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Sinners · written by Ryan Coogler · 2025
Scene 67 of 110 · ≈ 2 min on screen · Act two
In 1932 Mississippi, gifted sharecropper-bluesman Sammie Moore wants to make a life in the blues beyond his preacher father's rules, but the opening night of his cousins' juke joint becomes a siege by a vampire offering the community belonging at the price of its freedom.
The legend and prologue frame Sammie's segregated Delta life under his father's church and the twins' shadow.
Sammie wants the freedom, recognition, and musical life he imagines beyond the plantation.
He leaves the plantation with the twins, enters the wider Delta, and helps build their juke joint.
Sammie learns the blues is sacred, meets the room's people, and tries to claim a place among musicians and lovers.
His performance unites the juke with ancestral music and gives him the belonging and voice he wanted.
Remmick, Joan, and Bert arrive outside the opening-night juke after hearing Sammie's music.
Remmick's trio performs at the entrance, but Smoke refuses them entry and sends them back into the night.
The owners plan for the outsiders while Mary volunteers to learn what they want and Stack hides a pistol on her.
Mary disguises the pistol, crosses the juke, and slips outside to investigate the drifters.
This scene
Mary walks through the darkness towards Remmick, Bert and Joan.
They play a beautiful, sparse Mountain song (WILL YE GO LASSIE GO).
Remmick sees her approaching, but continues singing.
His eyes are two calm lakes at midnight- barely hinting at the depths below.
REMMICK
You lookin for some fresh air?
MARY
Just come to see if ya’ll was good
people.
REMMICK
Aww darlin’ that’s sweet of you.
JOAN
So sweet.
REMMICK
We most surely are.
MARY
And ya’ll got money to spend?
RE MMICK
Oh yeah. Plenty money.
Bert reaches into his pocket and produces several gold coins. He hands them to Mary.
MARY
What type of money is that?
REMMICK
It’s the solid gold kind, darlin’.
You want to see?
MARY
Where is this from?
REMMICK
From a different land, and a
different time. But it spends just
the same. You can have it.
(beat)
But you don’t need it, do you?
JOAN
No she don’t need it.
MARY
What makes you say that?
Remmick smiles.
REMMICK
Cause you in some deep pain that
money can’t fix. You need
fellowship and love. Am I right?
Mary looks up at and notices his eyes flicker for a bit while he turns to her. Like a feral cat’s or a timber- wolf’s when light is shined into them at night.
Mary thinks she catches it, but its gone in an instant.
MARY
My mother, she just passed...
REMMICK
T hat’s awful.
JOAN
Awful.
BERT
Just awful. Losing a mother’s a
hurtin’ feelin’.
REMMICK
I wish in my heart that we met
sooner. I would have liked to save
your mother from her fate. But I
can still save you from yours.
MARY
You must have me confused. I’m sad
is all. But I don’t need no
saving.
REMMICK
Yes. Yes you do. You all do.
She thinks to herself. Then looks to Remmick, repulsed at the drool on his chin.
Mary stands up. Remmick notices her shock and wipes his mouth. But his leering smile stays.
Mary pulls her pistol on Remmick.
MARY
I’m gonna head back now. And I
think ya’ll should too. Back to
wherever ya’ll came from.
Remmick looks at the pistol and smiles, he doesn’t move.
Mary backs away from them, then turns and walks towards the Juke.
In the distance, Remmick stands calmly, then flies into the air towards Mary.
OMITTED