Art Evans

A guy makes a documentary of the rap band CB4 by following them. CB4 got popular by stealing Gusto's name, background and image. He wants them dead. A "rapumentary", covering the rise to fame of MC Gusto, Stab Master Arson, and Dead Mike: members of the rap group "CB4". We soon learn that these three are not what they seem and don't apear to know as much about rap music as they claim... but a lack of musical ability in an artist never hurts sales, does it? You've just got to play the part of a rap star... —Murray Chapman <muzzle@cs.uq.oz.au> Albert Brown and his buddies Rip and Otis are aspiring rappers who have tried every gimmick to break into the music business. Eventually, Albert and the boys decide to go into gangster rap, with Albert assuming the identity of M.C. Gusto (a local crime lord who is serving time in prison). Eventually, Gusto finds out about the boys scheme and seeks revenge as well as a share of the profits. —Brian Washington <Sargebri@att.net>

Two firemen in a burning building get a treasure map - stolen gold church items are hidden in a closed down factory in St. Louis. Once there, they're trapped in by a black gang considering it their territory. Two Arkansas firemen, Vince and Don, get hold of a map that leads to a cache of stolen gold in an abandoned factory in East St. Louis. What they don't know is that the factory is in the turf of a local gang, who come by to execute one of their enemies. Vince sees the shooting, the gang spots Vince, and extended mayhem ensues. As Vince and Don try to escape, gang leader King James argues with his subordinate Savon about how to get rid of the trespassers.

When police officer Xavier Quinn's childhood friend, Maubee, becomes associated with murder and a briefcase full of ten thousand dollar bills, The Mighty Quinn must clear his name. Or try to catch him, which could be even trickier.

A not so popular young man wants to pledge to a popular fraternity at his historically black college. In the South of the United States are taking place confrontations between two groups of students who have different ideas and are not able to accept the one of the opponent. —Volker Boehm A contemporary comedic look at black college life. Dap (Fishburne) and Big Brother Almighty (Esposito) conflict over the greek frat system while the Wanna-be's and Jigaboo's conflict over self-identity and self-esteem. —Sandra Hall

African-American comedian Jo Jo Dancer (Richard Pryor) calls friends to invite them to a Friday night party. He does not expect they will come, but when they accept his invitation, he must throw the party. After hanging up the telephone, he gets on his hands and knees, searching for pebbles of crack cocaine in the carpet. He stares at his puffy face in the mirror and has a panic attack. He throws empty glass bongs, liquor bottles, and cocktail glasses into the fireplace, repeatedly yelling, "I am through!" In the pockets of his jacket, he finds a tab of heroin, smokes it, and later, sets fire to himself. As paramedics wheel him into the hospital with second and third-degree burns covering 30% of his body, Jo Jo's alter ego rises up intact from his charred body and warns that he better not die. The alter ego walks out of the hospital and takes a car ride back to his hometown of Morton, Ohio. There, he sits by the schoolyard and watches himself as an eight-year-old racing home with friends. Little Jo Jo delivers his report card to his grandmother, a madam who runs a brothel, and she is pleased with his grades. They show off his report card to the prostitutes inside. As his father signs his report card, Little Jo Jo remarks that he does not like living at the brothel. The boy tells his alter ego that he lied at school when his teachers asked him what his parents did for a living. As Big Jo Jo tells him that he was clever to lie, the boy recognizes his older self and knows he can expect trouble when he grows up. He wants to know if Big Jo Jo can change the future. The alter ego tells Little Jo Jo he can try. Big Jo Jo visits his mother in her room at the brothel. She hugs him and says that she loves him, although she never told him so as a child. Back at the hospital, Big Jo Jo stares at his body, wrapped from head to toe in white gauze. He announces that he is going back in time to figure out how his life became such a mess. At a dinner table sometime in the past, Jo Jo's father, Charles, is angry when he discovers his son has quit his job cleaning hog guts to go into show business. They fight, and Charles kicks his son out of the house. The next day, Jo Jo boards a bus to leave town, but his wife, Grace, refuses to go with him, claiming she does not want to leave her parents behind. She tells him that he can always come back home, but he insists that he is never coming back. In Cleveland, Ohio, a nightclub owner named Mr. Spencer, who previously promised Jo Jo a job, turns him away. Jo Jo's sleazy hotel room is robbed, and the hotel clerk insists that he pay for his stay with his last remaining dollars. Jo Jo finds work shining shoes, and buys new clothes at a thrift store. At the Shalimar Club, he goes backstage and introduces himself to a stripper called "Satin Doll." She recognizes him from an amateur night at another nightclub, and agrees to help him. The following week, Satin Doll arranges for Jo Jo to do his routine at the Shalimar. On stage, Jo Jo is terrified, but he wins over the audience with his impression of a baby being born. Satin Doll and club host Johnny Barnett congratulate Jo Jo. Later, Johnny comments that Jo Jo talks too fast, so that some of his punch lines are lost. He gives Jo Jo some drugs to help him relax. Jo Jo loses his inhibitions, and performs in drag, mimicking Satin Doll's striptease act. After Jo Jo's performance, club manager Sal tells Satin Doll that performers will not get paid until the following week. When Satin Doll relays the news to Jo Jo, he grabs a fake gun and confronts club owner Gino. Before tensions erupt, Satin Doll's boyfriend, Detective Lawrence, barges in and sways Gino to pay Jo Jo his wages. Gino hands over a wad of bills, and tells Jo Jo that their business is finished. Later, Satin Doll and Det. Lawrence warn Jo Jo that the Italians will come after him, and advise him to flee. Satin Doll gives him a book, and stashes $200 in the pages, promising to send his possessions. Back in the present, a doctor announces on television that Jo Jo has developed respiratory complications. Elsewhere, Jo Jo's wife assures their daughter that her father will not die. Back in the past, Jo Jo falls in love with a white woman named Dawn. He wants to marry her, but she is content to live together. After a rough night in which Jo Jo battles a female heckler, Dawn assures him of his talent. Jo Jo takes a walk in the neighborhood to clear his head, and gathers more material for his stand-up act. He talks about winos directing traffic, asks why white people do not make noise when they speak, and does impressions of black people and their mannerisms. Soon, he develops a following and begins earning money. He gives Dawn a fancy ring. A fan invites Jo Jo and Dawn to party at his house, where he offers them cocaine. In the early hours, Jo Jo discovers Dawn having a threesome with the man. As Dawn meets up with Jo Jo in the hallway, the fan offers a weak excuse for their behavior, and Jo Jo punches him in the face. At the hospital, Big Jo Jo gazes at burn victim Jo Jo, and remarks that he cannot change anything that has happened, but he can conjure up memories to revisit. Burn victim Jo Jo remembers the first time he met his girl friend, Michelle Jensen, at a club: He invites her back to his house and they play pool. Michelle has other lovers and a confident air. They make love. Eight months later, a drunken Jo Jo argues with a film director about cutting scenes from a movie they are filming. Jo Jo wants the scenes to stay, but when Michelle, now his wife, appears, the director suggests she talk her husband out of his opinion. As they drive along the coast, Jo Jo discovers that Michelle's lover, George, bought her the car they are driving. He is incensed, and asks her to pull over. Before the fight can escalate, his alter ego appears in the back seat, and reminds Jo Jo that he loves Michelle, cautioning him not to start a fight. Jo Jo apologizes for losing his temper but makes the mistake of admitting that he slept with other women. When a fight breaks out, Jo Jo sends the car crashing into the ravine. Michelle insults him and runs off. As Jo Jo watches Michelle ranting, his alter ego asks him, "What's the matter with you, boy?" The phrase reminds him of his grandmother, and the advice she gave him when three bullies jumped him at the railroad tracks. She was the only person who understood him, loved him, and cared about him. He was devastated when she died. Later, Jo Jo spends his days smoking drugs, but he denies it when anyone calls him a junkie. He tells his alter ego to leave him alone. The alter ego guesses that he just wants to die. Jo Joe cries out that he wants his soul back, pleading with his alter ego to help him before emptying a liquor bottle onto his clothes. The alter ego urges him not to harm himself, but Jo Jo cannot stop. He sets himself on fire with a cigarette lighter. At the hospital, one doctor believes Jo Jo has lost the will to live. Burn victim Jo Jo asks his alter ego for help, and Big Jo Jo returns to his broken body. The comedian recovers from his injuries and resumes doing stand-up. One night some time later, a recovered Jo Jo does a show, delivering a mock eulogy for his former self-destructive self. The audience loves it and gives him a standing ovation.

Charley Brewster is a normal, average teenager living with his divorced mother in a unnamed suburban township. One evening, Charley looks out his window and sees his new neighbors moving in the next door and appear to be carrying what looks like a coffin. Intrigued with his new neighbors, Charley begins to spy on them. One day, a young woman (obivously a call girl) shows up at Charley's house by accident looking for another address and Charley directs her to the house next door. The next morning at school, Charley sees a news broadcast about the police finding "another murder victim" from an unknown serial killer who decapitates female victims and drains the bodies of blood. Another evening later, Charley, suspecting something sinister about his new neighbors, spies on the house next door and sees Jerry Dandridge biting the neck of another woman. He tells his mother what he saw, but she passes it off as Charley's imagination. Charley tries to tell his friend "Evil Ed", and girlfriend Amy Peterson, but neither of them believe him, and begin to worry about Charley's mental well being. Another day later, Charley calls the police with information about one of the murder victims and a detective accompanies him to the house where they meet Billy Cole, Jerry Dandridge's roommate who lets them in and shows them around the house. Finding nothing, the detective decides to leave, but Charley tells him to check the basement, which Billy seem adamant about letting them go down there. The detective forces Charley to leave with him and tells him not to ever call him again, thinking that Charley has an overactive imagination. Suspecting that Jerry Dandridge is a vampire, he seeks advice from Evil Ed about how to fight vampires. Evil Ed tells him, from watching movies and documentaries about suspected vampires, that vampires are super strong, have no heartbeat or pulse, have vulnerabilities to holy water and crosses. They also cast no reflection in a mirror and they and can only be killed by fire, decapitation, sunlight, or a wooden stake through the heart. Ed also tells Charley that a vampire cannot enter a person's home without an invitation. Charley goes home, but finds Jerry Dandridge in his living room waiting for him... having been invited in by Charley's mother. Dandridge is seemingly friendly and tells Mrs. Brewster about Charley showing up at his house today, and she reprimands Charley not to do it again. That evening, Charley begins to fortify the house, knowing that Dandridge can enter whenever he feels like it. However, Dandridge enters the house from a second floor window and hides in a closet in Charley's bedroom. When Charley gets ready for bed, Dandridge surprises him and threatens to kill him for snooping around and nearly revealing his secret that he indeed is a vampire. When Dandridge tries to choke Charley to death, he stabs the vampire in his right hand with a pencil. Wounded and angry, Jerry Dandridge terrorizes Charley by revealing his true vampire demonic image, complete with red eyes, fangs, claws, and a roaring with a wolf-like rage, but waking up Charley's mother. Dandridge flees and threatens to kill Charley tomorrow night. The next morning, Charley then seeks out help of favorite vampire killer, Peter Vincent, a former actor who hosts TV segments of horror movies that Charley watches and who claims to be a real vampire hunter. Charley confronts Vincent at the studio where he works and tells him that his neighbor is a vampire and is going to kill him. Vincent, like everyone else, brushes off Charley's claims as an overeager teen with an overactive imagination. Charley does not go to school that day (because he finds his car totaled after Dandridge apparently trashed it the other night after their confrontation). Evil Ed and Amy visit Charley at his house and find him secluded in his bedroom with crosses hanging everywhere. Hearing him talk about Peter Vincent, Evil Ed and Amy visit him at his apartment where they tell him about their friend and persuade him to prove to him that vampires don't exist. Vincent calls Dandridge at his house and offers to come over the next night with Charley to debunk Charley's theory that he is a vampire. The following evening, Vincent, Charley, Ed, and Amy pay a visit to Dandridge's house where Billy lets them in and introduces them to Jerry Dandridge. Vincent tries to show Charley that Danridge is not a vampire by having him drink a vital of holy water. Charley is still not convinced and says the holy water that Dandridge just drank isn't real holy water. However, after Vincent sees Jerry casts no reflection in his small compact mirror he gets scared, and gathers up Amy, Charley, and Ed, and they all leave. Mr. Vincent hurries to his car, and then he drives away fast. Dandridge finds the mirror dropped by Vincent on his way out and leaves as well. As Charley, Amy and Ed walk away, Evil Ed decides to leave Charley and Amy by walking in a dark alley. He runs down an alley, and it gets darker. All the sudden Jerry Dandridge appears, who wants Ed to become a vampire. At Peter Vincent's apartment, he huddles scared and tries to shake it off, from feeling scared. Just then Evil Ed knocks on Peter Vincent's door. Vincent opens it, and begins conversing to Evil Ed casually, as he knows nothing of the hideous, undead Evil Ed is now. Suddenly Evil Ed attacks Mr. Vincent, who places a cross upon Evil Ed's forehead, which burns him. A scalded Evil Ed slinks away, threatening Mr. Vincent by telling his "Master". Charley and Amy find Dandridge following them and he chases them to a local nightclub where Dandridge sees that Amy resembles his lost love. He uses his vampire charm to hypnotize her and dance with him. When Charley intervenes, Dandridge restrains him and two bouncers appear. Danridge morphs into his fanged, red-eyed vampire form and kills both bouncers with his superhuman strength. Dandridge escapes from the nightclub in the confusion and chaos with Amy, and he and tells Charley to meet him later at his house or he will kill her. Charley runs back to Mr. Vincent, who makes him grab a cross before he enters his apartment. Charley persuades Peter Vincent that they must confront Dandridge and kill him before the night is over. The duo get ready, and go to Jerry's house. By then, he has already turned Amy into a half-vampire. As Charley and Vincent enter the house, Dandridge appears on the top of the stairs and says: "Welcome to Fright Night... for real." Vincent hold up a cross but with no faith behind it, can't stop Dandridge from advancing. Charley has faith and the vampire covers in fear from his crucifix. But Billy Cole comes to his master's aid and knocks Charley off the staircase, rendering him unconscious. Vincent panics and runs to Charley's house. Charley wakes up to find himself locked in a room with Amy (who is now a half-vampire). Dandridge leaves a stake for Charley, giving him a choice:to kill Amy or not and risk getting killed by her when she fully turns in the morning. Vincent flees to Charley's house to hide out, only to be confronted by Evil Ed, who transforms himself into a wolf and attacks Vincent again. Vincent defends himself by breaking a wooden table leg and kills Evil Ed by stabbing him through the heart, who then morphs back into his human form as he dies. Vincent then returns to the Dandridge house where he frees Charley and they confront Billy again. Vincent shoots him several times with a gun, but Billy (a sort of zombie-like slave/familiar) keeps advancing towards them, and Charley finally kills him with Vincent's wooden stake by stabbing him through the heart in which Billy melts into a gooey mess of blood and green slime. Charley and Vincent have another confrontation with Dandridge, who is kept at bay with their crucifixes, and they see that dawn is approaching. Dandridge transforms himself into a bat and flies away. Charley and Vincent venture down to the basement to find Dandridge's coffin to kill him while he sleeps. Just when they find the coffin, Amy, now a fully turned vampire, enters and attacks them. While Charley tries to keep her away, Vincent manages to open Jerry Dandridge's coffin and tries to drive his wooden stake through his heart, but Dandridge wakes up and Vincent stabs him, but misses his heard. The vampire rises from his coffin and pulls out the wooden stake. But when he attacks Vincent, Charley begins smashing in all the basement windows, allowing the sunlight to hit Dandridge. Using a mirror, they reflect the sunlight and finally manage to kill Dandridge by blasting him with the rays and he bursts into flames and within seconds his body is reduced to dust and bones. With Jerry Dandridge's death, the still-alive Amy is apparently released from his curse and becomes human once again. In the final scene, the movie ends just where it began with Charley and Amy back in his room watching Peter Vincent's show on TV, who announces his movie that evening will be about aliens, not vampires, and winks to Charley. The movie is left open ended, when Charley looks out at the Dandridge house next door, now dark and vacant and sees lights like eyes that go away. He then goes back to her for another make-out session on his bed. The voice of Evil Ed is heard saying "oh you're so cool Brewster!"

Louisiana, 1944. In her nightclub, Big Mary's Catfish Ribs and Liquor, Big May (Patti LaBelle) is belting out a blues tune. The club is filled with black soldiers from a nearby segregated Army base. Sergeant Waters (Adolph Caesar) stumbles out of the club. He staggers down the street, past black soldiers, civilians, to the edge of town and into a wooded area. He looks up at the camera, and pleads with a hoarse, drunken cackle: 'They still...hate you! They still...hate you!' A semi-automatic handgun goes off, blowing him on to his back. Seconds later, a second round is fired. At the Army barracks, Captain Taylor (Dennis Lipscomb) has the troops searched. He doesn't want anyone going into Tynin, the nearby town, looking for rednecks. The men are convinced the Klan murdered Sergeant Waters. Captain Davenport (Howard E. Rollins, Jr.), a graduate of Howard University Law School, is called in to investigate the murder. He arrives in Tynin on an interstate bus. He is wearing aviator sunglasses and is asleep in the back, behind the white passengers. 'Hey, wake up, boy! You said Tynin, didn't ya?' says the driver. Corporal Ellis (Robert Townsend) is standing by his Army jeep, waiting for Davenport to disembark. He is shocked to see a black officer, but is also proud. He collects Davenport's bags and drives him back to base. Colonel Nivens (Trey Wilson) gives Davenport the Waters file. Nivens has doubts about Davenport's investigation. He doesn't want outsiders like the NAACP, the Negro Press, nor 'the paper-shuffling desk jockeys in Washington' involved. He instructs Davenport to complete his investigation in three days. He also expects Davenport, the first black officer the men ever saw, to be an 'example' to the colored soldiers. Captain Davenport is ushered in to see Captain Taylor, who commands the racially segregated Company. Taylor is shocked when Captain Davenport enters. Taylor inquires about Davenport's background. 'Had I known you'd be e a Negro I would have requested the immediate suspension of the investigation. These local people aren't going to charge a white man in this Parish on your say-so...Will you take off those damn sunglasses?' 'I like these,' says Davenport, 'they're like McArthur's.' Davenport is at the enlisted men's barracks. Ellis tells Davenport that Taylor had questioned two white officers who were on the road the night of the murder. Captain Davenport interviews his first soldier. Private Wilkie (Art Evans) gives a summary of the all-black Company. The soldiers were recruited from a baseball team in the Negro Leagues. As for Sergeant Waters-he was a veteran of the First World War, 'all spit and polish.' Waters had taken Wilkie's Sergeant's stripes-demoted him to Private-- because Wilkie was found drunk on duty. Davenport asks about Water's relationship with his men. Wilkie replies Waters didn't like the Southern men, except for C.J.-probably because C.J. was the best ball player on the team--and he could sing, too. 'Boy could he sing.' Flashback to C.J. playing his guitar and singing the blues at Big Mary's club. Big Mary joins him onstage, and the soldiers are enjoying C.J.'s tune, 'Low Down Dirty Shame.' After the song Waters and Wilkie approach C.J. Memphis (Larry Riley). Waters asks him if he's from Mississippi. 'Yessuh.' Waters tells C.J. he reminds him of Blues singers from Mississippi, and of a club in France during the First World War-the 'Café Napoleon.' Present day, Davenport's interview with Wilkie: The Sarge was a 'good' man, Wilkie says. Good to his men, wrote home to his wife every day. But, his attitude could change in an instant. 'Two people, sir. Mr. Warm and Mr. Cold.' Wilkie asks Davenport if it's true that when Sergeant Waters was found his stripes and insignia were still on his uniform. Yes. 'Something's wrong, ain't it, sir? 'The Klan boys can't stand to see us in these uniforms. They usually take the stripes and stuff off before they lynch us.' Private First Class Peterson (Denzel Washington) enters. He called Sergeant Waters 'Stone Ass'-no offense. Flashback: A baseball game between the soldiers and a white team. C. J. excels on defense-catching a long fly ball-and on offense, hitting a monstrous home run. Captain Taylor is ecstatic over the performance of his black players, to the chagrin of his fellow white officers. They win the game, then go to the mess hall to celebrate. The soldiers are laughing and drinking; C.J. sings another of his songs. Captain Waters enters and tells the men to 'knock it off. We don't need no more of that guitar-picking-sittin'-around-the-shack music today, C.J.' They've got a work detail, painting the lobby of the officer's club. Private Smalls (David Harris) asks: Why can't the officers paint their own damn club? Waters: The reason for issuing an order is none of your business. Waters is up in Private Small's face: When I give you an order, I want it done! As Waters leaves, Peterson asks: What kind of colored man are you? 'I'm a soldier, Peterson. The kind of colored man that don't like lazy, shiftless Negroes.' Peterson replies 'You don't have to call us names.' Waters: the Germans call you names too, you going to complain to Hitler? C.J. says they couldn't do too much to the Nazi's with paintbrushes. 'Are you mockin' me, C.J.? Whatever an ignorant low-class Geechee like you has to say ain't worth payin' attention to. Is it!' 'I reckon not, Sarge,' says C.J. Peterson: You're a creep, Waters! Waters: If it wasn't for you Southern niggers, white folks wouldn't think we was all fools. Peterson: Where are you from, England? The men nervously retreat from Peterson. 'Looks like we got us a wise-ass Alabama boy here.' Waters gets up in Peterson's face and pushes him. Peterson pushes back. 'Get your...hands off me!' Waters dares Peterson to hit him. Just then Captain Taylor enters and congratulates the team on their victory. Only seven more games and they'll be the first colored team in Army history to play the Yankees. He gives them the rest of the day off. After Taylor leaves, Waters promises Peterson he'll teach him a lesson, and demands Peterson fight him. Peterson accepts and Waters leaves. The men warn Peterson Waters will fight dirty. Outside the barracks, the two men fight. Peterson is winning. Down on his face Waters scoops up a handful of dirt and throws it in Peterson's eyes. Peterson is unable to see. Waters delivers a flurry of vicious punches and knocks him out. Present day, the interview with Peterson: Peterson says he never reported the incident. Waters left him alone after that so he 'just played ball.' 'I appreciate your honesty, Peterson,' says Davenport. 'Did you see Waters the night he was killed?' 'Uh, no sir. Smalls and I had guard duty.' Night. Davenport is typing his report. Taylor visits. He is submitting a request to have Davenport's investigation terminated. Taylor is emphatic that Davenport will not be able to get the truth on Waters' murder. Davenport asks Taylor why the file he received from Nivens did not include any mention of the two white officers who had an encounter with Waters the night he was murdered. Colonel Nivens had ordered it not included, Taylor says. Waters was killed with two .45 caliber slugs, Army issue. If the black soldiers had found out, there would have been a slaughter. Lt. Byrd and Captain Wilcox were the officers. 'Tell me what they told you,' says Davenport. 'Look, hotshot. They're not gonna let you charge those two men.' Flashback: The night Waters was murdered. Byrd and Wilcox are in their vehicle, in a wooded area approaching a bridge. They come across a drunken Sergeant Waters. 'I'll be damned. If it ain't the white boys,' says Waters. Though Waters is obviously drunk, Byrd is incensed that he won't salute. Wilcox implores him to let it go. Byrd refuses, insists Waters come to attention. Waters won't do 'nothin' white folks say to him, and starts crying. 'I've even killed for you.' Byrd knocks him to the ground and starts kicking him repeatedly. 'White men are killing for you, nigger. Good men are dyin' for you'. He cocks his pistol. Present day, Taylor and Davenport: Taylor: they claimed they left Waters at 23:10 and were back at the barracks by 23:30 and neither left until the following morning. Davenport replies: That's just white officers protecting their own. I'm arresting both of them, and you can consider yourself under arrest pending my charges against you. Captain Taylor: Colonel Nivens is part of their alibi. Nivens and other white officers were playing pool with Byrd and Wilcox until three in the morning. Davenport visits Colonel Nivens and requests authority to arrest Byrd and Wilcox. Nivens refuses, but does give Davenport permission to question them, provided a white officer is present. Davenport interviews another soldier, Private Henson (William Allen Young). Henson didn't like Waters on account of what he did to C.J. In fact he doesn't like officers at all, and doesn't want to talk to any officers, black or white. Davenport threatens to put him in the stockades unless he talks. Henson: There was a shooting. It happened last year at the end of the baseball season. Flashback: Waters barges into a darkened barracks with Wilkie, while the soldiers are sleeping. A colored soldier shot a white M.P., and he was chased down to the Army base. 'We got us a vicious, low down murdering piece of black trash in here somewhere-and a few people who helped him.' Waters has the barracks searched. Wilkie 'finds' a pistol under C.J.'s bunk. The men vouch for C.J.'s innocence. Private Henson says he saw someone sneaking into their barracks. Corporal Cobb (David Alan Grier) says C.J. was asleep before he, Cobb, went to bed. Waters is undeterred, and shows open contempt for 'C. J. Memphis' - 'cotton-picker', bowin', scrapin' in white folks faces. 'This man undermines us. That "yasser-boss" is hidin' somethin,' and jabs C.J. in the chest. With one punch, C.J. knocks Waters to the ground. Waters has C.J. arrested and taken away. Peterson gets dressed. He's seen the likes of Waters before: White man gives him a job as a servant, when the boss ain't lookin' ...he acts like the new boss...he can't look good unless he's standin' on you. Peterson leaves to tell the M.P.s that C.J. was in the barracks all night. Present day, the Davenport and Henson interview continues. Davenport asks Henson if Wilkie was the only one out of his bunk the night the white M.P. was killed. Henson: I guess...but I was a little juiced that night. Davenport questions Corporal Cobb about his best friend, C.J. Cobb tells Davenport C.J. was a 'country boy' and that jail cell started closing in on him in solitary. Flashback: Sergeant Waters visits C.J. in solitary. The charges are changed-he's now charged with striking a superior officer. They're talking about giving him five years. 'Why you doin' this to me, suh?' 'Don't feel too bad, C.J.. It has to be this way....The black race can't afford you no more...there used to be a time when we'd see someone like you singin', clowinin', yasser-bossin'..and we wouldn't do anything. Folks liked that. You were good. Homey kinda nigger. When they needed someone to mistreat...they paraded you. Reminded them of the good old days. Not no more. The day of the Geechee is gone, boy, and you're going with him. We can't let nobody go on beleivin' we're all fools like you. Waited a long time for you, boy, but I got ya.' Waters says he's already put three Geechees in jail, 'now, I've got you...one less fool for the race to be ashamed of.' Waters leaves. Tears stream quietly down C.J.'s face. Present day, Davenport and Cobb: Two days after speaking with Waters, C.J. was found hanging from the bars of his cell. The players protested C.J.'s suicide by throwing the last game of the season. After that the baseball team was broken up. The Sergeant 'started actin' funny, was drunk all the time.' Cobb gives Davenport the time he got in the night Waters was killed. And Peterson and Smalls? They were the last ones in--they had guard duty. Davenport interviews Lieutenant Byrd (Wings Hauser) and Captain Wilcox (Scott Paulin), the white officers who encountered Waters the night of his murder. Captain Taylor is present. Davenport: When did you last see Sergeant Waters? Lieutenant Byrd says it was the night he was killed-'I should have done it myself, the way he spoke to Wilcox and me...The goddamned nigger was disrespectful, no way a colored soldier speaks to a white officer like that.' Davenport challenges Byrd, 'You beat him up...and you shot him.' 'You get out of my face, boy, 'fore I kill you.' 'Like you killed Waters.' 'No!' Captain Wilcox says their weapons were turned in and cleared ballistics. Byrd adds: They were short of .45 caliber ammo. They were for M.P.s and special duty people only. 'No one on the bivouac was issued .45 caliber ammo.' Captain Taylor does not believe their stories. Why wasn't he told, he asks the officers. Wilcox: Nivens felt Taylor would go to Washington with it. Taylor: 'Consider yourselves under arrest, gentlemen. The charge is murder.' Davenport orders them released. Taylor: They're as guilty as hell. Charge them, I'll back you up. Davenport replies he does what the facts tell him, 'not you.' Davenport and Taylor are on the bridge near where Waters was killed. Davenport: I think Waters tricked the kid into attacking him. Davenport questions Wilkie again. Wilkie is seated in the barracks and wipes his sweaty palms on his uniform. He can't understand why Davenport wants to speak to him again. 'No, Waters was not a nice guy,' Wilkie says. Waters' demoting him made him mad, all the things he did for Waters. Davenport: You were his boy. You took care of the team. You ran his errands. You policed his quarters. You listened to his stories. You put the gun under C.J.s bunk. Wilkie: No! It wasn't me. It was Sarge who ordered me to do it. He said I'd get my stripes back. The Sarge just wanted to scare him; put him in jail for a few days, but then C.J. hit him, then he had C.J. where he wanted him. Waters despised C.J., but he hid it because everybody like C.J., but underneath there was a cray kind of hate, sometimes you could just feel it. Flashback: C.J. is singing in Big Mary's club. Waters is at the bar with Wilkie watching him. 'This kinda boy seems innocent...White boys envy his strength, his speed... He can't talk. Can't barely read or write his own name... he don't care. He'll tell you they like him. Colored folks ain't supposed to have so much sense. You know the damage one ignorant Negro can do?' He shares with Wilkie an incident that took place when he was in France during the First World War. 'We had won decorations. The white soldiers told the French gals we had tails. They found an ignorant colored soldier and paid him to tie a tail to his ass and run around half naked making monkey sounds...They put him on a big round table in the Café Napoleon. .. made him eat bananas in front of all them Frenchies. How the white boys danced that night...Passed out pictures with that boy's picture on it. Called him "Moonshine", "King of the Monkeys." And when we slit his throat you know that fool asked us what he'd done wrong? ...My Daddy told me we got to turn our backs to these kind, Wilkie...We are men. Soldiers. And I don't intend for our race to be cheated out of its place of honor and respect in this war because of fools like C.J. You watch everything he does. Everything.' Present day, Wilkie and Davenport: 'And I watched him,' says Wilkie. Davenport: Why didn't Waters pick on Peterson-they had the fight. Wilkie: Sarge liked Pete. Pete fought back. He was going to promote Pete. After C.J. died 'Pete' put together the protest that lost our last game. Then he kept to himself, or with Smalls. Outside a flare gun goes off. The soldiers are celebrating, and more flare guns are fired into the night sky, like fireworks. The men are shipping out; they are finally going to get a chance to fight. Davenport places Wilkie under arrest. Smalls goes AWOL but is caught. Davenport interrogates Smalls. Davenport: Peterson knew that I'd find out the two of you killed Waters. Smalls: It was Peterson, sir. It wasn't me. Flashback: Peterson and Smalls are walking across the bridge. They come across Waters, drunk on the ground. Peterson: I'm gonna enjoy this. He offers Waters a hand up, and then kicks him back down. Waters starts crying: C.J. could never make it. He was a clown. A clown in blackface. 'You got to be like them. But the rules are fixed.' In a high-pitched voice he sings a line from C.J.'s tune 'Low Down Dirty Shame' - the tune everyone loved. Then he says 'it doesn't make any difference...They still... hate you.' Peterson draws his weapon. 'Justice, Smalls. For C.J. For everybody.' He shoots Waters in the chest, knocking him on to his back. Present day: Davenport asks Smalls, 'And you call that justice?' Peterson is brought in, in handcuffs. He stares at Smalls. 'You told him, didn't you.' He laughs and turns to Davenport. 'I didn't kill much. Some things need getting rid of. Man like Waters never did nobody no good anyway, Cap'n.' Davenport: Who gave you the right to judge? To decide who is fit to be a Negro-and who is not? Who? Smalls and Peterson are taken away. Davenport is leaving the base as the soldiers are rolling out. Taylor, in aviator sunglasses, and Ellis, pull up alongside in a jeep. Taylor: So I guess that's it. You got your man. I was wrong. Davenport: So was I. Davenport, laden with bags and an overcoat, says to 'Charlie,' he could do with a lift. Captain Taylor offers Davenport a hand as he climbs into the back. 'I guess I'm gonna have to get used to Negroes with bars on their shoulders, Davenport. You know, being in charge.' Davenport puts on his sunglasses. 'Oh, you'll get used to it, Captain. You can bet your ass on that. You'll get used to it.'