Plot
Six years of stress and hard labor working in the prison jute mill has taken its toll on young Robert Graham. The penitentiary's resident doctor and psychiatrist recommends that Warden Brady see him and proposes that he offer him a drastic change of environment and duties before his psychological damages become irreversible. When the warden realizes who the inmate is, or rather was, and recalls that it was he that helped put him behind bars (as with many of the prisoners), he agrees to give him a chance and offers him a job as his valet. Graham enjoys his new employment, especially since he is frequently in the company of the warden's pretty young daughter, Mary. He improves in general character and demeanor and regains his morale.
Meanwhile, one of Graham's cellmates tries to escape at night with two other prisoners. One turns out to be a stool pigeon, breaking the Prisoner's Code of silence and lures the men into a death trap. The guards brutally shoot down and kill Graham's cellmate. Ned Galloway, Graham's other cellmate, vows to avenge this death and, more importantly, punish the violator of the unwritten code. He develops an elaborate plan secretly to murder the culprit and carefully warns Graham to stay away from the man. Ill-fated Graham, of course, walks in on the crime no one was supposed to witness.
Upon finding Graham with the dead body, the perspicacious warden again knows that Graham is not the murderor. He does however clearly see that Graham knows who committed the crime. Promising him a speedy parole, though his sincerity is somewhat doubtful, the warden pushes Graham to reveal the name of the killer. He is morally torn. Still an inmate, Graham cannot bring himself to go against the Prisoner's Code and remains loyal to Galloway and the other inmates, who in this case represent the Hawksian group, an ever-present theme in the director's films. The situation also deeply troubles Brady, who feels impelled to send Graham to "the hole," hoping it will change his mind.
A week or so later, after a short trip, Mary returns home to the penitentiary and is surprised not to see Graham working as valet. Her surprise turns to shock when she finds out where Graham has been sent. She urges her father to release him. The warden criticizes his daughter for her naïveté, but reconsiders her plea once she proclaims her love for Graham. Along with Gleason and a few guards, he descends into the prison dungeon to let out the devastated prisoner. The other inmates logically think that Graham has spoken the name of the killer. Having previously smuggled a pocket knife down to another man in the hole, they hope Graham will be punished for squealing.
Galloway, on the other hand, understands what is really happening. He purposely insults a guard in the jute mill and is promptly sent downstairs faithfully to protect his cellmate and loyal friend. Once in the dungeon, he kills the other prisoner and, in addition, cuts Gleason's throat. (The Yard Captain was, in fact, the man responsible for Galloway's lengthy incarceration). The other guards finally shoot him down. Graham, safe and unharmed, is immediately sent up to see Mary Brady. The two lovers embrace passionately for the first time.
Read more about this topic: The Criminal Code
Famous quotes containing the word plot:
“The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.”
—Woodrow Wilson (1856–1924)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)