think I know a great baby-sitter. Julia LAUGHS. HARPER (CONT’D) And when the timing is right, some lucky child will be fortunate enough to have you as a mother. JULIA Thank you. Well, let’s take that photograph now, shall we? HARPER Darn right. It’s my big moment! He poses. She takes the picture-- WHITE FLASH CUT TO:

INT. THE OLD MORGUE - DAY Clyde opens a letter. It is from his mother, signed “Love always, mother, Dolly.” Captain Colt enters somberly. CLYDE Come in, come in, Captain. FINAL DRAFT 64.

CAPT. COLT This isn’t a social visit, Clyde. They are starting a new isolation wing in Huntsville. It’s for the worst of the worst. CLYDE So I’m just a file to be judged, right? CAPT. COLT You are to this parole board. CLYDE Well, what about my library? CAPT. COLT Sorry son, you’re shipping out alone. I am proud of you though... Clyde takes one last look around the old morgue.

INT. ISOLATION UNIT - DAY SUPER: ISOLATION UNIT, HUNTSVILLE, TX - 1945 The GUARD SERGEANT (40), escorts a handcuffed Clyde into the unit, several side-by-side one-man cells facing the same way. RALPH (O.S.) Well if it ain’t the Meanest Man in Texas. Clyde is locked into the cell next to Ralph. TENSION. CLYDE I know they paid you and the others to say I killed Donald. RALPH At least you weren’t convicted. CLYDE No, I wasn’t, but an innocent man died. That blood is on you. RALPH So what? You gonna’ kill me now? An eye for an eye? CLYDE No. I’m going to pray for you. FINAL DRAFT 65.

Ralph takes that in, as we CUT TO:

EXT. SMALL CHURCH - DAY Crowd bustles outside the church. HARPER (O.S.) 1946 has been a year of peace and prosperity.

INT. SMALL CHURCH - DAY The congregation sits listening. Harper is at the podium. HARPER Let’s not forget the less fortunate. One such Christian man is in our state prison. I’ve posted his name and address on the bulletin board. My mother corresponds with him often. You can read his writings in The Gospel Advocate. I think we should do this man that service... As everyone starts to leave, Julia approaches the bulletin board, and takes down Clyde’s address.

INT. ISOLATION UNIT - DAY The Guard Sergeant delivers a letter to Clyde. He opens it. CLYDE (reading her letter) “Merry Christmas. In appreciation for the Christian work you are doing. God can use us wherever we are. Sincerely, Miss Julia Perryman.” Clyde reaches for a blank Christmas card in his cell and begins writing: “Dear Miss Julia Perryman...”

INT. PERRYMAN HOUSE - KITCHEN - NIGHT Sitting on the table is Clyde’s letter. Julia writes him. FINAL DRAFT 66.

JULIA (V.O.) “Thank you for your Christmas card.”

INT. ISOLATION UNIT - HALLWAY - DAY THE GUARD SERGEANT takes Clyde’s letter, and as he exits, rips it into pieces.

INT. ISOLATION UNIT - CELL - LATER Clyde is handed some fan mail, but nothing from Julia. CLYDE (V.O.) “Dear Miss Perryman. I replied to your letter about two months ago and have not heard from you since.” He seals his letter to Julia with intent.

INT. PERRYMAN HOUSE - LIVING ROOM - NIGHT Julia sits onto the couch, opens Clyde’s letter and reads it. CLYDE (V.O.) “Did I say something in it to offend you? If I did, please accept my apologies.”

INT. ISOLATION UNIT - DAY Clyde lays in his cot, reading Julia’s letter. JULIA (V.O.) “No, you didn’t say anything to offend me. I guess your earlier letter got lost in the mail... When you didn’t answer, I assumed that you went home... INTERCUT, AS THEY READ EACH OTHER’S LETTERS, SHOT REVERSE SHOT, AS IF THEY ARE HAVING A CONVERSATION: Julia on her bed, and Clyde on his cot reading. CLYDE (V.O.) “I’ll probably never get to go home.” FINAL DRAFT 67.

JULIA “As a child I was twice stricken with typhoid fever. Then I developed scoliosis. After that, my spine grew crooked. CLYDE (V.O.) “..When I was seventeen I killed two men... But please don’t think of me as just a murderer. After I got my daddy’s Bible, I learned a faithful life unto death will bring eternal life...” JULIA (V.O.) “I am much more interested in the type of man you are today.” Clyde smiles.

INT. PERRYMAN HOUSE - LIVING ROOM - NIGHT Julia wrapped in a blanket, reads from Clyde’s letter. CLYDE (V.O.) “Your letters show that you are very lovely woman. It just makes me wonder why you have never been married.” Julia winces at this, showing a look of resignation.

INT. ISOLATION UNIT - NIGHT Clyde reads from Julia’s letter. JULIA (V.O.) “’m sure you would never want to meet me in person.” CLYDE (reading aloud, choking on the words) I would love to meet you in person...

INT. PERRYMAN HOUSE - LIVING ROOM - NIGHT Julia enters, staring at the letter from Clyde. Finally, she lays down on the couch and opens it, with trepidation. FINAL DRAFT 68.

JULIA (reads) The most beautiful souls I’ve known were those in handicapped bodies. But believe me, it makes no difference. Love, Your Clyde.” Julia holds the letter to her breast. Tears come to her eyes.

INT. SMALL CHURCH - DAY Harper and Julia (now mid-30’s) enter. HARPER I understand your parents’ concern. This man was once called the “kick- killer.” JULIA He’s not that man. Not any more. HARPER Think about what people might say. JULIA What, that they might call me an outcast? An old maid? A desperate hunchback? I thought everyone deserves forgiveness? Or is grace only reserved for the wealthy and respectable? HARPER Your mind is already made up, so why did you come and ask my advice? JULIA I want you to come with me. A long pause. JULIA (CONT’D) Come with me, so you can see for yourself that he’s a wonderful man. Harper takes this in.

INT. ISOLATION UNIT - DAY Clyde (now 35) paces nervously in his cell. Ralph is in the adjoining cell. A picture of Julia can be seen in his cell. FINAL DRAFT 69.

RALPH Stop pacing. What are you nervous? CLYDE Can’t help it, Ralph. Haven’t had a visitor in 13 years. RALPH And you’ve never had a female visitor. Ever. CLYDE What if I can’t think of a thing to say? What if she doesn’t like me?

INT. ISOLATION UNIT - VISITING AREA - DAY VISITORS and PRISONERS sit together on backless benches. Julia, twisting a handkerchief, enters with Harper. JULIA What if he doesn’t like me... HARPER You have nothing to worry about. JULIA Thank you for being here with me. HARPER I look forward to meeting him. JULIA I have never gone against my parents’ wishes. But they don’t know him like I do. The Guard Sergeant escorts Clyde in. Clyde spots Julia. CLYDE Julia? JULIA You must be Clyde. Clyde nods then kisses her quickly on the cheek. She’s a little surprised, but not taken aback. Harper smiles warmly. HARPER Hello, Clyde. I’m Marvin Harper. My mother’s told me all about you. FINAL DRAFT 70.

CLYDE You know I call her “Mom” in my letters? HARPER Yes. I suppose that makes us brothers, doesn’t it? Clyde beams and nods. Awkward SILENCE... HARPER (CONT’D) If you two will excuse me, I told the chaplain I’d stop by. Julia nods. Harper exits. Clyde smiles at her. They sit. JULIA You look just like your picture. CLYDE Well my shirt isn’t very nice, but clothes don’t make the man. JULIA You look very handsome. What about...? Clyde looks briefly toward her back. She grows tense. CLYDE My handicap as a convict is much greater than that. Besides you made it sound worse than it really is. JULIA I didn’t want to paint a rosy picture and then disappoint you. CLYDE I am rather fond of this picture, Miz Julia Perryman.

EXT. ISOLATION UNIT - VISITING AREA - LATER The clock turns, time has passed... and their attraction has grown. Julia and Clyde are sitting on the bench together now. He places his arm around her. She blushes. JULIA Do you ever feel bitter or angry about it all? FINAL DRAFT 71.

CLYDE Being in prison allowed me time to study. Plus, If I weren’t in here, I would never have met you. JULIA You’re quite the charmer, Clyde. Hard to believe you could do the things you have done. CLYDE I have lost just about every person I’ve ever cared about in my life... I realize now, I should have listened to my father... he tried so hard to teach me what it meant to be a real man. JULIA I wish I could have met him. GUARD SERGEANT (Interrupting) Your two hours are up, ma'm. JULIA Thank you. CLYDE Julia, I love you. JULIA I love you, too, Clyde. CLYDE I may be in here for the rest of my life and don’t know if it’s right to ask. But if I ever get out, I want you to be my wife. GUARD SERGEANT Ma’m, you have to leave now. JULIA (to the Guard Sergeant) Okay. But Clyde thinks she answered his question. Julia stands. CLYDE You mean the answer’s yes? JULIA Yes... Yes, Honey, yes! FINAL DRAFT 72.

Julia kisses Clyde on the forehead and exits full of joy. He stands smitten with red lipstick on his cheek.

INT. ISOLATION UNIT - DAY SUPER: ISOLATION UNIT - OCTOBER 1948 MOUTHY PRISONER is now in the cell beside Clyde (now 38). Ralph is a few cells down. MOUTHY PRISONER They say you’re the meanest man in Texas, but you’re nuthin’ but a punk. CLYDE Are you high? MOUTHY PRISONER I hear the people you killed were all unarmed. Clyde doesn’t answer, quietly seething with anger. MOUTHY PRISONER (CONT’D) This time you’ll have an armed man to deal with... One who can fight. (Clyde remains silent) Watch yourself, punk. First chance I get, I’m gonna’ slice you up so everyone’ll see your true colors... Ralph flashes a blade through the bars for Clyde to see.

INT. ISOLATION UNIT - LATER The Guard Sergeant unlocks the PRISONER’S cells. As he leads them out, he turns his back, and Ralph slips Clyde the knife. CLYDE (V.O.) My dearest Julia. I wonder if I have improved at all over the past 12 years. Yesterday, I got into a fight with a man over a mistaken notion of honor.

INT. PRISON BATHROOM - DAY PRISONERS enter. Clyde double-checks the knife is concealed. The Mouthy Prisoner enters. He spots Clyde. FINAL DRAFT 73.

Clyde stares back. Tension grows. Ralph nods to Clyde. The Mouthy Prisoner LAUGHS, mocking Clyde. Clyde approaches him. CLYDE Your move. MOUTHY PRISONER Better get the hell outta my way. Clyde reaches for the knife, as the prisoner throws a punch. Clyde evades and throws him against the wall. Clyde throws a body blow to the gut, and he drops to the floor. GUARD SERGEANT What the hell is going on? Ralph takes the knife, protecting Clyde, as the Guard secures Clyde. CLYDE (V.O.) With my record, I really don’t have much to defend. My yard privileges have been suspended, but worse, is that I have tried to do God’s will, and failed. CU ANGLE: Clyde taken in what he’s done. CLYDE (V.O.) You’d be justified in quitting me... but if you don’t, I promise to fight only the good fight from now on. Love, your Clyde. Julia reacts to all of this... JULIA (V.O.) I’m not going to quit you, Clyde. But you better keep that promise. Clyde sits in his cell alone.

INT. PRISON ADMINISTRATIVE OFFICE - DAY On the door, a sing reads: O.B. Ellis, General Manager, Texas Department of Corrections. Julia sits across from O.B. ELLIS (late 50’s), at his desk. FINAL DRAFT 74.

JULIA Many people appreciate what you’ve done to improve conditions for prisoners. ELLIS We’re doing the best we can. Ellis picks up Clyde’s file from his desk, and opens it. ELLIS (CONT'D) You’ve come to talk with me about the prisoner, Clyde Thompson? JULIA Yes, sir. ELLIS Clyde Thompson? The youngest man in Texas to get the death penalty? Nicknamed the “Kick Killer,” three life sentences, four escape attempts and convicted of murder twice more? This man? JULIA Yes, Mr. Ellis. ELLIS You are asking me to release “The Meanest Man in Texas?” JULIA That’s not why I’m here. ELLIS Why are you here, Miz Perryman? JULIA I know that you are a busy man, with overseeing all the prisoners in Texas, but if you could just meet him and see the way he is now-- ELLIS --Young lady, do yourself and me a favor, forget this fellow. JULIA He is a changed man. ELLIS Clyde Thompson will never get out of prison. FINAL DRAFT 75.

Ellis stares at her long and hard. He’s not budging. She musters all the courage she has-- JULIA What will it take to get my fiance back to the Farm? ELLIS Good behavior and a recommendation from a Warden. Good luck with either of those, Miz Perryman. Now she sits there. Not budging. Two can play at that game. ELLIS (CONT’D) I will meet him. No other promises. Julia smiles.

INT. ISOLATION UNIT - DAY SUPER: ISOLATION UNIT - DECEMBER 1950 The Guard Sergeant leads Clyde (now 39), with his Bible, down the cell block. Ralph, the Mouthy Prisoner and SEVERAL OTHER PRISONERS are in their cells. O.B. Ellis approaches. CLYDE (to the PRISONERS) Let me review the life, so that you may see your situation, no matter how bad, is not hopeless-- RALPH --Come on, preach, Clyde. Preach! O.B. ELLIS The men sure seem to appreciate your words of encouragement. CLYDE Thank you, sir. O.B. ELLIS You’re getting quite a reputation as an inspirational preacher. CLYDE My father always wanted one of his sons to be a preacher. FINAL DRAFT 76.

O.B. ELLIS Well, don’t let me stop you. Your congregation is waiting. ANGLE ON: O.B. Ellis as he watches Clyde preach... CLYDE (PRE-LAP) The acceptance of forgiveness is more like a dimmer, than a light switch...

INT. PRISON FARM - WARDEN’S OFFICE - DAY SUPER: “THE PRISON FARM” - MARCH 1951 Clyde (40) enters hesitantly. “The bat” hangs on the wall behind him. He stares at it with mixed feelings. CLYDE (V.O.) ...It takes time... Captain Colt offers a warm hand-shake. CAPT. COLT Welcome back, Clyde. CLYDE It’s good to be back, Captain. CAPT. COLT Good to see you. Have a seat. They sit. CAPT. COLT (CONT’D) I have good news: you will not be working in the fields. I’m going to have you employed in the kitchen. CLYDE Thank you, Captain. CAPT. COLT Maybe you can write one of your stories on how “The Meanest Man in Texas” went from being the “Kick- killer” to a preacher to a chef. Captain Colt notices Clyde can’t help but stare at “the bat.” FINAL DRAFT 77.

CAPT. COLT (CONT’D) I just keep that there as a reminder of the way things used to be... They sit in silence, the bat hanging over them. INT. PERRYMAN HOUSE - KITCHEN - DAY Julia signs her name to a letter and seals it. It’s addressed to: Board of Pardons & Paroles, Austin, Texas.

EXT. PRISON FARM - VISITING AREA - DAY Clyde (now 43) and enters with a Guard, Julia (now 44) sits on a bench. She stands. They kiss. CLYDE You look beautiful. JULIA Thank you. How are you? CLYDE I’m good. They sit. JULIA Your mother and sister Gail have been such a big help with my petition for your release. CLYDE You are incredible, Darling. JULIA They can’t turn you down this time. SOUND FX: STAMP --A rubber stamp comes down: “Parole Denied. 1953” --A rubber stamp comes down hard: “Parole Denied. July 1955”

EXT. PRISON FARM - VISITING AREA - DAY A dejected Clyde (now 44) sits beside Julia (now 46). CLYDE Darling, you’re putting your head against a stone wall here, Darling. (MORE) FINAL DRAFT 78. CLYDE (CONT'D) No one is going to parole “The Meanest Man in Texas.” JULIA That’s not who you are anymore. CLYDE I can’t allow you to keep wasting your time. JULIA You are worth fighting for, Clyde. CLYDE You are the inspiration of my life, Julia. JULIA And you are mine, Honey. (slides closer to him) I love you... Your love has set me free... I’m staying with you even if you never get out of here. CLYDE This may be all we have... Love letters and timed moments on this bench. I may even die in here... JULIA Okay. Clyde smiles and kisses her on the cheek.

INT. PRISON FARM - BARRACKS - DAY Clyde preaches to the inmates at the Farm, behind the picket fence. CLYDE A few years ago, they called me “The meanest man in Texas.” And I was... I thought about nothing but escape. It didn’t matter who had to die for me to accomplish that... If Jesus can forgive me, a man with infinite hate in his heart, then He’ll certainly forgive you too... Forgiveness is the only path to true freedom. ALL THE INMATES APPLAUD. FINAL DRAFT 79.

INT. PRISON FARM - BARRACKS - NIGHT SUPER: “THE PRISON FARM” - NOVEMBER 1955 Clyde passes in front of a 1950’s black and white television. Several PRISONERS sit on benches in front of it. CLYDE Alright boys, who wants to watch Groucho? Captain Colt bursts into barracks and beckons to Clyde. CAPT. COLT Thompson! Front and center. You have a telegram from your wife. CLYDE She’s not my wife yet. CAPT. COLT She will be soon enough. The board has granted your release, son. Signed by the Guv’nor himself. Prisoners start CLAPPING and YELLING their congratulations.

INT. PRISON FARM - WARDEN’s OFFICE - DAY SUPER: “THE PRISON FARM” - NOVEMBER 1, 1955 Clyde stands nervously in new slacks, as Captain Colt helps him into a white shirt and jacket. CAPT. COLT Julia said she wants you dressed for success when you walk out of here. So come here. CLYDE This is my first-ever suit and tie. (panicky) But what about this shirt? Look, the sleeves are too long. And there’s no buttons on them. CAPT. COLT Look in your top pocket. Clyde opens the shirt pocket and peers into it. He shrugs. FINAL DRAFT 80.

CLYDE What am I supposed to do with these earrings? CAPT. COLT These are cuff links. Use them instead of buttons on your sleeves. They both start LAUGHING. Captain Colt fastens the cuff links. Clyde stares at himself long and hard in the mirror. CLYDE I’m not sure I’m ready to wear the garments of freedom yet. CAPT. COLT I’m sure you are... You’ve paid your debt to society, Clyde. CLYDE I’ve got a lot to learn, Captain. CAPT. COLT Don’t we all. Captain Colt helps tie his tie. CAPT. COLT (CONT’D) Any regrets? CLYDE Eight men died so I could live... that weighs on a man... but then again one man died so many could live... that’s called grace... (long pause as he studies himself in the mirror) No, no regrets... (beat) How about you? CAPT. COLT Well, let me tell you, if my wife knew I used to claim to be God to strike fear in new inmates, she’d have taken the bat to me. They both LAUGH. CLYDE Captain, will we see each other on the outside? FINAL DRAFT 81.

CAPT. COLT First off, you have to start calling me Jack. Secondly, I thought you were coming over every Sunday to help me clean up those damn figs? CLYDE Thank you, Jack. CAPT. COLT Thank you, Clyde. They clasp hands.

INT. PRISON FARM - VISITOR AREA - DAY Clyde approaches. Julia smiles, then takes a deep breath. CLYDE This is it... You look gorgeous! JULIA Clyde... (takes a deep breath) You don’t owe me anything. He stares at her, confused. But, she’s offering him an out. JULIA (CONT’D) There are plenty of beautiful women that would want a handsome man like you. You’re a free man now. CLYDE You still love me, don’t you? JULIA Yes. CLYDE Then I’ve got my girl. And I plan to marry her as soon as I can. That is, if she’ll have me. JULIA All you’re going to do is trade one ball and chain for another. CLYDE I chose this one. FINAL DRAFT 82.

JULIA I love you. Clyde puts his arm around Julia, kisses her. CLYDE I love you too... let’s get out of here. Clyde and Julia walk out, together, arm in arm, into the light... FADE OUT. FINAL DRAFT 83.

FADE UP:

SUPERIMPOSE: (WHITE BACKGROUND WITH BLACK TEXT) Clyde and Julia were married five days later. Her parents refused to attend the wedding, but soon accepted Clyde as their son. In 1960, Julia’s dream came true when they adopted a Navajo Indian baby, Shirley. Clyde was granted a full pardon by Texas Governor John Connally in 1963. The Thompson family moved to Huntsville, Texas in 1970 to help ex-convicts. In 1977 he accepted the job as chaplain of the Lubbock Texas County Jail, and died of natural causes in 1979. Julia joined him a decade later in Heaven.

CREDITS ROLL.

THE END