A major plot device in the original narrative was the suitcase full of money which was completely taken out of the film. The primary motivation behind each character pertains to their relationship with the femme fatale, Daphne, who was being blackmail for some incriminating photos of a political figure, instead of a succinct financial gain. She revealed her race as a black woman earlier in the film which the antagonist wanted to use against her. Daphne is not as much as a sexual deviant in the film, but her race does offers a “form of illicit sexual relations as a mulatta participant” by being engaged to a white male.  Aside from the photos, Daphne’s hidden identity serves as the main motivation behind this violent scene. Her underlying love for a wealthy white male in the city of Los Angeles is almost deemed as a perverted act allowing the antagonists to criminalize her in the cabin. Since Daphne’s romantic interest is displayed as an incriminating act in the film, this normalizes the belief of interracial relationships as a typical criminal act in the racist community of Los Angeles. She continues to wear her dress rather than be naked during the scene to allow the audience to focus more on her ethnicity. The scene also reduces her history of molestation which was originally mentioned in the novel, but not in the film. This tactic was used once again to focus on the element of race and her racial background, the climactic moment in the film. 
Joppy’s character was reduced and confabulated in the cabin by Albright’s two non-white assistants where one is possibly Chinese (as noted in the novel), and the other is Indian. Although these characters have been subdued throughout the film, their intentions to supply help to Albright remain pungent, where they aid in “policing… the color line”. There was no dialogue about their race, but because their leader, a white male, remains as their primary guide, it establishes a subdue superiority of Albright. This subtlety helps regularize minorities’ position as part of a lower class community. Although they are not black, these two characters still perpetuate the reputation of non-white characters in the community of Los Angeles and add to the violent environment the city habituates. This concludes the inherent superiority of the white male where their criminal acts subtly indicate their invincibility from the law in their environment. A power Easy does not possess. This helps establish the duplicity of the independent protagonist where he must “choose between transgressing white power, or dumbly serving it”, expanding the environmental obstacle he must cope with.
Mouse’s vicious nature was reduced greatly in the film to enhance the dynamic he has with Easy as well as help expand on the independence of the black community in their antagonizing environment. Don Cheadle’s redeeming portrayal of the character incites a positive representation of the black community which appeared rarely in popular media. This character contamination “elaborates on the cultural pride of black films” and media which help increase the consciousness of racial disparity in the community and promotes the continuation of African-American independence. Mosley’ intention behind his novel was to aid in the “revolutionary movement in the 60’s”. Mouse and Easy are two black males that are given many positive qualities such as their independence, their loyalty to each other, and their effective detective skills that aid them to solve the issue. These two forces are portrayed this way in the scene because they brings out a strong defense against their obstacle which is the harsh environment they are forced to live in. 
