Recently fired and desperate to keep up the payments on his beloved home, WWII veteran Easy Rawlins (Washington) is offered a job by the shady Dewitt Albright (Sizemore): to discover the whereabouts of one Daphne Monet (Beals), a politician's fiancée scandalously rumoured to hang out in black bars. Assured that there's nothing illegal involved, Easy accepts. Pretty soon, however, he finds himself suspected of murdering a friend's girl (Carson) and under threat from both the cops and Albright's thuggish henchmen. Reluctantly, he puts in a call to Mouse (Cheadle), an old friend from his native Texas - reluctantly, because while Mouse has guts and loyalty to spare, he's also a volatile psychopath. Franklin's follow-up to One False Move is an impressively complex, polished and intelligent adaptation of Walter Mosley's thriller. It not only shows us an immaculately recreated world hitherto ignored by the movies (the black neighbourhoods of late '40s LA), but locates race, alongside more familiar elements like money and power, as a central motivating force for the various characters' actions. Mercifully, however, Franklin never preaches but allows the racial theme to emerge naturally from story and situation. Everything - the performances, Tak Fujimoto's elegant camerawork, the jazz and blues soundtrack, the snappy script - slots neatly into his overall design. Sheer pleasure.