Int. E block - night. A slow tracking shot of the Green floor takes us past a tiny

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

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

primed with a scrap of bacon...

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

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

carefully laying the last mousetrap down...

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

holding his breath, eyes riveted to the restraint room door

for any sign of his furry nemesis...

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

floor level...

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

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

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

ANGLE OF PERCY FROM FLOOR LEVEL

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

mouse and man staring in the same direction.

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

turns, looks up at Percy...

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

before, Percy hollering and stomping all the way, mousetraps

snapping and flying up into frame as they go charging wildly

past the cells.

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

staring at him from his cell.

COFFEY

Saw me a mouse go by.

Percy loses it, kicking and punching the restraint room door

in a screaming rage as we

FADE TO:

INT. E BLOCK - DAY

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

PAUL

Arlen? Your daughter and her

family are here.

Bitterbuck steps from his cell. Bill Dodge escorts him off

the block. The moment they're gone:

PAUL

Let's move. I want at least two

rehearsals before he gets back.

INT. VISITOR'S ROOM - DAY

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

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

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

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

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

INT. E BLOCK - DAY

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

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

TOOT

Sittin' down, sittin' down,

rehearsing now! Everybody settle!

He glances to Paul--okay, hit it.

PAUL

Arlen Bitterbuck, step forward.

Toot springs to his feet and steps from the cell.

TOOT

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

forward, I'm steppin' forward...

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

PAUL

Is his head properly shaved?

DEAN

No, it's dandruffy and it smells.

PAUL

I'll take that for a yes. All

right, Arlen, let's go.

Toot starts up the corridor, ringed by guards.

TOOT

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

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

PAUL'S INNER OFFICE

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

TOOT

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

prayin'. The Lord is my shepherd,

so on an' so forth...

PAUL

Toot, you have to wait till I tell

you to pray.

(Toot waits)

Okay, pray.

TOOT

Still prayin', still prayin'...

HARRY

Paul, we're not gonna have some

Cherokee medicine man in here

whoopin' and hollerin' and shaking

his dick, are we?

PAUL

Well, actually--

TOOT

Still prayin', prayin', gettin'

right with Jesus...

HARRY

Do it quietly, you old gink!

Harry slaps Toot upside the head to shut him up.

PAUL

As I was saying, I don't believe

they actually shake their dicks,

Harry. Be that as it may, Mr.

Bitterbuck is a Christian, so we

got Reverend Schuster coming in.

DEAN

Oh, he's good. Fast, too. Doesn't

get 'em worked up.

PAUL

On your feet, Toot. You've prayed

enough for one day.

TOOT

Gettin' to my feet, walkin' again,

walkin' on the Green Mile...