– 2:30 (Lyrics by Alan and Marilyn Bergman) Personnel Unidentified orchestra arranged and conducted by Quincy Jones including Ray Charles – vocals (track 1), piano (track 15) Glen Campbell – vocals (track 9), banjo Boomer and Travis (track 16), Gil Bernal (track 8) – vocals Roland Kirk – flute Bobby Scott – tack piano Billy Preston – electric organ (track 1) Ray Brown – bass Carol Kaye – electric bass Don Elliott – human instrument The Raelettes – backing vocals (track 1) Reception In contrast to films like The Chase and Hurry Sundown, which offered confused visions of the South, In the Heat of the Night depicted a tough, edgy vision of a Southern town that seemed to hate outsiders more than itself, a theme reflecting the uncertain mood of the time, just as the civil rights movement attempted to take hold. Canadian director Jewison wanted to tell an anti-racist story of a white man and a Black man working together in spite of difficulties. Jewison said that this film proved a conviction he had held for a long time: "It's you against the world. It's like going to war. Everybody is trying to tell you something different and they are always putting obstacles in your way." A particularly famous line in the film comes immediately after Gillespie mocks the name "Virgil": Gillespie: "That's a funny name for a nigger boy that comes from Philadelphia! What do they call you up there?" (An annoyed) Tibbs: "They call me Mister Tibbs!" This reply was later listed as number 16 on the American Film Institute's 100 Years...100 Movie Quotes, a list of top film quotes, and was also the title of the movie's sequel. Another important scene that surprised audiences at the time occurs when Tibbs is slapped by Endicott. Tibbs responds by immediately slapping him back. In a San Francisco pre-screening, Jewison was concerned when the young audience was laughing at the film as if it were a comedy. The audience's stunned reaction to the slapping scene convinced Jewison that the film was effective as drama. That scene helped make the film so popular for audiences, finally seeing the top Black film actor physically strike back against bigotry, that the film earned the nickname, Superspade Versus the Rednecks. During the film's initial run, Steiger and Poitier occasionally went to the Capitol Theatre in New York to amuse themselves seeing how many