FADE IN:
EXT. FRONT YARD OF LOG CABIN -- NIGHT
A rainy muggy night. 
ANGUS LACHLIN MCHENRY, about thirty years old, in overalls and a hat, sits on the steps smoking his pipe -- he seems anxious.
Title card appears:
Whippet, Georgia 1922 
CLOSE: SCREEN DOOR
We see insects batting against the screen, and hear the distant moans of a WOMAN from a room in the back of the cabin.
Angus gets up, paces about in the rain a little, then sits back on the porch steps.
A tall erect silhouette emerges in the dirty screen door.  It's JOCASTE WINGATE, the midwife.
JOCASTA
(precise and direct)
Mr. McHenry.
Angus stands abruptly and removes his hat.
ANGUS
Miss Jocasta.
JOCASTA
Would you step this way please.
INT. LOG CABIN -- HALLWAY -- CONTINUOUS
We TRAACK behind Angus as he enters the dim cabin following Jocasta. 
LOW ANGLE: WOOD FLOOR
Jocasta's T-Strap heeled pumps pass through the frame followed by Angus's sloshy muddy work boots.  
JOCASTA
(without turning)
It's a male child Mr. McHenry.
ANGUS
(flatly)
Yes Ma'm, much obliged.
JOCASTA
(turning to speak over her shoulder)
He was born with a caul.
Angus stops, Jocasta stops and turns toward him -- still in silhouette.
ANGUS
I ain't got but two regular dollars.
Jocasta walks toward him and stops, finally revealing her face in the moonlight.  
Her heavy blue black hair is parted in the middle and wound in a tight bun at the nape of her neck.  She is middle-aged, with a distant hint of beauty that, due to the circumstances of her life, disappeared years ago.
JOCASTA
I don't charge extra for cauls.
Angus begins fumbling through his pockets.
ANGUS
I could maybe get up another dollar, fifteen cents for sure.  We wasn't expecting no extra expense.
JOCASTA
Cauls are a part of the business Mr. McHenry.  I don't charge extra for cauls.
He relaxes.
ANGUS
I see.
JOCASTA
Cauls are generally a good sign.  You don't have to worry about a caul.
ANGUS
Cauls is nothing to worry about, eh?
JOCASTA
John Milton was born with a caul.
ANGUS
Is that a fact.
They stand there for a moment without speaking.  
Finally Angus reaches into his pocket and hands her two folded dollar bills.
ANGUS
Much obliged.
Jocasta accepts the money and looks down at it; running her fingers on the creases.  
She hesitates for a moment, then looks up at Angus in an uncommonly sympathetic way.
JOCASTA
I hate to say it Mr. McHenry, but, it's an ugly child.
A beat.
JOCASTA
Your wife's doing fine.
ANGUS
I reckon it was the caul?
JOCASTA
What?
ANGUS
What's ugly about it?  Is it the caul?
JOCASTA
Uh... No, it's not the caul.  I took that off already.
A beat.
JOCASTA
It's just an ugly child...  You know, all over.
Angus thinks for a moment.
ANGUS
Well, would it look better if you put the caul back on?
JOCASTA
What?
ANGUS
I was thinking....you know....maybe it would look better with the caul.  What do you think?
She thinks for a moment, then nods her head.
JOCASTA
I suppose you're right but I can't put it back on now.
ANGUS
Oh.
A Beat.
ANGUS
Real ugly?
JOCASTA
Yes Mr McHenry.  In my experience, I'd say that's a real ugly child in there.  I wouldn't have brought it up otherwise.
ANGUS
I don't reckon there's nothing you could do.
JOCASTA
Ain't nobody but the Lord can cure ugly, Mr McHenry.
A beat.
JOCASTA
It's not so bad for a male child.
MRS. MCHENRY (O.S.)
What's she say'n Henry?  Somethin' wrong with our treasure?
JOCASTA
(speaking over her shoulder)
No offense meant honey.  The Lord don't give us more'n we can bear...
She turns her head back to Angus
JOCASTA
(in a lower tone)
....Usually.
INT. LOG CABIN -- BEDROOM -- MOMENTS LATER
Angus walks into the bedroom and bends down to examine his son -- BABY LANGSTON JAMES.
ANGUS
Looks all right to me.  I ain't real keen on babies anyway.
Mrs. McHenry props up on one elbow and looks at the baby.
MRS. MCHENRY
(blissfully)
I think he's adorable.
CUT TO:
EXT. LOG CABIN -- BACK YARD -- CONTINUOUS
From outside, through the window, we see Angus picking up Baby Langston James for further examination.  Turning him from side to side.
NARRATOR
That was the first and the last time anyone used that word in reference to Langston James McHenry.
EXT. LOG CABIN -- FRONT PORCH -- DAY
Mrs. McHenry is sitting on a bench on the front porch examining Baby Langston James the same way.
NARRATOR
The next morning when Mrs. McHenry took him out on the front porch to examine him in broad daylight....even she wanted to take it back.
CUT TO:
INT. LOG CABIN -- BEDROOM -- MORNING
Baby Langston James lay sleeping peacefully in his crib.
NARRATOR
But the afflictions of his birth were only the beginning....
CUT TO:
INT. LOG CABIN -- LIVING ROOM -- DAY
We see Angus on the chair reading the paper, on the floor next to him Mrs. McHenry, again, inspecting FIVE YEAR OLD LANGSTON JAMES.
NARRATOR 
....just before his fifth birthday, his left eye went out of focus and practically closed up all together.
MRS. MCHENRY
Look at that eye Lachlin.  What you reckon?
Angus folds his paper down on his lap and stoops down close.
He examines his son for a moment, then shrugs.
ANGUS
Well... Ain't no one but the Lord can cure ugly.
INT. LOG CABIN -- LIVING ROOM -- EVENING
Angus is seated on his chair again, calmly smoking his pipe.  Mrs. McHenry is on the sofa next to him with Five Year Old Langston James laying on her lap.  We hear OLD JAZZ MUSIC in the background.
NARRATOR
When she and Mr. McHenry were sitting around in the evening listening to the radio...
CUT TO:
EXTREME CLOSE: LANGSTON JAMES 
THE CAMERA SLOWLY PULLS BACK
His face is twitching.
NARRATOR
...she undertook to correct the defect by gently tapping him on the left side of the head...
We now see why he is twitching, the camera pulls back to reveal Mrs. McHenry's tapping him on his left temple with her finger.
NARRATOR
...The tapping gave him a terrible squint, and a permanent look of apprehension...
Mrs. McHenry is tapping away as she gently sways to the music.
NARRATOR
...However, it did not cure his lazy eye, but replace it with a permanent twitch. 
EXT. LOG CABIN -- UNDERNEATH THE FRONT PORCH -- DAY
Five Year Old Langston James sits playing with doodle bugs.  He is wearing a pirate type eye patch over his left eye.
NARRATOR
His favorite pass time was twirling doodle bugs around with his finger underneath the front porch of their cabin.
EXT. LOG CABIN -- FRONT YARD -- CONTINUOUS
A DOG runs down the steps of the porch, off into the yard.  
A beat.
The center of the porch collapses.
NARRATOR
The accident mysteriously fixed his left eye, but in exchange, left an equally mysterious contraction on his whole left side.
EXT. LOG CABIN -- FRONT PORCH -- DAY
Angus is fixing the porch as Mrs. McHenry sits on the porch steps watching Five Year Old Langston James awkwardly kick a ball around.
His left arm and leg are now hunched toward one an other, he resembles some sort of deformed monkey.
CLOSE: MRS. MCHENRY 
Her brow is furred and she's biting her lower lip.
MRS. MCHENRY
Lachlin.  
Angus stops and looks.
MRS. MCHENRY
What you reckon?
ANGUS
(flatly)
I don't know.  He don't seem to be in any pain.
They watch him for a moment.
MRS. MCHENRY
Well... At least that's somethin'.
NARRATOR
That's as far as the diagnosis ever went.
MRS. MCHENRY
Anyway, he's a sweet child.

ANGUS
Maybe he'll draw up on the other side and even itself out.  Otherwise he gonna walk like a crab.
NARRATOR
Walking like a crab would have poetry in motion compared to the knee-hobbled shuffle that propelled Langston James through the world.
A beat.
NARRATOR
Once again, Mrs. McHenry took him to her lap.
CUT TO:
INT. LOG CABIN -- LIVING ROOM -- EVENING
Angus is seated on the chair, Mrs. McHenry is on the sofa next to him with Five Year Old Langston James in her lap. 
She is rubbing the left side of his neck, face and hair with liquid.
NARRATOR
This time rubbing him with turpentine, which was at that time the universal anecdote in rural areas.
CUT TO:
INT. ANGUS' HORSE DRAWN CARRIAGE -- MORNING
Five Year Old Langston James sits swaying from the bumpy road.  We now see the effect the turpentine had on him.
NARRATOR
The hair area she infected fell out.  And just in time for his first day of school the hair grew back white.
The front, left part of his hair is skunk white.
EXT. SCHOOLHOUSE -- FRONT YARD -- MOMENTS LATER
There are children running around playing as Angus pulls up with Langston James.
NARRATOR
Through all of his afflictions Langston James maintained a languorous sweetness of disposition.  Love was his his balm and recompense.  As with all children he thought of himself as just like everybody else.
Five Year Old Langston James shuffles out of the carriage and hobbles carelessly toward the schoolhouse, completely oblivious to the horror of the other children.
NARRATOR
However, once he started school, the world closed in on him and adjusted his concept of himself to more realistic proportions.
INT. SCHOOLHOUSE -- MORNING
The children are getting seated.  Five Year Old Langston James eagerly looks for a seat.
MISS FULMER, the teacher SNAPS her fingers.
MISS FULMER
Cripples sit up front Langston James.
She points to a desk.
MISS FULMER
I need you right there where I can keep an eye on you.
LANGSTON JAMES
Ma'am?
MISS FULMER
Take that seat there so I can keep up with you.
LANGSTON JAMES
Yes ma'am.
He shuffles to the desk and sits down.
MISS FULMER
You don't throw fits do you?
LANGSTON JAMES
Ma'am?
MISS FULMER
Will Ed Freemont here throws fits.
Five Year Old Langston James turns to WILL ED, seated next to him; a plump scowly boy.
LANGSTON JAMES
You throw fits?
WILL ED
You kiss my ass!
Miss Fulmer brandishes her ruler.
MISS FULMER
Will Ed!  What did I tell you about that  I'm not putting up with any of your dirty mouth this year!
She takes a moment to collect herself.
MISS FULMER
All right class, I'd like to start our first day off with a little lesson.  Langston James will you step up here please.
He immediately turns red and hams up.
MISS FULMER
It's ok, come on.
He gets up and hobbles to her.
She turns him around to face the class and stands behind him with her hands on his shoulders.
MISS FULMER
(speaking in a way a preacher might give a sermon)
Sometimes... the good Lord puts an affliction on us so we know he means business.  Now I want you all to take a good look at Langston James here and think about what all our Lord can do if he takes a mind to it.
He shyly stares down at the floor.
MISS FULMER
Stand up straight Langston James.  Being deformed wasn't never your fault.  No need for you to be ashamed.
LANGSTON JAMES
I'm not ashamed ma'am.
Miss Fulmer moved to his afflicted left side and knelt down.
MISS FULMER
(compassionately)
Do you hurt child?
LANGSTON JAMES
No ma'am.
MISS FULMER
(in conclusion)
Well then....at least that's somethin'.
Langston James takes his seat again next to Will Ed. As Miss Fulmer begins her lessons in the background, Will Ed gazes at Langston James.
WILL ED
(leaning over toward Langston James and whispering)
The doctor give me medicine for my fits.
Then he sits back and smiles in a superior way.
Five Year Old Langston James looks back at him, bewildered.
EXT. FRONT YARD OF SCHOOL HOUSE -- DAY
Five Year Old Langston James sits on a bench alone eating his lunch as children run and play around him.
NARRATOR
Langston James was not particularly unhappy at school, still the accumulation of faces, either hostile or indifferent, cast him in a preference for home and solitary activity.
CUT TO:
INT. CABIN LIVING ROOM -- EVENING
The family is relaxing, listening to the radio; Angus is sitting on his side chair smoking his pipe, Mrs. McHenry is seated on the couch next to him as Five Year Old Langston James is cuddled up to her, sleeping.
NARRATOR
Langston James was ugly, but he was not stupid.
FADE TO BLACK:
EXT. STATE ROAD 41 -- AFTERNOON
CLOSE UP -- WRITING ON WHAT LOOKS LIKE A TOMBSTONE
The camera SLOWLY PULLS BACK to reveal: Angus McHenry 1934, chiseled in concrete.
NARRATOR
Mr McHenry passed in the spring of 1934 as a result of a curious accident while working.  He was standing  too close during a concrete pour and fell into the form, ending up as part of the bridge abutment for the Oakmulgie Bridge.
The camera has now pulled back far enough to reveal it is not his tombstone, but his name was fashioned into the bridge.  
NARRATOR
Needless to say, Mrs. McHenry was disconsolate.
EXT. FRONT YARD OF LOG CABIN -- MORNING
FUBANK KELSEY, the District Engineer, steps out of his shiny automobile wearing a suit and tie.
INT. LOG CABIN -- LIVING ROOM -- MOMENTS LATER
Mr. Kesley and Mrs. McHenry are seated across from each other.  Mrs. McHenry is puffy from crying and holds a handkerchief in her hands.
MR KESLEY
Mrs. McHenry, I know this must be terribly difficult for you, and we are truly sorry for your loss.  Angus was a good man.
He hesitates for a moment, trying to calculate his next words.
MR KESLEY
But unfortunately, it would be very difficult and expensive to try to chisel him out at this point.
Mrs. McHenry starts to sob.
MR KESLEY
(quickly)
But Mrs. McHenry!  In exchange for your cooperation, we are prepared to offer you a payment of one hundred dollars.
Mrs. McHenry stops sobbing and looks at the check on the table.  She then turns towards the kitchen where Langston James, now aged twelve,  sits at the table eating his breakfast.
She watched him for a moment.
NARRATOR
The check got them through the summer.
EXT. SIDE OF ROAD -- DAY
Langston James, now aged fourteen, trudges along the side of the road.
NARRATOR
But for the two years that followed the remaining McHenry's led a hand to mouth existence.  
 CLOSE -- FOURTEEN YEAR OLD LANGSTON JAMES
NARRATOR
But when Langston James was fourteen, something happened which opened a vista for him.
OFF CAMERA, we hear the SCREECHING, of a car brakes, then Fourteen Year Old Langston James gets flung out of the frame and we hear him land with a THUD.  
The camera lingers a moment at the empty spot where he was walking.
A WOMAN SCREAMS.
INT. ADELAIDE FANSHAW'S CAR -- CONTINUOUS
ADELAIDE puts her hand over her mouth and stares at Fourteen Year Old Langston James laying in the dirt.
HER POV -- through the windshield at Fourteen Year Old Langston James' lifeless body.
ADELAIDE
Oh my lord
HER POV CON. -- After a moment he starts to rouse slowly, in a grotesque, flimsy way.
Adelaide GASPS,horrified, as she watches him get up and begin limping towards her.
ADELAIDE
Oh, no!
He approaches her car door, where the natural sight of him causes her to panic further.
She locks the door.
ADELAIDE
No!  Leave me alone!
CROSS CUT INT/EXT:
FOURTEEN YEAR OLD LANGSTON JAMES
(politely)
Ma'am, are you alright?
Adelaide bounces to the passenger side.
ADELAIDE
Please leave me alone! I'm sorry, it was an accident!
LANGSTON JAMES
Ma'am, it's ok.  It's alright.
Her hysteria conitinues.
OFF CAMER -- we hear the CHUCHING! of a cash register popping open.
CUT TO:
CLOSE ON -- A check being written and torn out of the book with a pronounced TEAR.
EXT. FRONT PORCH -- LOG CABIN -- DAY
Fourteen Year Old Langston James and Mrs. McHenry are standing in the doorway as Adelaide hands her the check.
Adelaide bends down to Langston James.
ADELAIDE
I know this will never repair the damage done to you today child.
She looks up at Mrs. McHenry.
ADELAIDE
But at least it's somthin'.
She gets up, turns and leaves solemnly. 
INT. LOG CABIN -- KITCHEN -- AFTERNOON
Fourteen Year Old Langston James is sitting at the table while Mrs. McHenry prepares his lunch.
FOURTEEN YEAR OLD LANGSTON JAMES
Say I jump two cars a week.
He computes on a piece of paper.
LANGSTON JAMES
Mrs. Fanshaw give me ten dollars...
MRS. MCHENRY
Mrs. Fanshaw's the wife of the President of Whippet's biggest bank.
FOURTEEN YEAR OLD LANGSTON JAMES
Just hear me out now.  Two cars a week adds up to twenty dollars a week.
Mrs. McHenry walk over to him, sets his sandwich in front of him and caresses the back of his head.
MRS. MCHENRY
It's sweet of you to think of it son, but we'll make do.  The lord provides.
FOURTEEN YEAR OLD LANGSTON JAMES
Couldn't we live off a twenty dollars a week?
MRS. MCHENRY
Son, I hate to tell ya', but we living off twenty dollars a month this minute.
He gets up and looks her in the eye.
FOURTEEN YEAR OLD LANGSTON JAMES
Mama, twenty dollars a month ain't good enough for you.  You're a jewel in this world.  You got better coming to you.
MRS. MCHENRY
(sighs heavily)
Once a week would do it son.  You needn't run it into the ground, it ain't worth getting hurt over.
Excited, he sits down to eat.
FOURTEEN YEAR OLD LANGSTON JAMES
You needn't worry about me none, mama.  I got a knack for it.
BANJO HILLBILLY MUSIC CUES IN
CUT TO:
MONTAGE:
Fourteen Year Old Langston James jumping cars as we hear SCREECHING BRAKES, se people's reactions, and see money being given and checks being torn.
CUT TO:
EXT. SIDE OF ROAD -- AFTERNOON
THE MUSIC ENDS
Langston James is cruising the side of the road, occasionally looking back at oncoming cars, plotting his next jump.
NARRATOR
For half a year it worked.  After that, the whole town was on to him.  Seeing his means of livelihood disappearing he was led by greed and desperation into making a big mistake.
We hear a car approaching off screen as Langston James cautiously looks over his left shoulder, biting his lower lip in concentration.  
Then he lunges off screen.
In a shot that matches his firsts jump with Adelaide, we hear a car SCREECH, then a loud THUD.
Langston James is lying on his right side with his back to the car.
He cautiously opens his eyes.
MAN (O.S.)
Holy shit!
Langston James quickly closes his eyes.
In the background we see the car door open and the MAN approaches Langston James' backside.
MAN
You ok buddy?
Langston James moans and slowly moves a little.
MAN
Hey! I know you!  You're Langston James the jumper!
Langston James quickly opens his eyes.
MAN
You already into me fur twenty five dollars!
He quickly turns around and gets back in his car and slams the door loudly.
He slams the car into reverse.
DRIVER
(yelling out the window)
Once is enough jumper!
He rolls the car back over Langston James.
DRIVER
I'ma get my goddamn money's worth this time!
He speeds off down the dirt road, his tires, leaving Langston James withering in a cloud of dirt and dust.
INT. WHIPPET HOSPITAL ROOM -- DAY
We see Langston James laying in bed with several casts all over his body and straps and pulleys here and there holding body parts up.
NARRATOR
The stay in the hospital was a time of reflection for Langston James.  When he came out he had a new and deeper outlook on life.
INT. LOG CABIN -- KITCHEN -- MORNING
LANGSTON JAMES
You can't get something for nothing, Mama.
Langston James is at the table while his mother is cooking his breakfast.
LANGSTON JAMES
Respect! That's what it's all about!
MRS. MCHENRY
Ummmmm
LANGSTON JAMES
Jumpin' just ain't respectable. And respect is the name of the game.
Mrs. Mchenry sets his plate down in front of him and walks back to the stove.
MRS. MCHENRY
We sure gonna miss that twenty dollars a week.
LANGSTON JAMES
You gotta give something to this world in order to get something back.
MRS. MCHENRY
Ummmmm.
CUT TO:
INT. RECRUITING OFFICE -- DAY
SERGEANT NICKS, a stern looking middle aged man with a cigar sits behind his desk.
SERGEANT NICKS
You want me to call you an ambulance buddy?
Langston James draws his left side up as far as it can go and puts his chin up.
LANGSTON JAMES
I wanna kill me some Jap's.
The Sergeant looks him over.
SERGEANT NICKS
We ain't trying to scare 'em to death son.
LANGSTON JAMES
I can shoot good.
The sergeant goes back to reading his copy of Titter magazine.
SERGEANT NICKS
This here's a serious war son.  Go start a paper drive or somethin'.
Langston James slowly relaxes his body, then with his head down, turns and shuffles out.
EXT. WHIPPET MOVIE THEATER -- EVENING
We see people buying tickets and walking in.  The lit sign says NOW SHOWING THE WIZARD OF OZ, in sub text IN GLORIOUS TECHNICOLOR!
INT. WHIPPET MOVIE THEATER -- CONTINUOUS
Langston James and Mrs. McHenry are seated, eating popcorn and drinking soda.  The lights go down and the murmur of people dissipates.  A news reel report on the battle of Iwo Jima comes on, showing American and Japanese men on the battle field fighting, dead bodies, bloody soldiers etc.
MRS. MCHENRY
(leaning close)
Is that what war is son?
LANGSTON JAMES
That's about it Mama.
MRS. MCHENRY
Whereabouts is Japan?
He thinks for a minute.
LANGSTON JAMES
Over thatta way, Mama
MRS. MCHENRY
There funny lookin' little fellars.
LANGSTON JAMES
You needn't worry about it Mama, everybody says it's almost over.
MRS. MCHENRY
But they're killin' our boys.
LANGSTON JAMES
Mama, we're killing theirs too.
A beat.
MRS. MCHENRY
Well... at least that's somethin'.
Mrs. McHenry leans back to her own chair.
CLOSE ON MRS MCHENRY -- Her brow is furred and she's biting her bottom lip.
NARRATOR
Mrs. McHenry took on all at once the accumulated grief of four years of war.
INT. LOG CABIN -- MRS. MCHENRY'S BEDROOM -- EVENING
We can hear the sound of RAIN from outside. 
Mrs. McHenry is asleep.  A good deal of her hair has turned white.  
Langston James is sitting in a side chair.
NARRATOR
She puzzled over the conundrum through the winter and spring of 1946.
CUT TO:
INT. MRS. MCHENRY'S BEDROOM -- DAY
NARRATOR
She finally died of unrelieved woe on the first anniversary of the bombing of Hiroshima in the summer of 1946....
CLOSE MRS MCHENRY -- Even in death, her brow is furred and she is biting her lower lip.
NARRATOR
...Langston James was now an orphan at the age of twenty three.
INT. WHIPPET MONUMENT AND FUNERARY ADORNMENT COMPANY -- MORNING
WICKLOW WILLS is staring down at drawing.
WICKLOW
(shaking his head)
Are you sure 'bout this?
LANGSTON JAMES
Do it like I say, Wicklow.  I'm paying for it.
WIKCLOW
But I'm the one's gotta make it.  How about a maltese cross with a dove?
LANGSTON JAMES
What would I want with a maltese cross Wicklow?  I ain't even that much of a Baptist.
WIKCLOW
Maltese cross is very popular right now.  You'd be up to date with a maltese cross.
Langston James stares at him sternly.
WIKCLOW
Listen I got a professional reputation to think about.  
He holds out the drawing at arms length.
WIKCLOW
I'll do it if you let me put a dove on it.
LANGSTON JAMES
(crossing his arms)
How big a dove?
CUT TO:
EXT. GRAVEYARD -- DAY
We see the grave marker; the likeness of the Oakmulgie Bridge, and above is a huge dove.  Below the words, Angus May McHenry, Beloved Wife And Mother.
INT. LOG CABIN -- KITCHEN -- CONTINUOUS
Langston James is cooking himself dinner.
CUT TO:
Langston James eating dinner alone.
CUT TO:
INT. LOG CABIN -- MRS MCHENRYS BEDROOM -- CONTINUOUS
Langston James is sitting on the side chair, staring at the empty bed, calmly smoking an Old Golds cigarette.  We hear the sound of a CLOCK TICKING.
INT. G. DOAL KICKLIGHTER'S OFFICE -- DAY
G. DOAL
You sure you can drive?
LANGSTON JAMES
'Course I can drive.  I got me a Hudson.
G. DOAL looks at Langston James' left side suspiciously.
G. DOAL
You'll run a circuit out of Whippet to Breedville, Fly, and Wilkes.  You got three hundred and ninety seven copies of the Constitution, two hundred eighty four of The Journal, and two hundred ten of The Excaliber Blade.  We'll pay the rate for the papers you deliver and a nickel for every mile in the car.
LANGSTON JAMES
How many miles?
G. DOAL
We figured the shortest route is seventy eight miles.  That's what you'll be paid for.
LANGSTON JAMES
A nickel a mile you say?
G. DOAL
That's right.
G.  Doal gathers office papers together and hands them to Langtson James.
G. DOAL
I don't suspect you'll want to throw both papers by yourself, but it'll be up to you to hire paper boys who will.
LANGSTON JAMES
I can handle it.
G. DOAL
Suit yourself.
INT. LANGSTON JAMES' HUDSON -- EVENING
Langston James is parked on a street corner smoking an Old Golds cigarette.  
A large delivery truck approaches.  
Langston James checks his watch: 2:15 AM.
CUT TO:
EXT. STREET CORNER -- CONTINUOUS
Langston James and the truck DRIVER are loading the papers from the delivery truck onto his Hudson.  

We see that these papers are The Journal.
CUT TO:
Langston James folding the papers and wrapping them with rubber bands.
CUT TO:
INT. LANGSTON JAMES' HUDSON -- MORNING
The sun is beginning to rise as he throws papers out the window.
INT. LOG CABIN -- KITCHEN -- LATER
Now, back at home, he is cooking himself a large breakfast,
CUT TO:
He's reading The Journal while he eats.  He looks at his watch: 6:30 AM.  
He folds his paper and gets up.
EXT. STREET CORNER -- MORNING
We see the driver and Langston James again loading papers onto his truck, this time its The Constitution.
CUT TO:
INT. LANGSTON JAMES' HUDSON -- MORNING
Throwing papers again.
INT. LANGSTON JAMES' HUDSON -- AFTERNOON
Langston James is nodding off with a lit cigarette in his mouth.  
We hear a truck motor approach of camera.  Then a sudden HONK, and he wakes with a start, dropping the cigarette on to his lap. He scrambles to get it.
CUT TO:
EXT. STREET CORNER -- CONTINUOUS
The driver heaves a big bundle of papers up and drops them onto the Hudson.
CLOSE ON PAPER -- The Excaliber Blade.
CUT TO:
EXT. OUTSIDE DINER -- EVENING
The sun is just starting to set as we see Langston James through the window eating dinner.
EXT. LOG CABIN -- FRONT YARD -- EVENING
The sun is now almost gone as Langston James pulls up and shuts off the engine.  
He relaxes back in his seat to finish his cigarette. 
FADE TO BLACK:
EXT. LOG CABIN -- FRONT YARD -- NIGHT
Several hours later, now fully dark, Langston James is passed out in the Hudson.
INT. DOCTORS OFFICE -- DAY
Langston James is seated on the bed in a tank top as the DOCTOR examines his eyes with a tiny flashlight.
DOCTOR
The problem is your exhausted.
He turns around and begins to write on his clip board.
DOCTOR
How long you say you've been doing these paper routes?
LANGSTON JAMES
Every day now for about five months.
DOCTOR
Well you keep going on the way you are now, I guarantee you make it to six.
Langston James sighs as he puts his shirt back on.
INT. LANGSTON JAMES' HUDSON -- MORNING
Langston James is driving as Will Ed Freemont rolls papers in the passenger seat.
WILL ED
(speaking slowly and deliberately)
The doctor give me medicine for my fits.
Langston James stares quietly on the road.
WILL ED
They give me pills I can take.  I got yeller ones and pink ones, and a real nice blue one.
Will Ed thinks for a moment.
WILL ED
I think I like the blue ones best.
Will Ed grabs a paper and twists it real tight.
LANGSTON JAMES
Easy, easy!  You ain't trying to wring water out of it.
WILL ED
I got it, I got it.
Will Ed throws the paper out the window and it lands in a bush.
Langston James sighs heavily.
WILL ED
Mama says I'm cured good as new.
LANGSTON JAMES
Mmmmm.
Will Ed looks at Langston James steering the wheel with his left elbow and he throws a paper out with his right hand.
WILL ED
That left arm ain't much good to you is it.
LANGSTON JAMES
I had twenty three years to get used to it.
WILL ED
It's a shame they ain't got no pills to fix that.  Or that crippled leg you got.
Langston James focuses silently on the road.
WILL ED
You could take every color pill they is and I reckon it won't do you no good.
Langston James throws another paper out the window.
WILL ED
You want me to drive.
LANGSTON JAMES
(quickly)
Listen Will Ed this here's my car.  I'm driving.
WILL ED
Ok, ok, I just thought you might feel better if I took over.
LANGSTON JAMES
Will Ed, your working for me.
WILL ED
Glad to do it, you needn't thank me none.  Mama says helping out the less fortunate is just the Christian thing to do.
LANGSTON JAMES
What you call someone you're working for Will Ed?
Will Ed looks at him puzzled.
LANGSTON JAMES
You know someone who pays you good money to do the things he says.
Will Ed stares ahead thoughtfully. 
LANGSTON JAMES
Maybe you need some other color pill to help you figure it out.
Changing the subject, Will Ed quickly turns the knob of the radio.
WILL ED
Mama says hillbilly music is common.  Let's see we can't find somethin' more... refined.
Langston James stares at him in disbelief, then turns back to the road.
INT. LOG CABIN -- BEDROOM -- NIGHT
CLOSE ON -- The clock is ticking at 12:34 AM.
CUT TO:
Langston James laying on his side wide awake staring at the wall.  He quickly and annoyingly turns onto his back, sighs heavily and continues to stare at the ceiling.
EXT. LANGSTON JAMES' HUDSON -- MORNING
Langston James is smoking a cigarette.  
He looks over at Will Ed who is examining his different colored pills.  
Langston James turns ahead again and shakes his head.  After a moment the delivery truck pulls up behind them.
EXT. STREET CORNER -- CONTINUOUS
Langston James gets out of the truck leaving Will Ed to contemplate his pharmaceuticals.  He'd rather not deal with it.
Langston James notices there is a young WOMAN in the passenger seat of the truck.  
A spotty looking thing with rust colored wiry hair like a Brillo pad and crossed eyes.
The driver gets out; his left arm in a cast.
LANGSTON JAMES
 What happened to you?
DRIVER
Deliverin' papers when Elrod Sweat's dog come after me.  I jumped the fence in one leap.  Didn't land on the other side to well though.
Langston James looks towards the woman again.
DRIVER
That there's my sister, Cowie.  She gonna be helping me out for a while.
Langston James nod his head.  
COWIE smiles, showing a gnarled set of teeth.
INT. LANGSTON JAMES' HUDSON -- AFTERNOON
Langston James and Will Ed drive up to Will Ed's house and park.
WILL ED
Mama says a paper route ain't no job for grown man.
Langston James blows out smoke and freezes.
WILL ED
Especially if I got to ride around in an automobile with a cripple behind the wheel.  She says it's a miracle you ain't done killed the both of us already.
Langston James slowly turns toward him.
WILL ED
We gonna go on the welfare and think things out.  I'll be expectin' my final pay by the end of the week.
Will Ed gets out of the car.  
A beat.
LANGSTON JAMES
(sighing)
Well, at least that's somethin'.
EXT. STREET CORNER -- MORNING
Langston James is standing beside his truck as the delivery truck pulls up.  
He throws down his cigarette and primps his hair and shirt.  
Cowie and the driver get out.
LANGSTON JAMES
Morning Cowie.
COWIE
Morning Eljay.
Langston James pulls a rose from behind his back.
LANGSTON JAMES
I picked this up fresh this morning for you.
COWIE
(lighting up)
Oh, Langston James you are a doll.
She grabs the rose and smells it. 
LANGSTON JAMES
You looking really pretty today.
Snaggle tooth smile again.
The driver comes up with a bundle of papers.
DRIVER
We gonna get to work here?
He slams them down in the Hudson and turns around to get another.  
Langston James follows, and looks back at Cowie and smiles.
INT. COWIE HOUSEHOLD -- LIVING ROOM -- DAY
CLOSE ON MR VANESSY -- He is frozen in awe.
MR VANESSY
You serious?  You wanna marry her.
LANGSTON JAMES
Yes sir.
MR VANESSY
Cowie Retch Vanessy?
LANGSTON JAMES
Yes sir.
A beat.
MR VANESSY
Where you come from?
LANGSTON JAMES
Whippet.
MR VANESSY
Uh huh.
MR VANESSY stares at the floor for a moment as if contemplating.
MR VANESSY
(leaning closer)
Listen buddy, you marry her and she's yours.  I ain't gonna take her back.
LANGSTON JAMES
McHenry's don't hold with divorce Mr. Vanessy.
A beat.
LANGSTON JAMES
It ain't her looks I'm interested in, it's her qualities.
Langston James looked over at Cowie in the doorway.  She smiles shyly and looks down.
MR VANESSY
Uh huh.
EXT. LOG CABIN -- FRONT YARD -- DAY
Langston James and Cowie drive up in the Hudson with Cowie's upright piano in the back.
INT. LOG CABIN -- KITCHEN -- EVENING
Langston James is sitting at the table.  
Cowie comes over from the stove and serves him dinner.
He takes a bit -- delicious!
INT. LOG CABIN -- LIVING ROOM -- CONTINUOUS
Langston James is sitting in his chair calmly smoking his pipe, watching Cowie play a soft tune on the piano.
INT. LOG CABIN -- BEDROOM -- NIGHT
Langston James and Cowie are in sexual embrace.
COWIE
You're somethin' else honey lamb.
LANGSTON JAMES
Uh huh.
COWIE
That's a truly virile member you got down there. 
(with rising inflection)
Truly, truly, truly.
LANGSTON JAMES
Could you move to the left?
COWIE
Whatever you say honey lamb. Just so it suits you.
LANGSTON JAMES
Well I mean to tell you it suits me to a tee.
COWIE
Don't it though.
(with rising inflection)
Don't it, don't it, don't it.
With a sudden thrust by Langston James, Cowie suddenly lets out a high pitched shriek.
He stops.
LANGSTON JAMES
What the hell was that?
COWIE
Pardon me.
He continues.  
Then after a moment she shrieks again.
LANGSTON JAMES
Cowie!
COWIE
Sorry Eljay.  It's just my natural inclination, I don't hardly know I'm doing it.
LANGSTON JAMES
Yeah, well everybody this side of town does know it.  You sound like the Russians have landed and you trying to spread the word.
COWIE
Well...
LANGSTON JAMES
I ain't trying to complain much.  It's pretty good otherwise.  Why don't you see you can't do something, you know to curtail it a little bit.
COWIE
It's nature unbeknownst to me.  I don't do no thinkin' just then, all I see is colors.
LANGSTON JAMES
Well try blue.
She pouts in silence.
LANGSTON JAMES
All I'm saying is give it a try.
COWIE
I'll see what I can do.
EXT. LOG CABIN -- FRONT YARD -- CONTINUOUS
We see the cabin and hear the sounds of night.  
Then we hear Cowie's shriek from the bedroom.
EXT. LOG CABIN -- BACK YARD -- DAY
Langston James is carving out a small piece of wood.
INT. LOG CABIN -- BEDROOM -- NIGHT
Langston James and Cowie are in the throes of passion again.  
We see Cowie biting down on the piece of wood which is muffling he shrieks.  
They reach the climax of their lovemaking then finish.
LANGSTON JAMES
Where is it?
COWIE
What?
LANGSTON JAMES
The plug.
She moves her jaw around for a moment, then dismisses it.
COWIE
I wasn't keepin' up with it Eljay.  You don't notice a thing like that in your moment of pleasure.  I saw purple.
He looks around the pillow.
LANGSTON JAMES
Don't tell me you ate the plug.
COWIE
Look down towards the foot.  We was moving around pretty good.
LANGSTON JAMES
Open your mouth.
Langston James inspects her mouth.
LANGSTON JAMES
Sweet jesus.  I carved that out of a hickory ax handle and you done ate it.
She runs her tongue around her mouth.
COWIE
It's got a twang.
He looks at her for a moment, then he hugs her to him, giving her sweet kisses.
LANGSTON JAMES
You some kinda woman Cowie.  Play the piano and eat a hickory plug.
COWIE
I can do sums in my head too.
LANGSTON JAMES
Ain't it the truth.
EXT. JOCASTA WINGATE'S FRONT YARD -- DAY
Langston James pulls up in his Hudson.  
He walks up towards the porch, and just before he reaches the first steps we hear a rifle cock; he freezes.
Through the screen door we can see a figure in silhouette holding a shot gun towards Langston James.
JOCASTA
Can I help you son?
LANGSTON JAMES
I don't mean no trouble ma'am, I'm here to talk business.
Jocasta slowly puts the rifle down.
JOCASTA
Where are you coming from?
He walks up the stairs.
LANGSTON JAMES
Whippet ma'm.
JOCASTA
Good lord.
She opens the door to get a good look at him.
JOCASTA
Langston James McHenry?  Yer uglier 'an I remember.
CUT TO:
INT. JOCASTA WINGATE'S LIVING ROOM -- CONTINUOUS
Jocasta gives Langston James a cup of coffee, then settles into a rocking chair with her own.
LANGSTON JAMES
Me and Cowie is about to have issue.
JOCASTA
Cowie?
LANGSTON JAMES
Cowie's my wife.  She's in the family way.
JOCASTA
You're married?  What in the world does your wife look like?
LANGSTON JAMES
Some of her points are right fine.
(a beat)
And some aren't.  It just evens out that way I reckon.
JOCASTA
I don't reckon you were countin' on Gloria Swanson, were you.
LANGSTON JAMES
Listen, what I come to see you about is the birthing.
JOCASTA
I don't do midwifing no more Langston James.  These days I'm concentrating on getting old and ugly.  How you think I'm doing?
He pauses for a moment, considering her question.
LANGSTON JAMES
Well, you ain't what I would call ugly Miss Jocasta.  Not exactly.  You've drawn up a little.  You used to be a tall woman.
JOCASTA
(quickly)
I used to be a young woman.
She takes a sip of her coffee.
JOCASTA
I wasn't never all that much to look at, but I was never ugly.
She rocks a minute.
JOCASTA
Langston James... You ever look at yourself nekked?
LANGSTON JAMES
Ma'am?
JOCASTA
A while back I got nekked and looked at myself in the mirror.  How you think I looked?
LANGSTON JAMES
(uncomfortable)
How would I know how you looked Miss Jocasta.  I come to see you about this here baby.
JOCASTA
I took note of every little thing there was.
He takes a gulp of his coffee.
JOCASTA
My hair's all right.
LANGSTON JAMES
Don't tell me about your hair Miss Jocasta.
JOCASTA
(patting her head)
Head hair Langston James, head hair.
She sighs.
JOCASTA
I still got a full head of hair.  But on the whole I'd have to say I was an ugly thing to look at.
A beat.
JOCASTA
I just don't know when it happened.
Her lips tremble, as if she were about to cry.
JOCASTA
I never did think of myself as ugly before.  I never gave it much thought at all honestly, you know, not having a man around.
Langston James looks down into his coffee cup.
JOCASTA
I had me a beau once though.  I bet you didn't know that did you?
LANGSTON JAMES
No ma'am I never did.
JOCASTA
It's true.  His name was Walter Pretorius.
She looks off in thought.
JOCASTA
Walt was a fine figger of a man.  He went off to Cuba with Teddy Roosevelt and never came back.  One of his buddies wrote me a letter sayin' he died of the fever.  They put him in the ground right there in Cuba.  I always thought one day I'd take a trip out there just to see where he was buried, but I could never come up with the money.
(short chuckle)
I never even been out of Braxton County.
LANGSTON JAMES
Well, I'm sorry to hear that Miss Jocasta, I really am.
JOCASTA
It's old business now.
A beat.
LANGSTON JAMES
Listen, you ain't gonna help with the baby?
JOCASTA
I haven't done a baby in ten years now.  I haven't got the strength for it.
LANGSTON JAMES
She can't do it by herself.
JOCASTA
Get you a doctor Langston James.  That's how they do it nowadays, in hospital and everything.
She gets up from her chair.
JOCASTA
You know I sure would like to see that baby when it comes though.  If this child gonna be half a you, I can't imagine what the other half gonna look like.
Langston James rises to leave.
LANGSTON JAMES
Well I guess I gotta figure this one out.
JOCASTA
You shoulda figured it out before now Langston James.
Langston James heads for the door.
JOCASTA
And listen.
He turns back.
JOCASTA
You let me know when that baby comes.  I wanna get a good look at it.
LANGSTON JAMES
Yes Ma'am.
Langston James walks out and the screen door slams behind him.
EXT. BRAXTON COUNTY MEMORIAL HOSPITAL -- DAY
NARRATOR
In the summer of 1948, ten months after their marriage, Cowie gave birth to a male child; Halstead Lamar McHenry.
CUT TO:
INT. HOSPITAL -- BABY VIEWING ROOM -- CONTINUOUS
Nurses hold up babies as people on the other side of the window coo them.
NARRATOR
Halstead was not deformed...
We continue to see the nurses as the camera begins to push back behind them towards the cribs in the rear.
NARRATOR
...Or particularly ugly as an infant, but there was from the first, a debilitated air about him...
We settle Halstead's crib.
NARRATOR
....Which caused the nurses in the delivery ward to hide him in the back of the room.
CUT TO:
INT. HOSPITAL VIEWING WINDOW -- DAY
Langston James staring intently and proudly at Halstead's crib with a 'IT'S A BOY!'  Cigar in his mouth.
NARRATOR
But Langston James was rather pleased with him on the whole.
EXT. SIDEWALK -- DAY
Langston James, Cowie and Halstead are taking a walk.  
Halstead is now four years old.
NARRATOR
They made a happy family, if somewhat of a grotesque one.
CLOSE -- HALSTEAD
NARRATOR
Halstead never looked young, and his fragile weariness became more pronounced as he grew into childhood, and anyone who came across him was immediately reminded of their own mortality.
POV HALSTEAD -- We see people passing by on he street, looking down toward him and frightfully turning away.
CUT TO:
EXT. SIDEWALK -- CONTINUOUS
The Mchenry's walking by the DEGRAFF MORTUARY as CYRUS DEGRAFF runs down his walkway to greet them, (particularly Halstead).
NARRATOR
Only Cyrus Degraff, the town mortician took and interest in him.
EXT. SIDE OF ROAD -- DAY
CLOSE ON LANGSTON JAMES -- trudging along the side of the road.
NARRATOR
Then in the spring of 1956, good fortune once again hit Langston James.
Off camera we hear the SCREECHING of a car, then Langston James gets flung out of the frame and lands with a thud.  
The camera lingers a moment at the empty spot where he was walking.  
Off camera, we hear a woman SCREAM.
The camera lingers in the empty space where Langston James was.
NARRATOR
Langston James saw his chance and took it.
CUT TO:
EXT. DOWNTOWN WHIPPET -- DAY
We see a slightly run down store front with a brand new sign:
MCHENRY'S FIVE AND DIME
INT. MCHENRY'S FIVE AND DIME -- CONTINUOUS
Langston James is sitting on a rocker as he makes change for a customer purchasing a pack of cigarettes.
NARRATOR
The old drug store which Langston James turned into a five and dime turned out to be more of a haven for him rather than a business venture.
The man leaves and Langston James relaxes back, smoking and Old Gold.
NARRATOR
And as it turned out the chief benefit the place bestowed upon him was that it brought him together with Bodine Polite.
In silhouette, BODINE POLITE emerges at the front door, then slowly walks in.
Once inside, still in silhouette, Bodine stands motionless, looking inside a glass case.
Langston James sits back smoking his pipe eyeing him suspiciously.
LANGSTON JAMES
You going to buy something?
A beat.
BODINE
Ain't got no money.
Because of his dialect we immediately know his a black man.
LANGSTON JAMES
I give credit.  You got a job?
After a pause, Bodine turns toward Langston James.
BODINE
I reckon not.
They stand quiet for a moment as Bodine looks around the store.
LANGSTON JAMES
What you need?  Ain't nothing you see gonna cost you much.
Bodine walks up closer just under the ceiling fan.
We now see him clearly -- he's tall well built middle aged black man, with short cropped hair and very handsome, almost pretty facial features.
BODINE
It be nice and cool in here.  You got a nice cool place.
Bodine takes his hat off and fans himself with it.
BODINE
You reckon I could sit down for a spell.  It's awful hot and glary out there.
Langston James slowly takes a drag of his cigarette.
LANGSTON JAMES
Take that chair there.
BODINE
Much obliged.
Bodine walks to the chair, picks it up and walks it over next to Langston James.
LANGSTON JAMES
Put it over there.
Langston James points to the back of the store.
Bodine picks up the chair and takes it to the back and sets it down.  
He takes a handkerchief out of his pocket and dusts the seat with dainty flourishes.  
Then he sits down and deliberately crosses his legs and folds his hands over his knee. 
They sit quietly for a moment, looking at their opposite walls.
Bodine takes out his can of Tube Rose snuff.
BODINE
Have some?
LANGSTON JAMES
I don't dip.
Bodine takes some as Langston James hobbles over to the soda fountain, picks up a dixie cup and hands it to Bodine.
LANGSTON JAMES
Don't spit on the floor.
BODINE
I don't spit on no floor.  Much obliged.
Again they sit quiet for a moment.
LANGSTON JAMES
You got a name?
BODINE
Assolutely.
Langston James waits for more.
LANGSTON JAMES
Well...? Don't get funny with me.
BODINE
(putting the accent on Po)
Po-lite.
LANGSTON JAMES
Po-lite what?
BODINE
Not Polite what, it what Polite.  Bodine Polite. Polite my last name.  It go P-O-L-I-T-E.  Polite.
LANGSTON JAMES
Aaahhh.  Smart fellar. Know how to cipher and everything.
BODINE
I can do my own name.
LANGSTON JAMES
Think that's a big advantage do you?
Bodine gives a slight shrug.
LANGSTON JAMES
C-A-T.
BODINE
What?
LANGSTON JAMES
C-A-T.  That strike a note on you?  Don't think about it too long.
Bodine gave him a long look but no reply.
LANGSTON JAMES
How you spell 'Bodine', or maybe you ain't got that far yet?
BODINE
I can sign myself when I got to.
LANGSTON JAMES
Aaahhh.
BODINE
B-O-D-I-N-E.  You satisfied.  I get me some kinda prize now.
Langston James studies him for a moment.
LANGSTON JAMES
How old are you?
BODINE
Fawty three last June. What that got to do wit it?
LANGSTON JAMES
I was wondering how you got to be fawty three in Whippet with a mouth on you like you got.
BODINE
I keep it to myself when I got to.
LANGSTON JAMES
So how come you figure it's ok to let it run just now?
A beat.
BODINE
Well...  You ain't ezactly high class Mr. Mehenry.
Langston James leans back in his chair studying Bodine.
BODINE
I reckon you are Mr. Mehenry?
LANGSTON JAMES
Close enough.  You work all this out ahead of time or you making this up as you go along.
BODINE
I'zz just lookin for a me cool place.
LANGSTON JAMES
Well.  I'm gonna give you a little more time while I figure you out.  You know, before I throw your black ass out that door yonder.
Langston James pulls out his pack of Old Golds, and hands them out to Bodine.
LANGSTON JAMES
You want one?
Bodine points to his cheek.
BODINE
Better not.
LANGSTON JAMES
Old Gold's is cured with apple honey.
BODINE
That so.
LANGSTON JAMES
Says so here right on the pack.
Langston James points deliberately to the pack and holds it up toward Bodine.
BODINE
Prolly.
Langston James lights a cigarette.
LANGSTON JAMES
Bodine, you make me curious.  How long you lived in Whippet?
BODINE
Long enough.
LANGSTON JAMES
I got no use for a smart ass Bodine.  You on mighty thin ice anyway.
Bodine spits.
LANGSTON JAMES
You know Bodine, what I can't figure out is how you managed to get by all these years and keep your head out of a rope.
BODINE
I done my time.
LANGSTON JAMES
What you done time for?
BODINE
Stole me a hawg.
LANGSTON JAMES
How soon they catch you?
BODINE
I got me a meal off him.
LANGSTON JAMES
What they give you?
BODINE
Five.  I done three.
LANGSTON JAMES
I hope that hawg was a good one.
BODINE
He's pretty sweet.
LANGSTON JAMES
Sounds dumb to me.
BODINE
I was hongry.
A beat.
BODINE
(standing)
I reckon I better be goin' now.
LANGSTON JAMES
(gesturing to the cooler)
Get us two Coca Colas out that cooler.  We gonna sit here and drink Coca Colas, and smoke Old Golds while find out about you.
BODINE
I'll have me a Dr. Pepper.
LANGSTON JAMES
(exasperated)
Fine.  And bring that chair over here. Maybe we got us some business to discuss.
Langston James leans forward in his chair.
LANGSTON JAMES
Let me tell you 'bout the newspaper business.
INT. LANGSTON JAMES' HUDSON -- MORNING
Bodine is in the passenger seat throwing out papers with Langston James.
EXT. RESIDENTIAL ROAD -- MORINING
The Hudson drives by houses as Bodine throws papers into the yards.
EXT. DOWNTOWN WHIPPET -- AFTERNOON
We see the Hudson drive along with Bodine now in the back cab.
INT. LANGSTON JAMES' HUDSON -- AFTERNOON
Langston James and Bodine are parked near a field sitting in the Hudson eating lunch.
They sit enjoying their meals and the view.  Langston James reaches into his sack and pulls out two Coca Colas.  He hands one to Bodine.
BODINE
(without looking)
I'll have me a Dr Pepper.
LANGSTON JAMES
Well I ain't got no damn Dr. Pepper Bodine, you want it or not.
Bodine grabs the bottle, takes a drink then tosses it out the window.
LANGSTON JAMES
God damn it Bodine what you do that for!
BODINE
I don't like me no Coca Cola.
LANGSTON JAMES
Then why'd you take it then.
BODINE
(shrugs)
It was free.
Langston James shakes his head.
They sit silent for a while.
BODINE
You the one tried to be in the waw.
LANGSTON JAMES
What?
BODINE
You tried and tried.
LANGSTON JAMES
That's a long time ago.  How you know about that?
BODINE
I pays attention.
LANGSTON JAMES
Was you in the arm service
BODINE
(shaking his head)
I was farming at the time.
LANGSTON JAMES
Colored folks didn't have to go did they.
BODINE
Cripples neither.
Langston James leans into Bodine.
LANGSTON JAMES
Who am I Bodine.
BODINE
You be Mr. Mehenry.
LANGSTON JAMES
When you work for someone what do you call them?
Silence.
LANGSTON JAMES
Bossman.
BODINE
Bossman.
LANGSTON JAMES
That's the ticket.
Langston James sits back and continues with his lunch triumphantly.
Bodine rolls his eyes slowly toward Langston James, then quickly back.
INT. LOG CABIN -- KITCHEN -- EVENING
Langston James is seated at the table eating dinner.  Cowie is fixing a plate.
COWIE
(yelling to the living room)
Halstead McHenry, I said come and eat!
HALSTEAD
(oc))
What we having!
COWIE
Meat loaf, now come!
Halstead runs into the kitchen and darts toward the door which leads to the back porch.
EXT. LOG CABIN -- BACK PORCH -- CONTINUOUS
Bodine sits at a small table.
HALSTEAD
You hear that Bodine, we're having meat loaf!
BODINE
Sounds mighty nice Mr. Halstead.
COWIE
(oc)
Halstead!
HALSTEAD
Bye Bodine!
Halstead darts back in.  Cowie walks out with a plate and a Dr. Pepper.
COWIE
Here ya are Bodine.  There's plenty more if ya still hungry.
BODINE
Much obliged Miss Mehenry.
EXT. RESIDENTIAL ROAD -- MORNING
Langston James and Bodine are on their morning route.
NARRATOR
By the fall of 1959 the economy was booming and Langston James and Bodine were throwing more papers than ever.  Langston James had more money than he knew what to do with.
EXT. LOG CABIN -- FRONT YARD -- DAY
Langston James, Cowie and Halstead watch as workers tear down the old log cabin.
EXT. MCHENRY FRONT YARD -- EVENING
Langston James is arriving home from work, and pulls up to a newly built modern house.
NARRATOR
Overall Langston James was happy and living a worry free life.  But in fact his troubles were just beginning.
INT. MCHENRY BEDROOM -- NIGHT
Langston James and Cowie are preparing for bed.
LANGSTON JAMES
What?
COWIE
I said turn on the hot water, I'm pregnant.
She falls backwards onto the bed.
COWIE
Ain't it wonderful!
LANGSTON JAMES
Oh Lordy.  
EXT. BRAXTON COUNTY MEMORIAL HOSPITAL -- DAY
NARRATOR
Cowie gave birth to their second child in late summer.  They named him Gabriel, after the angel.
INT. HOSPITAL -- VIEWING WINDOW -- DAY
Langston James is eagerly looking toward the back rows of cribs for his son.  To his left there is a group of women cooing a baby that a nurse is holding up for show.
Langston James still looking for Gabriel when he notices a crib in the front row with the sign 'McHenry'.  
He leans over for a closer look and sees that it's empty.
Finally he puts it together; the baby that the nurse is holding is GABRIEL.  Gabriel is absolutely beautiful. 
Langston James' jaw slowly drops as he watches the nurses and all the viewers adoring him.
INT. MCHENRY LIVING ROOM -- DAY
Cowie is seated in a chair holding Gabriel.
Langston James paces around the room.
LANGSTON JAMES
What we gonna do Cowie?
COWIE
About what Eljay?
LANGSTON JAMES
About him.
COWIE
Ain't he beautiful.
LANGSTON JAMES
That's exactly what I mean!  Look at the rest of us Cowie.  You me and Halstead.  That child don't fit the pattern.  He ain't, you know, one of us.
COWIE
What are you talking about Eljay?  He's as one of us as your sperms can provide.
Cowie gives him a peculiar look.
COWIE
You're not talking sense Eljay.  Can we go into this later?
Cowie sits up straight and begins acting prissy like.
COWIE
Now if you'll excuse us, I'm going to give him the breast now.
LANGSTON JAMES
What?
COWIE
We'd like a little privacy if you don't mind.
LANGSTON JAMES
I seen yur tiddy before!
COWIE
You just don't understand motherhood Eljay.  Now close the door gently on your way out.
INT. MCHENRY KITCHEN -- CONTINUOUS
Halstead is standing on a milk crate washing dishes.  Langston James walks in and sulks into a chair.
HALSTEAD
He sure is something ain't he daddy?
Langston James cowers more.
LANGSTON JAMES
It worries me Halstead.  He ain't in accordance with this here family.
HALSTEAD
You rather he look like a frog?
LANGSTON JAMES
I rather he look like one of us.  What kind frog?
Halstead swishes his hands around in the water.
HALSTEAD
Well, ain't no help for it, there he is.  He sure ain't no frog, but I reckon we'll get used to the idea.
LANGSTON JAMES
(shaking his head)
Oh lordy lordy.
Langston James looks at Halstead fussing in the sink.
LANGSTON JAMES
What's the matter?
HALSTEAD
Seem's like it's stopped up.
Langston James walks over.
LANGSTON JAMES
Lemme see.
Langston James swishes his hand in the water, then puts his head down on his arm as if he is about to cry.
LANGSTON JAMES
See what I mean Halstead, our luck's done gone bad already.
HALSTEAD
'Cause the sinks stopped up?
LANGSTON JAMES
I been having trouble with my truck lately too.
HALSTEAD
Daddy that truck's nineteen years old.  You always having trouble with it.
LANGSTON JAMES
Signs is signs Halstead.  I know bad news when I see it son.  I got me a di-rect line when it comes to  bad news.
Langston James collects himself and stands up.
LANGSTON JAMES
Well, go get a plunger son, we gotta take these things as they come.
HALSTEAD
That's right daddy.  
Halstead hugs Langston James, then steps down and walks toward the door
HALSTEAD
And why don't you get your a new truck while your at it.
INT. LANGSTON JAMES' HUDSON -- MORNING
Langston James and Bodine are on their morning route.
BODINE
Why'nt you get you a new truck.  Way this ones running give me palpitations.
Bodine throws a paper.
LANGSTON JAMES
Mizre Wilson on vacation.  You wasn't supposed to throw her not paper.
BODINE
Oops.  
They drive in silence for a while.
LANGSTON JAMES
You got any children Bodine?
BODINE
I got me a couple.
LANGSTON JAMES
You don't never talk about them.
BODINE
Ain't nothin' to talk about, they just chirruns.
LANGSTON JAMES
What they look like.
BODINE
Mostly they look like they mamma's.
LANGSTON JAMES
Mamma's?  How many women you got?
BODINE
Several.
LANGSTON JAMES
All at once?  Or, one at a time?
BODINE
All at once! What you take me for?  I be a baptized Christian.  Anyway, I couldn't hardly handle them one at at time.
LANGSTON JAMES
You a rascal Bodine.  You know that?
BODINE
I ain't had but a few complaints.  I got me a certain style.
Langston James chuckles.
LANGSTON JAMES
You love your children?
BODINE
'Course I do.  I'm they daddy ain't I?
Langston James calculates his next words.
LANGSTON JAMES
(almost in a break down)
It's eating me Bodine!  I feel like I need to shoot myself in the foot or somethin'.  Put my hand in the fire.
BODINE
How come you ain't talked to your preacher?  Maybe he could set you right on it.
LANGSTON JAMES
I don't know.  Them sermons he preaches don't speak a lot for his judgment.  Near abouts everyone gets worked around to how the Lord loves him to shoot things.
BODINE
Well.
LANGSTON JAMES
I don't reckon it could hurt none.
BODINE
Uh huh.  And think about you a new truck as well.
EXT. BROTHER MOATES'S BACK YARD -- DAY
Langston James walks through the yard toward Brother Moates as he shoots tin cans with a twenty two pistol.
CLOSE ON HEINZ PORK AND BEANS CAN -- The can gets shot, then leaps into the air spinning around.
BROTHER MOATES
You know anything about pistol shootin' Eljay?
LANGSTON JAMES
No.
BROTHER MOATES
It ain't like rifle shooting, you gotta pull down on your mark.  Keep it moving, else you ain't gonna hit nothing.
LANGSTON JAMES
I see.
BROTHER MOATES
If it's more'n twenty feet you ain't hardly going to hit it anyway.
LANGSTON JAMES
That a fact.
BROTHER MOATES
You ain't even likely to hit a man if it's over twenty five feet.  Not so it'll do you any good anyway.
LANGSTON JAMES
Listen Brother Moates, I need to talk to you about something.
BROTHER MOATES
You got a problem, Eljay?  That's what I'm here for.  Burdens of the heart and daily woe.
LANGSTON JAMES
Glad to hear it, Brother Moates.
BROTHER MOATES
Step this away.
They walk toward the can, and Brother Moates picks it up, examines it the holds it up to Langston James.
BROTHER MOATES
I'm leaning a little to the left, you see?  It went in the H, when what I was aiming for was the I.
LANGSTON JAMES
You hit the H alright.
BROTHER MOATES
I'm just getting used to it.  When I get the feel of it, I'll start shooting from the hip.
LANGSTON JAMES
Uh, huh.
BROTHER MOATES
You catch a prowler you ain't got time to set and take aim.
LANGSTON JAMES
I don't reckon I'd shoot nobody.  I ain't even got a gun.
BROTHER MOATES
What?  You driving around all hours delivering them papers and you ain't got no weapon in that truck?
LANGSTON JAMES
I got me a piece a pipe I keep under the seat.
BROTHER MOATES
You ain't a big feller Eljay.  You got to get up awful close to make use of that pipe of yours.
Brother Moates looks Langston James up and down deliberately.
BROTHER MOATES
And if he comes at you on the left side, it ain't gonna do you no good at all.
LANGSTON JAMES
Listen.  I come to tell you about this problem.
BROTHER MOATES
Ok Eljay, let's hear it.
LANGSTON JAMES
Well....me and Cowie been haven this argument lately.  She's got her head set against me.
BROTHER MOATES
Ahh yes.  The contentions of the wife are continually dropping.
LANGSTON JAMES
What?
BROTHER MOATES
The home where the woman rules is a sink of iniquity and an abomination.
LANGSTON JAMES
Cowie's a good woman, Brother Moates.
BROTHER MOATES
I never said she wasn't.  All I'm saying is, don't let her get the upper hand.  I'm not saying nothing physical here,  I never did hold with beating up on a woman.
A beat.
BROTHER MOATES
Maybe, just a little slapping around.  You know, with your open hand.
LANGSTON JAMES
Uh huh.
CUT TO:
INT. LANGSTON JAMES' HUDSON -- MORNING
Langston James and Bodine are on their morning delivery route.
LANGSTON JAMES
Well, Bodine.  So much for that.
BODINE
What he say?
LANGSTON JAMES
Well... He told me to beat up on Cowie.
Bodine throws a paper.
BODINE
You can't never tell about those preachers.
They drive in silence for a moment.
LANGSTON JAMES
I need to tell somebody what it was that I had on my mind, Bodine.  You know get it out in the open.  And since you're, you know, my friend and all...
Bodine dosen't answer.  Langston James looks at Bodine for a response.
LANGSTON JAMES
Well, I was thinking, I could maybe put a twist in his leg or something.
Langston James looks at Bodine again for a response again, but nothing.
LANGSTON JAMES
Just a little one.  I mean now's the time to do it.  You don't wait for a pup to get growed before you bob his tail.
BODINE
Uh, huh.
LANGSTON JAMES
Look at Halstead.
BODINE
You never put no twist in Halstead's leg.
LANGSTON JAMES
That's 'cause Halstead never needed no twist.  He's screwed up fine just the way he is.
BODINE
You gettin' any of this from Brother Moates?
LANGSTON JAMES
(shaking his head)
I never did get into details with him.  I reckon he just have me shoot Gabriel or something.
BODINE
How you gonna fix his face?
LANGSTON JAMES
Hell, I couldn't do nothing to his face Bodine.  You think I want to hurt the boy.
BODINE
That the real place you got the problem.  Ain't no little limp gonna fix him up to suit you.  Maybe you could get some lye and dip him in it.  Or set him out on an ant hill of a while.  I know a child that fell in a turpentine vat once...
LANGSTON JAMES
You ain't understood a word I said, Bodine!
BODINE
'Course I have.  Long as he got that angel face, you ain't gonna be happy with him.
Langston James sighs.
BODINE
What it is, you can't stand him being different.
LANGSTON JAMES
That's just it Bodine, he ain't different enough.  Different is what I want him to be.
BODINE
What you mean is, he ain't different the way you want him to be.
LANGSTON JAMES
What?
BODINE
He mighty different from you.
Langston James stared at the windshield in thought.  Bodine rolled another paper and threw it out the window.
BODINE
Trouble with you Mister Eljay, you can't see they's more'n one way to be different.
INT. MCHENRY KITCHEN -- EVENING
Cowie is clearing the dishes as Halstead and Langston James sit at the table.  Langston James lights up an Old Gold.
LANGSTON JAMES
I'm gonna take me a trip tomorrow.  Just a little one.
Cowie is at the sink washing dishes, with her back to them.
COWIE
Where you going'?
LANGSTON JAMES
I thought I might take a drive up to Savannah for the day.  I need to get outside of Whippet so I can think things over.
COWIE
I like Savannah.
LANGSTON JAMES
I like Savannah too.
COWIE
'Course... I don't recall I ever had any big ideas in the vicinity neither.  You want me to go with you?
LANGSTON JAMES
Bodine can ride with me.
Cowie nods.
COWIE
I reckon we could both use a rest.
Cowie walks over to Langston James, drying her hands with her towel.  
She tenderly puts her hand on the back of his head.
COWIE
Try to get this out of your system, Eljay.
She kisses him on the head.  And walks back to the sink.
COWIE
It's wearing me out.
INT. LANGSTON JAMES' HUDSON -- MORNING
Langston James's seated in the driver's seat, as Bodine leans in from outside the passenger window.
BODINE
How far it be to Savannah?
LANGSTON JAMES
Hundred miles.  Hundred twenty maybe.
BODINE
I mean how long?
LANGSTON JAMES
Three hours, three and a half.
BODINE
This a working trip?
Langston James fidgets with annoyance.
LANGSTON JAMES
You can ride in the cab, if that's what's bothering you.  Most of the way anyhow.
Bodine stares at him for a moment.
BODINE
I be haven to listen to you go on about that child all the way there and back?
Langston James leans over and opens the passenger door.
LANGSTON JAMES
Get in Bodine.
Langston James slams a pack of Old Golds on the dash.
LANGSTON JAMES
Have you an Old Gold.  And we'll get us some Cokes as well.
Bodine sits in the passenger seat.
BODINE
I'll have me a Dr. Pepper.
Langston James sighs and puts the truck in gear.
LANGSTON JAMES
I mean this to be a pleasure trip.  You gonna ruin it for us.
Bodine slams the door.
BODINE
Some pleasure.
They drive off down the road.
CUT TO:
Montage of Langston James and Bodine driving down rural roads and highways.
EXT. DUNKS -- AFTERNOON
They pull into an old gas station with a large sign that reads: Dunks. 
We see a large Confederate flag at one end of the gas island, and an American flag on the other.
The ATTENDANT walks out of the store and shuffles toward them.  
He puts his hands on the driver window frame and pears in.
ATTENDANT
Filler up Mister?
He has several scars on his face, which have been mended poorly, and the first and third fingers on his right hand are missing.
LANGSTON JAMES
That's right.
The attendant begins to pump as Langston James walks to the cooler and grabs two Dr. Peppers. 
He hands one in the cab to Bodine then leans himself against the outside of the truck and takes a swig.
LANGSTON JAMES
This your main line of work?
ATTENDANT
Done some lumberin'.  I like this better.
LANGSTON JAMES
Looks like you taken right smart punishment somewhere or another.
ATTENDANT
I didn't have the head for lumberin'.  Them saws was always takin' pieces off me.
LANGSTON JAMES
Uh, huh.
Langston James looks him up and down, then takes another swig.
ATTENDANT
Thing is, you ain't seein' but the half of it.
He pinches the front of his shirt and pumps it in and out.
ATTENDANT
You wouldn't believe what all there is underneath these here clothes.
The attendant eyes Langston James.
ATTENDANT
What kinda work you in Mister?  You look like you been rearranged some yourself.
LANGSTON JAMES
You know, that ain't a bad way to put it.
The attendant puts the hose back.
ATTENDANT
Check the oil?
LANGSTON JAMES
Sure.  It might take a quart.
The attendant wrestles with the hood and tears a gash in his finger before he gets it open.  
He sucks on it while searching for the dipstick and burns himself twice on the engine. 
He finally checks the dipstick.
ATTENDANT
(yelling over the hood)
Your oil's fine!
Langston James and Bodine both watch as sparks fly when he fools around with the battery cables.  
Finally he unscrews the radiator cap and steam and water shoot out onto his face.
When he's through he closes the hood and wipes his face with a handkerchief.
ATTENDANT
You got be real careful when your dealing with automobiles.  Any piece of machinery is liable to cut you up a bit.
LANGSTON JAMES
Well, how much I owe you for the gas and two Dr. Peppers?
ATTENDANT
That'd be three eighty five.
Langston James hands him a five dollar bill, and he shuffles off inside to make change.
A small white fury animal scurries up toward Langston James.
LANGSTON JAMES
What the hell is that!
It's actually a dog.  
A miniature poodle who's hair hand been trimmed poorly;  leaving spots here and there.
LANGSTON JAMES
That a rat?
The poodle bares it's teeth and growls at Langston James.
The attendant comes back out.
ATTENDANT
That's Francine.
The attendant bends down toward Francine.
ATTENDANT
Come'ere Francine!
Francine turns towards him and growls.  The attendant straightens up again.
ATTENDANT
Never took to me much.
LANGSTON JAMES
What happened to her?
ATTENDANT
My wife Vola-Shirl's the one that did that her.  Well she didn't do it herself.  But she sat there and watched the whole thing.  Took Francine to this Salon. That's what they called it... a Salon,  fur dogs.  When she came back home wid' 'er she looked like that.  I could'a saved us five dollars and ran her over with the lawn mower myself.
Francine turns and runs back in the shop.
The attendant hands Langston James his change.
The attendant hesitats a moment, then leans in close.
ATTENDANT
(low)
I ain't one to tell a man his business, mister.  But you think it's a good idea riding around with a nigger in your cab like that?
Langston James looks toward the cab where Bodine is seated.
ATTENDANT
That ain't exactly the way we do things around here.  Good thing I was the one on duty here.
Langston James softens.
LANGSTON JAMES
He works for me.  You think I'd ride around like that for pleasure.
ATTENDANT
It ain't nothing to me mister.  I'm just telling you for your own good.
The attendant hands Langston James a plate with a picture of Woody Woodpecker on it.
LANGSTON JAMES
What's this?
ATTENDANT
Plate goes with the fill up.
LANGSTON JAMES
Uh, huh.
Langston James quickly turns around and gets in the truck.  He hands the plate to Bodine.
INT. LANGSTON JAMES' HUDSON -- CONTINUOUS
LANGSTON JAMES
Hold this Bodine.  When we get down the road a ways, I want you to throw it out the window.
CUT TO:
INT. LANGSTON JAMES' HUDSON -- MOMENTS LATER
Langston James and Bodine are driving down the highway.  Bodine studies the plate.
BODINE
What wrong with it?  You should keep it for Gabriel, I think he'd like it.
LANGSTON JAMES
Don't shit me Bodine.
A beat.
LANGSTON JAMES
How much you hear?
BODINE
Most of it.
LANGSTON JAMES
I don't know. I don't reckon it was his fault, you know. Sometimes I don't think of you like a colored man.  You just plain ol' Bodine.
BODINE
Breakin' this plate won't do you no good.  Gabriel, he'd like this plate a whole lot.
Bodine wraps a paper around it and sets in the middle seat.
INT. LANGSTON JAMES' HUDSON -- DAY
They continue down the highway,  passing various billboards and signs posted with advertisements of tourist attractions.
One reads: GEORGIA JUNGLE FREE WITH PURCHASE 5 MILES.  
Anothe has a cartoon image of a monkey and reads: 
SEE FUNNY MONKEYS 3 MILES FREE!  FREE!  FREE!
LANGSTON JAMES
Wanna see some funny monkeys Bodine?
BODINE
That monkey don't look funny to me.
They pass by another sign with a crude drawing of an alligator, which reads: 
SEE TAME ALLIGATORS 2 MILES.
LANGSTON JAMES
They got gators too.
BODINE
Uh, huh.
Again another sign with a raccoon: 
SEE DANCING RACCOONS 1 MILE.
LANGSTON JAMES
'Coons Bodine!  Come on my treat.
BODINE
You think they let colored folks in there to see them funny monkeys.
LANGSTON JAMES
We gonna see.
EXT. GEORGIA JUNGLE -- LATER
Langston James and Bodine pull into the dirt lot and park.
Langston James gets out, closes the door, then leans back in through the window.
LANGSTON JAMES
Have you an Old Gold Bodine.  I'll go see about the lay of the land.
INT. GEORGIA JUNGLE -- CONTINUOUS
Langston James walks in.  
The shop is dark and musty like an old dusty tool shed, complete with rattlesnake cages, stuffed animal heads on the walls, and unfinished walls showing the inside of the siding.  
Langston James shuffled up to the LADY behind the counter.
LADY
Lord Mister.  What in the world happened to you?
LANGSTON JAMES
Natural causes lady.
LADY
No offense meant Mister, I got a deep respect for the sorely afflicted.  This here's a Christian woman you're lookin' at.
LANGSTON JAMES
Glad to hear it.  Listen, I got me a colored fella out in my truck. You Christian enough so's he can come in and see the funny monkeys too.
The lady looks at him sharply for a moment.
LADY
He work for you or somethin'?
LANGSTON JAMES
Yes ma'am.
LADY
(nodding her head)
Long as he's with you and you buy him something.
EXT. GEORGIA JUNGLE -- CONTINUOUS
Langston James walks up to Bodine in the truck.
LANGSTON JAMES
No problem Bodine, she says she's a Christian woman.
BODINE
What that mean.
LANGSTON JAMES
It means don't look no god damn gift horse in the mouth.
INT. GEORGIA JUNGLE -- CONTINUOUS
Langston James and Bodine enter and walk to the counter.
LANGSTON JAMES
We'll have two Coca-Colas and a pack of peanuts.
The lady gives then two cokes from the cooler and peanuts.
LADY
That'll be thirty cents.
Langston James pays.
LADY
(to Bodine)
Your can take yours out back.
BODINE
Yes ma'am.
Bodine walks out the back door.
LANGSTON JAMES
So where these funny monkeys?
LADY
He's out back.  He? Like... one he?
LADY
Monkeys can't live in this climate.  Summer's ok, but the cold, that's what gets 'em.
LANGSTON JAMES
How 'bout the one?
LADY
Follow your boy.
EXT. GEORGIA JUNGLE BACK YARD -- CONTINUOUS
Langston James gives the pack of peanuts to Bodine.  
The lady caomes out and stands against the door frame.  
LANGSTON JAMES
It's ok for him to eat out here right?
A beat.
LADY
Just bring me your trash when you're done.
Langston James and Bodine begin walking to the compound of cages made of chicken wire.  
The first one has a sign on it that reads: 
GENUINE SPIDER MONKEY.  
After a moment they spot him rustling around in the hay.  
The lady walks up behind them.
LADY
That's Ajax there.
LANGSTON JAMES
He don't look much like the monkey on the billboard.
LADY
Animals come and go Mister.  Signs is permanent.
The monkey has a huge erection and is playing with it.  
The lady walks up and pounds on the cage.
LADY
You stop that!
The monkey turns around sadly.
LADY
Why my husband can't never get us a female monkey I'll never know.
The lady starts walking toward the other cages, Langston James and Bodine follow as they pass by mostly empty cages.
LADY
Use to keep these full.  But my husband, Arkwright, can't get around like he used to.
They come up to the cage with the raccoon, the sign reads: 
DANCING RACCOON.  
The raccoon is shuffling back and forth.
LANGSTON JAMES
Can we see him dance?
LADY
You seeing him.
LANGSTON JAMES
He just walking lady.
LADY
You got no imagination.
They continue on to the alligator who is completely immobile in his cage.
LANGSTON JAMES
Does he move much?
LADY
I'm not sure he moves at all.  He might be dead, hard to tell.
Langston James turns and looks around.
LANGSTON JAMES
Them's all the animals you got 'eh?
LADY
That's about it.  Come winter we probly gonna lose the ones we got now.  Creatures don't last long in cages.  The sadness gets to 'em.
INT. LANGSTON JAMES' HUDSON -- LATER
Bodine is seated in the passenger seat waiting for Langston James, who is walking toward the car.
He climbs in and holds up an old Hawaiin coconut with a scowling face carved on it.
LANGSTON JAMES
What you think Bodine?
Bodine looks at it, then turns away.
LANGSTON JAMES
Don't get pouty on me Bodine.  This here's a pleasure trip.  What's wrong?  You recognize one of your relatives or something?
BODINE
Look more like your fambly than mine.
Langston James turns the coconut around to face him.
LANGSTON JAMES
Well, I suppose your right.  Halstead got the same bushwacked look on his face.
Langston James sets the head on the middle seat on top of the Woody Woodpecker plate.
BODINE
I wadn't thinkin' of Halstead.
They get back on the highway and drive in silence for a while.
Bodine stares out his window.
LANGSTON JAMES
Alright Bodine!  God dammit, I don't have to put up with this bullshit.  I'll turn this truck around and take you back to Whippet.  I won't have you spoilin' my trip.
BODINE
I want me a Dr. Pepper.  Coca Colas give me gas.
Langston James takes his pack of Old Golds out of his shirt pocket and tosses them in Bodine's lap.
LANGSTON JAMES
Have you a cigarette.  It'll settle your stomach.
Bodine places the pack on the dash delicately, then pulls out his can of Tube Rose and puts a pinch inside his bottom lip.
BODINE
You know I don't drink Coca Colas.
Bodine spits out the window.
BODINE
Never did.
LANGSTON JAMES
I'll get you a god damn Dr. Pepper in Savannah.
BODINE
I want me a hot dog as well... no onions.
LANGSTON JAMES
This ain't slavery Bodine.  I never said I was goona buy you.
No comment.
LANGSTON JAMES
Anyways, it wasn't my fault Bodine, she let you in didn't she?  She was good people, Bodine.
Bodine spits out the window again.
BODINE
I know she was.  That's the worst part.
EXT. HIGHWAY US 17 -- CONTINUOUS
Langston James and Bodine drive along.  We see a sign that reads: 
NOW ENTERING SAVANNAH
Langston James pulls over on the side of the highway.
Bodine gets out of the passenger seat and climbs in t He bed.  
The truck pulls back onto the highway and continues driving.
EXT. BROUGHTON STREET -- SAVANNAH, GA -- LATER
Langston James with Bodine in the back drive down Broughton Street.
They park in front of the KRESS FIVE AND DIME store and go in.
INT. KRESS FIVE AND DIME -- CONTINUOUS
Langston James and Bodine walk in and stand in the doorway and look around. 
BODINE
It cool enough to butcher a hog in here.
LANGSTON JAMES
It's air conditioning Bodine.  Don't be such a cracker.
BODINE
A cracker?
LANGSTON JAMES
Just act natural.  I'll meet you back here directly.
We see various shots of Langston James and Bodine walking up and down the isles, browsing.
Langston James enters the toy isle and bends down to pick up a Buck Rogers ray pistol.  
He fires it, sparks flicker in the clear tube barrel and it emits a loud siren.  
Several customers near by scowled and inch away.
SALESMAN (O.S.)
Do you love your wife?
Langston James stands up and looks to the end of the isle.  
The SALESMAN is standing behind a card table smiling at him with a shiny gold tooth.
LANGSTON JAMES
You talkin' to me?
SALESMAN
How many hours a month does your wife spend peeling potatoes?  You ever think about that?
LANGSTON JAMES
Not hardly.
SALESMAN
Come here friend, I wanna ask you a question.
Langston James shuffles toward him.  
The man holds up a small instrument.
On the table is a cutting board, vegatables and peelings.
SALESMAN
This here's a Jiffy Peeler.  A genuine labor saving instrument here.
He grabs a potato and begins to attack it.  
When he finishes, he grabs a carrot and does the same.
SALESMAN
It works with all kinds of vegetables.  Fruit as well.
LANGSTON JAMES
There a trick to it?
SALESMAN
No trick here.  No trick at all.  Pure science my friend.
LANGSTON JAMES
How much is that thing?
SALESMAN
Twenty nine cents.
The salesman hands Langston James a card with a Jiffy Peeler wired to it.
SALESMAN
It'll put ease in the heart of your little woman.
LANGSTON JAMES
I could use some heart's ease right about now.
He hands the salesman three dimes out of his pocket
SALESMAN
Best investment your ever made mister.  
He hands Langston James an apple.
SALESMAN
Have an apple.
LANGSTON JAMES
You owe me a penny.
SALESMAN
Tax.
Langston James looks at him curiously.
The salesman grabs an apple himself and takes a bite.
SALESMAN
Well, time for a break.
The salesman quickly walks away.
CHECK OUT COUNTER -- MOMENTS LATER
Langston James drops the Buck Rogers gun and a yellow rubber ducky on the counter with a squeak.
LANGSTON JAMES
Your got some high tech items in your store here.
The COUNTER LADY ignores him; smug.  
He hands her a bill.  She examines it as if to see if it's real.
LANGSTON JAMES
It's a long way to Whippet, ain't it?
The counter lady hands him his change and the bag.
COUNTER LADY
No.  It's a long way to Tipperary.
LANGSTON JAMES
What?
The counter lady crosses her arms and SIGHS.
COUNTER LADY
You gonna buy anything else?
LANGSTON JAMES
(shaking his head)
I wouldn't wanna put you out.
EXT. KRESS FIVE AND DIME -- CONTINUOUS
Langston James walks out front where Bodine is standing patiently.
LANGSTON JAMES
What you got Bodine?
Bodine pulled out a bottle of strawberry scented lamp oil from a paper bag.
BODINE
Smell like strawberries.
LANGSTON JAMES
See what I mean Bodine.  You can't get an item like that in Whippet.  Some ways a city's got it all over an itty bitty town.
They start walking back toward the truck.
BODINE
Sales lady was nice.
LANGSTON JAMES
Well you done better than me then.
EXT. PARKING LOT JOES JUMBO DOGS -- LATER
Langston James is walking back to the truck from the hot dog stand where Bodine is calmly leaning against the tailgate.  
He hands Bodine a hot dog and a Dr. Pepper, and handles a dog and a Coca Cola for himself.
LANGSTON JAMES
Let's go down to Tybee, we come this far, might a well see what the ocean looks like.
BODINE
What ocean?
LANGSTON JAMES
Atlantic ocean.
BODINE
Ain't nothing but water ain't it?
LANGSTON JAMES
And the Grand Canyon ain't nuthing but a hole in the ground right?
BODINE
(shrugs)
I'd rather go back to the ten cent store.  Riding back there's hard on my piles.
LANGSTON JAMES
Piles?  Where you got piles?
BODINE
Where you think I got 'em?  My elbow?
LANGSTON JAMES
You never said nothun' bout no piles before.
BODINE
You never ax.
LANGSTON JAMES
Why would I ask you if you got piles.  That ain't even a civil conversation.  Christ Bodine you think everything is up to me?
BODINE
You the boss right?
LANGSTON JAMES
It ain't but a little ways anyway.
BODINE
Maybe I better sit on my head?
LANGSTON JAMES
Sit on your thumb for all I care Bodine.  Just get in the back for now.
BODINE
Some pleasure.
EXT. HIGHWAY US 80 -- LATER
Langston James is driving along with Bodine in the back.  We see glimpses of the water in the background.
EXT. BUTLER AVENUE -- LATER
Still driving but now their into town right next to the beach.
Langston James stops at a stop sign.
INT. LANGSTON JAMES' HUDSON -- CONTINUOUS
Langston James stays at the stop and looks around studying the scene for a few moments.
EXT. BUTLER AVENUE -- CONTINUOUS
Langston James continues and eventually pulls into an alley.
INT. LANGSTON JAMES' HUDSON -- CONTINUOUS
Langston James puts the truck into park and sits tapping his fingers on the steering wheel in thought.
EXT. ALLEY -- CONTINUOUS
Langston James gets out of the cab.
LANGSTON JAMES
You know what Bodine...
BODINE
Yeah ain't no colored people.  Look like a white folks ocean to me.
LANGSTON JAMES
I gotta figure this one out.
They're both silent for a moment as Lanston James stands, arms crossed, one hand up on his mouth in rapid thought.  T
Hen in an explosion.
LANGSTON JAMES
I got nigger'd out in Waycross and that funny monkey place, and I'll be damned if I'm gonna get nigger'd out of the Atlantic Ocean.
Bodine doesn't respond.
EXT. HARDWARE STORE PARKING LOT -- LATER
Langston James walks out from the hardware store carrying a shovel.
LANGSTON JAMES
Lookey here.  Here's your disguise.
BODINE
What you want me to do?  Hide behind it?
Langston James hands the shovel in to Bodine.
LANGSTON JAMES
All you gotta do is hold it.  Long as they think you're working for me, it'll be OK.
Langston James opens the door to get in, then stops.
LANGSTON JAMES
You know what?  There's a China man runs that store.
BODINE
What kinda China man?
LANGSTON JAMES
What you mean what kind China man?  There ain't more'n one.
BODINE
They's all kinds white people... Florida white people... Georgia white people... Italian's white people.
LANGSTON JAMES
I told you we was gonna see different things here Bodine.  Now let's go take a look at that ocean.
BODINE
We already seen it.
LANGSTON JAMES
We seen it, but not experienced it.  Trust me Bodine, long as you don't look like you're enjoying yourself, we'll be OK.
BODINE
Shouldn't be too hard.
Lagston James scowls at him, then gets inside.
He starts the truck, then sticks his head out the window.
LANGSTON JAMES
Hold that shovel up so's people can see it.
Bodine raises the shovel way above his head.
LANGSTON JAMES
Don't play games with me Bodine, we're almost there.
BODINE
Some pleasure.
Langston James puts the car into gear, then sticks his head out the window again.
LANGSTON JAMES
And Italians ain't white people Bodine.  Italians're catholics.
EXT. SIXTEENTH STREET -- MOMENTS LATER
Langston James is driving back toward the beach when a cop car starts tailing him and flashes his lights to pull him over.
LANGSTON JAMES
Awe, shit!
Langston James pulls over and the cop stops behind him.
The OFFICER gets out of the car and walks to the driver window.  
He has his eyes on Bodine, who stays fixed on the tailgate.
The officer leans into the window.
LANGSTON JAMES
What is it officer?
The officer studies him for a moment.
OFFICER
You ain't from around here are you?
LANGSTON JAMES
No sir.  Just drove in today from Whippet, sir.
The officer stands up straight and looks back towards Bodine.
OFFICER
Uh, huh.  I see.
The officer leans back in the window.
OFFICER
Well. Don't you know that's dangerous, mister?
Langston James looks around the cab.
LANGSTON JAMES
What is?
OFFICER
You hit a bump, and you could throw him out on the highway.
A beat.
LANGSTON JAMES
You mean, him?
OFFICER
What if you had a wreck or something.
A second police car pulls up behind the first one.  
A SECOND OFFICER gets out and walks to the driver window with his hand on his pistol, eyeing Bodine.  
As he walks up he unsnaps the holster to his gun.
SECOND OFFICER
You got you a problem here Baxter?
OFFICER
Ain't no problem here Flatt.  We just discussing safety is all.
SECOND OFFICER
(to Langston James)
You got business here friend?
LANGSTON JAMES
(thinking quickly)
We come to dig some... worms.
The officers looked at each other.
SECOND OFFICER
Worms, he?
The second officer starts to draw his gun.
OFFICER
You take that thing out and I'm locking it away, Flatt.  I'm tired a worrying about you and that pistol.  You go on and get back in the car.  I'll handle this.
The second officer looks down at Langston James, then slowly turns around and walks back.
OFFICER
You come to the beach to dig worms?  What kinda worms you planning to dig up?
LANGSTON JAMES
You act like you don't believe me.
OFFICER
You got that impression did ya.
Langston James gives in.
LANGSTON JAMES
Look. I ain't good at telling lies mister.
OFFICER
I'd have to agree.
LANGSTON JAMES
What I'm gonna tell you is the straight out truth.  We didn't see no colored people.  We figured if you thought he was working for me, it'd be all right for him to take a look.  He ain't never seen the Atlantic ocean.
OFFICER
I see.
LANGSTON JAMES
 We figured it was against the law or something.
OFFICER
It ain't against the law.
LANGSTON JAMES
It isn't?  You mean it's OK?
OFFICER
Well just hold on there buddy.  It against the law exactly, but we got our ways around here.
LANGSTON JAMES
I don't know what you're saying.
The officer sighs as he formulates his words in his head.
OFFICER
Tell you what.  You leave your truck here.  Anybody stops you, tell 'em you're looking for a leak in a water line.
Langston James get's out of the truck.
LANGSTON JAMES
See Bodine.  I told you it was gonna work out.
OFFICER
Don't make a day of it.  And I don't wanna see him in a bathing suit.  You got two hours, then I'm ticketing your car.
LANGSTON JAMES
Much obliged. Two hours'll be fine.
The officer walks back to his car.
LANGSTON JAMES
Well come on Bodine, we only got two hours to see all this
Bodine gets up, shovel in hand.
BODINE
Yes sir.
EXT. BEACH -- LATER
Langston James and Bodine are walking along the sea wall.  
Langston James striding along as with a purpose.  
Bodine following behind him with the shovel over his shoulder, in a workman's slump, 
LANGSTON JAMES
Look Bodine!
Langston James points to a corn dog stand.
LANGSTON JAMES
You hungry?  I could use me a corn dog.
BODINE
What's that?
LANGSTON JAMES
Right there.  Step over that way off to the side a little.  I'll go get us some.
Bodine walks off to the side, sticks his shovel in the sand and leans his chin on it.  
Langston James walks over to the corn dog stand.
EXT. CORN DOG STAND -- CONTINUOUS
The MAN behind the counter is a foreigner and speaks with a middle eastern accent.
LANGSTON JAMES
Two corn dogs please.  All the way.
(pause)
One no onions
The man darts his eyes toward Bodine, then back at Langston James.  Langston James takes note.
MAN
You purchasing both for your self?
LANGSTON JAMES
What?
Langston James purses his lips and skewers his eyes.
LANGSTON JAMES
You selling or dispatching?
The man steps back slightly and raises his palms toward Langston James.
MAN
I am the responsible one here sir.
LANGSTON JAMES
Listen buddy, we're working people here.  It ain't even your goddamned country is it?
MAN
I am learning the ways of doing things.  This is the best job I am having.  I would like to keep it if you don't mind.
Langston James slaps the money down on the counter.
LANGSTON JAMES
This is America.  And in America, the customer is always right.
MAN
Certainly.
The man eyes Bodine again.  Bodine turns around and faces the ocean.
The man leans closer to Langston James.
MAN
Nothing of a personal nature sir.  It is altogether accountable to the custom.
LANGSTON JAMES
You needn't call attention to him mister.  He ain't much blacker 'n you are.
MAN
It is something I am entirely aware of.
The man takes the money of the counter in a dignified way and begins preparing the corn dogs.  Langston James stands back up straight,victorious.
LANGSTON JAMES
Well, you probably from a whole nigger country.
The man hands Langston James the corn dogs.
LANGSTON JAMES
Which one's got no onions?
MAN
Corn dogs contain no onions sir. Do not be sitting in the proximity please.
LANGSTON JAMES
Listen.  I'm gonna tell him you said you was sorry.
MAN
(nodding)
That will be quite proper.  It is indeed the fact.  My desire is not in accordance with the custom.
LANGSTON JAMES
He's a good man.
MAN
Truly.  You are somewhat different yourself.
Langston James arches his bad side up as much as possible, and sticks his head high.
LANGSTON JAMES
It ain't different.  It's unique.
MAN
(eyeing him up and down)
Well, that is so as well.  Nevertheless I was referring to your friendship with a colored person.  I do not believe I am understanding the custom yet totally.  America is a difficult place.
LANGSTON JAMES
I see what you mean.
MAN
I hope you will be relishing your Corn dog. 
(regarding Bodine)
And your friend as well.
EXT. BEACH -- CONTINUOUS
Langston James walks over to Bodine.  And hands up his corn dog.
LANGSTON JAMES
He said he was sorry Bodine.  He hopes you enjoy your corn dog.
BODINE
I ain't hungry.
LANGSTON JAMES
He said he was sorry Bodine.  It ain't his fault.
BODINE
I know who's fault it is.
LANGSTON JAMES
It ain't gonna make no difference whether you eat the corn dog or not.  It ain't gonna be no better of a place one way or another, so just eat the corn dog.  I done paid for it already, you might as well enjoy it.
INT. BEACH -- CONTINUOUS
Langston James is sitting on a bench facing the ocean.  Bodine is standing facing the other direction leaning on the back of the bench.  They are each on the last bites of their con dogs.
LANGSTON JAMES
How you like your corn dog?
BODINE
Is all right.  I think I tasted onions.
LANGSTON JAMES
They ain't got any Bodine.  Don't tell me about no onions.
A Beat.
LANGSTON JAMES
Well.  At least you can say you seen the Atlantic Ocean.
BODINE
I could'a said that before.
LANGSTON JAMES
Goddamit Bodine.  What do I gotta do to make you grateful?
Bodine doesn't answer, just continues to stare straight ahead.
EXT. AMUSEMENT PARK -- LATER
Langston James and Bodine are walking through the amusement park.  
We see a ferris wheel, merry go round and various tents.  
They come up to a small tent with a make shift sign on it that reads: 
ZOLA THE SNAKE LADY DIRECT FROM SOUTH AMERICA.
LANGSTON JAMES
Look Bodine!  Lets give that a look.
BODINE
You gonna pay money to see a snake?
LANGSTON JAMES
Not a snake Bodine.  A snake lady.
BODINE
Hmmm.  How you gonna get me in this one?  Tell 'em I be a snake wrangler.
LANGSTON JAMES
Don't hmmm me Bodine.  Our luck's been running pretty good so far.
EXT. SNAKE LADY TENT -- CONTINUOUS
Langston James and Bodine walk up to the opening of the tent.  
A doorman, GARVIN TREECASTLE, is sitting on a chair next to it carving a figure out of a small piece of wood.  
LANGSTON JAMES
Howdy.
Garvin Treecastle slowly stands up to greet them.
GARVIN TREECASTLE
Twenty five cents.
LANGSTON JAMES
Two for a quarter?
Garvin Treecastle eyes Bodine.
LANGSTON JAMES
What you think a colored man is gonna scare a snake lady?
GARVIN TREECASTLE
Wait 'till you're hurt before you start to holler mister.
Garvin Treecastle takes his handkerchief from his pocket and wipes his brow.
GARVIN TREECASTLE
Personally I don't give a damn.  Ten years ago i wouldn't of given it a second thought, but it's a nervous time just now.
LANGSTON JAMES
Jesus!  We got Gunga Din selling corn dogs over thattaway, and some slant eyed pissant owns a department store over thissaway, but I can't get an honest American colored man in to see a freak show with cold hard cash.
GARVIN TREECASTLE
Listen mister.  Zola's not no freak.  She handles snakes.  Freaks is something else.  Trust me I know all there is to know about freaks.  'Sides, we don't call them freak shows, there called ten in ones. Ain't no need to got bad mouthing freaks.
Garvin Treecastle eyes Langston James up and down.
GARVIN TREECASTLE
Seems like a man in your condition ought to know better.
LANGSTON JAMES
(drawing himself up)
What you mean.  You calling me a freak.
GARVIN TREECASTLE
No, no.
LANGSTON JAMES
Just 'cause a man's different don't mean he's freak.
GARVIN TREECASTLE
Well, there you go.
Garvin extends his hand
GARVIN TREECASTLE
Listen.  No offense meant mister.  Name's Garvin Treecastle. 
They shake.
LANGSTON JAMES
Langston James McHenry
GARVIN TREECASTLE
You caught me at a bit of a low point just now, the show's seen better days.
LANGSTON JAMES
This here's Bodine Polite.
Garvin offers his hand to Bodine.
GARVIN TREECASTLE
Your friend got ahead of himself there.  I go by the law of the land.  We quit segregatin' in '57.
Bodine stares at Garvin's hand for a moment, then shakes it.
BODINE
Yessir.
GARVIN TREECASTLE
I've worked with colored men before, never had no complaints.  Two for fifty cents.  No sense in losing money.
Langston James hands Garvin fifty cents.
GARVIN TREECASTLE
Tell Zola it's alright if she asks.  She should know but sometimes you gotta remind her.  She gets lapses sometimes.  She's my wife to tell you the truth.
Garvin hands Langston James two slips of paper with ADMIT ONE written crudely on them, then opens the tent flap.
GARVIN TREECASTLE
Step this way please.
LANGSTON JAMES
Tell me something.  Did you really capture her in South America?
GARVIN TREECASTLE
Pretty close.  I got her out of a bar in Fort Meyers, Florida.
(to Bodine)
You can leave the shovel out here.
They walk in.
INT. SNAKE LADY TENT -- CONTINUOUS
Langston James and Bodine walk inside toward Zola, who is asleep on a chair on top of a small stage.
LANGSTON JAMES
Excuse me, Miss Zola.
She doesn't hear.  
Langston James looks at Bodine as he tries to figure out what to do.  He slowly  approaches her and gives her a gentle shake.  She jolts, snorts loudly and her dentures fall out onto her lap.
She straightens up in her chair and brushes her hair with her hands.
ZOLA
Well, I do declare.
LANGSTON JAMES
We come to see the snake show Miss Zola.
ZOLA
I must have nodded of for a moment.
LANGSTON JAMES
Yes ma'am.
Zola sits for a moment looking down at her dentures in her lap.
ZOLA
Listen, would you gentlemen mind turning around for a moment?
Langston James and Bodine look at each other.
ZOLA
These here aren't exactly my snake lady working clothes.  Garvin generally gives me a sign when customers are on the way.
LANGSTON JAMES
I see.
They turn around.
CLOSE ON -- LANGSTON JAMES AND BODINE
We hear a creaking sound, then a slam, then several moments of rustling heavy breathing.
ZOLA
Alright
Langston James and Bodine turn around
LANGSTON JAMES
Wow.
Zola has transformed herself completely.  Wearing a silk dress with a huge red stone on the front and a wine red cloak with a cape.  She has also put on powder lipstick and sharp cleopatra like eyeliner.
When she speaks now, she is very dramatic with a Latin accent.
ZOLA
I bet you don't care much for snakes, do you?
LANGSTON JAMES
Well, I don't mind them so much... I wouldn't say they was one of my favorite animals.
She quickly turns toward Bodine.
ZOLA
What about you?
BODINE
(timidly)
Ma'am?
ZOLA
How do you stand on snakes?
BODINE
I could do without them.
ZOLA
(quickly)
That's what YOU think!
Langston James and Bodine both jump.
ZOLA
Snakes do a heap of good!  Snakes eat rats and things.  Some snakes even eat other snakes
LANGSTON JAMES
(whispers to Bodine)
And they bite people.
ZOLA
Not unless you go fooling around with them they don't.  Every animal's gonna protect itself.  Either of you been bitten by a snake.
LANGSTON JAMES
Not that I recall.  You Bodine?
BODINE
 I don't think I ever given one the chance.
ZOLA
Either of you know anyone been bitten by a snake?
LANGSTON JAMES
You mean first hand?
ZOLA
That's right.  First hand is what I'm talking about.
LANGSTON JAMES
Weellll... now that you pin me down.  I don't reckon I have.
ZOLA
See what I mean.  Snake's is got a bad reputation.  But they don't do much damage when you get right down to it.
Zola pauses and lets them contemplate her words for a moment.
ZOLA
Step this way
She walks to the right of the stage to a wooden chest.  
Opens the lid half way and pulls out a large coiled snake and heaves it on the lid like a piece of furniture.
ZOLA
This here's Jupiter.  No need to be afraid, Jupiter's dead.
She whacks it couple of times and one of the glass eyes falls out and rolls on the floor.
ZOLA
Awe hell.
She picks it up off the floor, licks it, then puts it back in the socket.
ZOLA
Garvin had him stuffed for me for our anniversary.  Jupiter and I had an act together.  Garvin ran a freak show and I was the snake lady.
LANGSTON JAMES
Mister Treecastle calls it a ten in one.
ZOLA
I don't care what he calls it.  They were freaks.  You got another name for a full grown man thirty two inches tall?
Zola strokes Jupiter gently.
ZOLA
He was a really good snake. Isn't he lovely.  
LANGSTON JAMES
Lovely?  That ain't exactly the word that comes to mind.  He is a snake.
ZOLA
(defensive)
You didn't know him like I did.
Zola stands up straight.
ZOLA
Snakes get bad mouthed enough as it is.  This here's more an educational type thing.  Let me take you around.
EXT. SNAKE LADY TENT -- LATER
Langston James and Bodine walk out and meet Garvin.
LANGSTON JAMES
Lots of education going on in there mister.  I'll have to say we got our money's worth, wouldn't you say Bodine?
Bodine doesn't respond.  He grabs his shovel.
LANGSTON JAMES
Come on Bodine, say something.
BODINE
(to Garvin)
Much obliged.
INT. LANGSTON JAMES' HUDSON -- LATER
Langston James and Bodine are driving home.
LANGSTON JAMES
Have you another cigarette Bodine, and tell what you think.
Bodine takes an Old Gold and lights it in a thoughtful way.
BODINE
I reckon I got me an education of sorts.
They drive in thoughtful silence for a moment.
BODINE
I reckon you got some education from this here trip your ownself.
LANGSTON JAMES
Maybe so Bodine.  I ain't taken it all in yet. 
BODINE
You still thinking of hurting little Gabriel?
LANGSTON JAMES
I don't feel it so much just now.  Maybe I talked it all out.
BODINE
You know mister Eljay, I figured it was mostly talk.  You never can tell though.
LANGSTON JAMES
I reckon it was crazy talk.  Sound crazy to you?
BODINE
As a bed bug.  You ain't a hard man Mister Eljay.
(a beat)
Never can tell for sure though.
LANGSTON JAMES
I couldn't really tell  myself.  Sometimes you don't know what you got on your mind.  Nor what kind of thing you might do if the time came.
BODINE
But you alright now?
LANGSTON JAMES
Right now I feel pretty good.
BODINE
I feel pretty good as well.
INT. DOCTORS OFFICE -- DAY
Langston James, Cowie, and a doctor are standing in an examination room watching Gabriel play at the examination table.
COWIE
He ain't saying Gabriel's crazy Eljay, he's just retarded.
They look toward Gabriel, who is trying to make a round peg fit into a square hole.
LANGSTON JAMES
I told you not to bring him to no doctor anyway, he ain't but two and a half years old.
DOCTOR
He's not severely retarded Mr. McHenry.  I would say his I.Q. is about seventy or seventy five.
COWIE
He's a beautiful child.
DOCTOR
He'll be able to look after himself.  It's just going to take him a little more time to do things.
COWIE
(turning toward Gabriel)
Well... we got all the time in the world.
EXT. FRONT OF REXALL DRUGSTORE -- DAY
MIZRES FANSHAW and EARLINE SWEAT, (prominent women, with even more prominent husbands) are sitting on a table  enjoying lemonade, chatting away.
Cowie walks by holding Gabriel by the hand.
As they pass, Mizres does a double take at Gabriel.
Gabriel looks toward Mizres and smiles.
Mizres puts her hand to her chest and quietly gasps.
MIZRES FANSHAW
Who was that, Earline?  
Earline looks over in just in time to see Cowie and Gabriel turn the corner.
MIZRES FANSHAW
Who was that beautiful child. 
(makes a sour face)
And that red headed lady.
EARLINE
I wouldn't call her a lady.  A woman is hardly a correct term for that.  And red is hardly the correct term for that mop.  You'd think she'd put a hat over it, going out in public and all.
Mizres waits impatiently for Earline to finish.
MIZRES FANSHAW
Well?
EARLINE
That's Eljay McHenry's wife, Cowie, and their son Gabriel.
MRS. FANSHAW
Langston James McHenry?
EARLINE
Yes, ma'am.
Mizres sits, open mouthed and dumbfounded.
EARLINE
Don't hardly seem possible, I know.  But Gabriel's their natural issue.
Earline leans on the table and swirls her glass around staring at it.
EARLINE
It's a strange world Mizres.  
(a beat)
They say he's not all there in the head you know.
MIZRES FANSHAW
That there's the most beautiful child I ever did see.
EARLINE
(still staring at her glass)
Well... at least that's something.
EXT. MCHENRY FRONT PORCH -- DAY
Langston James is sitting on a chair on the front porch enjoying an Old Gold.  
A delivery truck comes down the dirt road.
The DELIVERY MAN stops in front of the house and gets out with a clipboard.  
Langstone James stands up and walks down to him suspiciously.
DELIVERY MAN
Are you Mister McHenry?
LANGSTON JAMES
Yes I'm Langston James McHenry.
The delivery man looks through his papers.
DELIVERY MAN
Oh.  I'm looking for Gabriel McHenry.
LANGSTON JAMES
(now more suspicious)
What you want him for?
Cowie comes out of the house.
COWIE
Eljay, what's going on?
LANGSTON JAMES
This man's looking for Gabriel.
The delivery driver turns and opens the back of his truck.
DELIVERY MAN
I have a delivery for him.
The delivery man lugs out a huge cardboard box about six feet tall.
He hands Langston James the clipboard.
DELIVERY MAN
Sign here please.
CUT TO:
INT. MCHENRY LIVING ROOM -- MOMENTS LATER
Langston James and Cowie are seated on the sofa staring at the package, still in the box.  
Halstead and Gabriel examine it, excited.
HALSTEAD
Let's open it Mama!
LANGSTON JAMES
We don't even know what's in there Halstead.  'sides, it ain't for you anyway, its for Gabriel.
Cowie gets up.
COWIE
Well let's find out.
LANGSTON JAMES
Cowie!  We don't even know who sent it.
COWIE
Well, does it say on that paper?
She points to the invoice sitting on the coffee table.
Langston James picks it up and studies it.
LANGSTON JAMES
Oh Lordy!
COWIE
What's it say?
LANGSTON JAMES
Mizres Fanshaw.
Cowie opens the box and reveals a huge white teddy bear.
HALSTEAD
Wow!
Gabriel runs up to it and hugs it.
Langston James' head falls to his palm.
LANGSTON JAMES
Oh Lordy!
INT. MCHENRY KITCHEN -- EVENING
Langston James is sitting at the dinner table as Cowie cleans up dinner plates around him.
LANGSTON JAMES
What's she got in mind, Cowie?  Sending Gabriel a thing like that?  If he gets under it, it'll smother him death.
COWIE
She's taken a liking to him Eljay, no harm done.  Besides, he likes it.
LANGSTON JAMES
Well put it in a box and send it back.  We don't need charity from Mizres Fanshaw.
COWIE
She's a sweet lonesome woman.  It's only one gift
Langston James SIGHS.
LANGSTON JAMES
Oh Lordy!
INT. MCHENRY FRONT DOOR -- DAY
From inside the house through the screen door we see the delivery man, holding a box, come up the steps and knock on the door.
CUT TO:
INT. MCHENRY LIVING ROOM -- LATER
BEGIN MONTAGE:
Close on a box as Cowie opens it, revealing a boy's sailor suit.
Close on another box being opened, Cowie pulls out a JACK IN THE BOX
Box after box of toys for Gabriel as he and Halstead squeal with delight
Langston James sinking deeper and deeper into despair with each one.
INT. MCHENRY FRONT PORCH -- NIGHT
Langston James pensive, is sitting on a rocker smoking.
The night is calm and silent
Cowie comes out and sits next to him.
They sit silently for a moment.
LANGSTON JAMES
She's trying to buy him away, Cowie.  What business has she got with people like us?
COWIE
She likes to do for Gabriel and see him happy is all.  Where's the harm in that?
LANGSTON JAMES
How come she don't feel like doing for Halstead?
COWIE
Halstead's not her type.
LANGSTON JAMES
Halstead's ugly.  Ugly ain't her type.
COWIE
Eljay!  Halstead is not ugly.
LANGSTON JAMES
None of us ain't her type if you wanna know the truth.  We're poor and ugly people, Cowie.
COWIE
Well if it comes to that, Gabriel's not hardly our type either. 
A beat.
LANGSTON JAMES
I ain't never had nothing I had to protect from anybody.  Anything I ever had didn't nobody want.  I always understood where we was at.  We was ugly.  But everybody knew we was good people.  We was there, but not there you know what I mean.  I liked it that way.
She reaches her hand out on his.
COWIE
Honey, you're not ugly neither.  You're my little honey lamb.
Langston James looks at her sweetly.
LANGSTON JAMES
I appreciate it honey.  But ain't you scared of pretty people sometimes?  I mean when they get right up next to you?
COWIE
You going to tell me you afraid of Gabriel?
LANGSTON JAMES
Sometimes. Sometimes I am.  Mostly I just gotten used to him though.
COWIE
Mizres Fanshaw's just being a kind good Christian woman.  You going to protect Gabriel from good, kind Christian people?
Langston James looks back out into the distance and takes a drag of his cigarette.
LANGSTON JAMES
Huh... Them's is the worst kind.
INT. LANGSTON JAMES' HUDSON -- MORNING
Langston James is sitting in his truck smoking a cigarette, waiting for Bodine.
He looks at his watch: 5:36 AM.
CUT TO:
INT. LANGSTON JAMES' HUDSON -- LATER
Langston James is throwing the newspapers out by himself.
CUT TO:
EXT. MCHENRY HOUSE -- EVENING
Langston James pulls up in the driveway.
CUT TO:
INT. MCHENRY LIVING ROOM -- CONTINUOUS
Langston James walks in and see's Cowie, Halstead  and Gabriel watching TV eating ice cream.
COWIE
There you are Eljay, I was getting worried about you.
INT. MCHENRY KITCHEN -- MOMENTS LATER
Langston James is sitting on the table as Cowie brings him a plate of food and sits down next to him.
LANGSTON JAMES
It ain't like him Cowie.  He never missed a work day before.
COWIE
He's probably just ailing Eljay.  He'll be back on tomorrow I'm sure.
LANGSTON JAMES
It just don't feel right to me.
INT. LANGSTON JAMES' HUDSON -- MORNING
Langston James is sitting in his truck again smoking a cigarette, waiting for Bodine.  
He looks at his watch: 5:51 AM.
CUT TO:
INT. SLABTOWN -- DAY
Langston James is driving through Slabtown; the black part of Whippet.  
The houses are run down shacks.  
The streets are littered and filled with black kids running and playing.  
He stops next to a group of kids.
LANGSTON JAMES
Hey there son.
The kids all stop and eye langston James suspiciously and silent.
LANGSTON JAMES
You know where I can find Bodine Polite's residence.
KID
His what?
LANGSTON JAMES
His house.  You know where he lives?
The kids stand silent and look at each other.
LANGSTON JAMES
He works for me.  I come to pay him.
EXT. BODINE'S HOUSE -- MOMENTS LATER
Langston James pulls up to the front of Bodine's house; a small shack walled with tar paper in a brick pattern.  
He sits in his truck staring at the house while he finishes his cigarette; then he gets out.
EXT. BODINE'S FRONT PORCH -- CONTINUOUS
Langston James knocks on the door.
A LITTLE BLACK GIRL, around seven or eight appears.  
She stares up at him silently, sucking on her thumb.
LANGSTON JAMES
I'm looking for Bodine Polite.  Mr. Bodine Polite.
The girl just stares up at him as if he hadn't spoken at all.  
Then suddenly she turns and walks back into the darkness of the house.
After a moment, a BLACK WOMAN appears.
BLACK WOMAN
You the insurance man?
LANGSTON JAMES
I'm Langston James McHenry.  Bodine works for me.
BLACK WOMAN
(eyeing him)
Yes, I see you's is.  I thought you was the insurance man.
LANGSTON JAMES
Something wrong with him?  He ain't showed up for two days now.  I thought he might be sick or something.
The black woman's face tightens, as she looks down at the floor.
BLACK WOMAN
(quietly)
He ain't sick.
The black woman looks up again but avoids eye contact.
BLACK WOMAN
He's passed on.
A beat.
LANGSTON JAMES
Excuse me?
The woman looks at Langston James, and answers in an almost annoyed tone.
BLACK WOMAN
He's gone.
LANGSTON JAMES
Who are you?
BLACK WOMAN
I live here.
LANGSTON JAMES
Bodine's not married.  'Least he never told me he was.
BLACK WOMAN
I never said he was.  Anyway's 
(wiping her eyes)
I don't really live here.  Not no more.
Langston James is confused.
LANGSTON JAMES
I don't hardly see how he could be... passed on.  He wasn't sick or nothing, I just saw him, day before yesterday.  What did he pass of?
BLACK WOMAN
Wasps.
LANGSTON JAMES
What?
BLACK WOMAN
He got bit all over by wasps.
He has no response.
LANGSTON JAMES
Could I sit down for a moment.
 She nods and motions to a chair on the porch.  
They walk over and Langston James sits.
LANGSTON JAMES
We're talking about Bodine Polite?
BLACK WOMAN
Yessah.
LANGSTON JAMES
Ain't nobody die from no wasp bite.
BLACK WOMAN
Wasn't no one wasp bite.  They bit him all over.  He gone up on the roof to fix a leak.  There was  a wasp's nest, and they bit him and bit him, and he fell off and died.
The black woman steadies herself against the post of the porch and covers her face and sobs.
LANGSTON JAMES
(shifting uncomfortably)
I'm sorry ma'am, I didn't come here to upset you.  You ain't his wife?
BLACK WOMAN
I'm his daughter in law.
LANGSTON JAMES
Who was it come to the door to begin with?  The little one?
BLACK WOMAN
That's my grand child.
LANGSTON JAMES
Your grand child how old are you?
BLACK WOMAN
I reckon I be thirty nine, maybe forty.
Langston James thinks for a moment.
LANGSTON JAMES
Bodine told me he was forty three.  That be seven years a go now, so I reckon he must be about... fifty by now.
WOMAN
(slightly laughing)
Yeah, he like to do that.  He be sixty three Mister McHenry.
He shakes his head in disbelief.
LANGSTON JAMES
His great grand daughter.
He pulls out an Old Gold, offers her one and she accepts.  He lights hers, then his own.
LANGSTON JAMES
You mind if I take a look around.
BLACK WOMAN
 You mean... inside?
LANGSTON JAMES
If it wouldn't be too much trouble.  All the time I known him, I ain't never seen his place.
CUT TO:
INT. BODINE'S HOUSE -- MOMENTS LATER
Langston James is walking through the front room.  
The little girl trails behind him, sucking her thumb and ducking out of site when he turns toward her. 
It is bare with little furniture; a small sofa, a wooden chair, a white enamelled basin, and above it he saw the crack in the ceiling with a huge water stain around it.
INT. BODINE'S HOUSE- KITCHEN -- CONTINUOUS
Langston James steps into the doorway of the kitchen  with the girl behind him, peering from the other side of the door frame.  
The kitchen is small with a wood stove, a tiny table with two chairs and an ice box.  
On the table is comfort food brought over by friends; fried chicken, greens, cornbread, a cake with sugary icing.
INT. BODINE'S HOUSE-BEDROOM -- CONTINUOUS
Langston James now in the bedroom, see's a small iron bed with an apple crate beside it. 
On the apple crate is a kerosene lamp and a Bible.  
Above the bed is a 1938 calendar with a picture of an Indian.  
On a shelf against the wall there is a row of Tube Rose snuff cans lined up.  
EXT. BODINE'S FRONT PORCH -- CONTINUOUS
Langston James walks back out to the black woman, and holds up one of the cans of Tube Rose.
LANGSTON JAMES
Can I have it?
BLACK WOMAN
You want a snuff can?
LANGSTON JAMES
Yes ma'am.
BLACK WOMAN
Help yourself, we got plenty lying all over the place, take all you want.
LANGSTON JAMES
One's enough.
Neither of them speak for a moment.
BLACK WOMAN
You want to see him.  They got him laid out down at Dalton's.  They done a pretty good job on him.  He looks pretty natural.
He stands silent and looks at the floor boards, then back at the her.
LANGSTON JAMES
Dalton's?
WOMAN
Down to the end of the street, then take a right, you can't miss it.
He nods, then hobbles down the steps to his truck.
INT. DALTON'S FUNERAL HOME -- DAY
Langston James  walks in.  
It is dimly lit with no one around.  
He walks in further and comes to a doorway of an office.
INT. DALTON'S FUNERAL HOME-OFFICE -- CONTINUOUS
DEMOLAY KEESE, the funeral director is sitting doing paperwork behind a desk.
LANGSTON JAMES
Afternoon.
DEMOLAY KEESE
Hello their friend.
He quickly gets up and comes around to Langston James to shake his hand.  
He is a large round man with two gold teeth. 
He's sweats profusely.
DEMOLAY KEESE
What can I do you for?
LANGSTON JAMES
Are you Mister Dalton?
DEMOLAY KEESE
Oh, no, no.  Mister Dalton passed away.  I'm his son in law, Demolay Keese.
LANGSTON JAMES
Christ, is everybody dead around here?
DEMOLAY KEESE
Well yes, mostly they is.  We do be in the business.
He laughs.  Langston James does not.
DEMOLAY KEESE
Uh... is there something in particular I can do for you?  We don't work on white folks.
LANGSTON JAMES
I come to see Bodine Polite.
DEMOLAY KEESE
Aahh.  Yes sir.  Step this way please
INT. DALTON'S FUNERAL HOME-ALCOVE -- CONTINUOUS
Demolay Keese leads Langston James into a small alcove where Bodine's coffin is.  
Langston James walks up to the open casket and looks down in.  
Bodine's face had been kneaded into a grimace.
LANGSTON JAMES
He's smiling.
DEMOLAY KEESE
(proudly)
Yes.  We had us a bit of trouble with that.  He's bit by wasps and he swelled up something awful.  Dealing with swelled up features is difficult.
Demolay Keese holds up his hands and moves them as if he's strangling someone.
DEMOLAY KEESE
You gotta have strong hands.
LANGSTON JAMES
I never seen him smile in my life.  That looks awful.
DEMOLAY KEESE
We gotta consider the fambly.  Generally they like to see them looking restful and happy.  It's a comfort.
LANGSTON JAMES
It ain't no comfort to me.  I known him seven years and I ain't never seen no expression like that on his face.
Demolay Keese shifts uncomfortably, not knowing what to say when another man walked into the room; MR.  WASHINGTON.
DEMOLAY KEESE
(to the man)
Tell me Mr. Washington, don't Mr Polite look natural.
MR. WASHINGTON
Sure do.  Just like he was goin' get up and go.
Langston James shifts, then reaches for his pack of Old Gold's in his pocket.
MR. WASHINGTON
Excuse me, could you spare a cigarette?
Langston James hands him a cigarette.
LANGSTON JAMES
(to Demolay)
It all right to smoke in here?
DEMOLAY KEESE
Why don't we take it in the parlor.
INT. DALTON'S FUNERAL HOME-PARLOR -- CONTINUOUS
They walk into the parlor and sit on chairs around a coffee table.  
Langston James and Mr. Washington light up.
DEMOLAY KEESE
(to Langston James)
You know the departed well did you?
LANGSTON JAMES
He worked for me.  Well, in a way he did.  We was mostly friends.  How well did you know him.
DEMOLAY KEESE
Oh not very.  Mr. Washington here is the one you need to talk to.
LANGSTON JAMES
(to Mr. Washington)
You known him did you?
Mr. Washington takes a drag of his cigarette and nods.
MR. WASHINGTON
We done time together.  You can't get to know a man better'n that.
LANGSTON JAMES
You done time on the chain gang with Bodine?
MR. WASHINGTON
(nodding)
It was hard time in those days, I'll tell you that.
LANGSTON JAMES
You helped him steal the hog?
MR. WASHINGTON
What hog?
LANGSTON JAMES
I mean the  hog Bodine stole got him arrested.
MR. WASHINGTON
Bodine didn't go in for stealing no hog.
LANGSTON JAMES
He told me he did.
MR. WASHINGTON
I don't mean he was lying.  He stole him a hog alright, but he's a smart fellar.  He didn't get caught for stealing.
LANGSTON JAMES
He told me he got five years for stealing a hog.
MR. WASHINGTON
He got five years alright, but that wadn't it.  Bodine went on the gang for bringing charges against a white man.
LANGSTON JAMES
What?
MR. WASHINGTON
(nodding)
Elrod Sweat.
LANGSTON JAMES
The John Deere dealer?
MR. WASHINGTON
Yeah, that the one.
LANGSTON JAMES
What for?
MR. WASHINGTON
Mister Sweat the one headed up the bunch that lynched Bodine's son.
LANGSTON JAMES
Bodine never said nothing bout no son getting lynched.  When did that happen?
MR. WASHINGTON
Long time ago.  Before the waw.
LANGSTON JAMES
What'd they lynch him for?
MR. WASHINGTON
Said it was for raping one of the Sweat women, but that's a lie.  Mostly it's for being uppity.  He wouldn't stand and uncover when they talked to him.  Looked 'em in the eye, that sort of thing.  
Mr. Washington's tone changes to a more somber one.
MR. WASHINGTON
They taken him and nailed him to a stump and set him on fire.
LANGSTON JAMES
Nailed him to a stump?
MR. WASHINGTON
They done some other things to him first, but I rather not talk about that.  Wadn't the best of times back then for colored folks.
LANGSTON JAMES
What'd they get Bodine for?
MR. WASHINGTON
Paid someone to name him for breakin' into the Gulf station out on Waycross highway.
LANGSTON JAMES
And it wasn't no hog?
MR. WASHINGTON
(shaking his head)
We done 'et that hog.
A beat.
LANGSTON JAMES
He never told me none of that.  'Bout his son, the lynching none of that.  He also told me he was forty three years old.
Mr. Washington slaps his knee and LAUGHS out loud.
MR. WASHINGTON
Did he now.  Yeah, he liked to do that.
LANGSTON JAMES
I never did know he couldn't trust me.
DEMOLAY KEESE
I wouldn't take it to personal.  Mister Polite had strange ways from what I hear.
MR. WASHINGTON
That's right.  He lied to ever-body.
Langston James looks through the door and down the long corridor at Bodine's casket.
LANGSTON JAMES
But I was his friend.
INT. MCHENRY KITCHEN -- NIGHT
Langston James is sitting at the kitchen table while Cowie is clearing dinner plates and serving coffee.  
He lights a cigarette; clearly agitated.
COWIE
Don't take it too hard Eljay.  Colored folks can't treat white people straight out.
LANGSTON JAMES
I known him for seven years.  We ain't talking about some field hand walking on the side of the goddamned road.
COWIE
Don't blaspheme in the house Eljay, you know how  I feel about that.
LANGSTON JAMES
I never would expect he'd lie to me.
COWIE
He didn't lie to you Eljay, he just didn't tell you all his business.
LANGSTON JAMES
And now I got Mrs. Fanshaw to deal with.  I just don't know what's going on anymore Cowie.  Use to be a time when I understood my life and everyone in it.  Everyone had a place.
Langston James thinks for a moment.
LANGSTON JAMES
Maybe that thing in the coffin really was Bodine after all.
Cowie sits down beside him.
COWIE
Go get some sleep Eljay.  I don't like the way this is going tonight.
INT. LANGSTON JAMES' BEDROOM -- NIGHT
Cowie is fast asleep while Langston James lays wide awake staring at the ceiling. 
INT. HALSTEAD AND GABRIEL'S ROOM -- MOMENTS LATER
Langston James walks in quietly and stares at his boys sleeping.  
He sits down at Halstead's bed and studies his face in the moonlight.  
He brushes his hair off his face. 
Halstead turns and rolls onto his side.
Langston James pulls up his covers and kisses him on the cheek.
He gets up and sits down at Gabriel's bed.  
He picks him up and takes him into the hallway.
INT. HALLWAY -- CONTINUOUS
Langston James holds Gabriel up and studies him in the light.  
Then turns toward the mirror and studies them together.  He kisses Gabriel softly on the cheek.
LANGSTON JAMES
(softly)
I never did know who you were.  That's one thing I do know for sure.
Langston James walks around the house with Gabriel cradled sleeping on his shoulder.
INT. LIVING ROOM -- CONTINUOUS
Langston James sits with Gabriel on the couch, rocking him and humming.
EXT. MCHENRY HOUSE -- MORNING
We see a shot of the house with the sun beginning to rise in the background.
INT. HALSTEAD AND GABRIEL'S ROOM -- CONTINUOUS
Langston James puts Gabriel gently back to bed.
INT. LANGSTON JAMES' BEDROOM -- CONTINUOUS
Langton James sits down next to Cowie.  She wakes up and rolls over toward him.
COWIE
How you feel?
LANGSTON JAMES
I done a lot of thinking.
COWIE
You get some sleep.
Langston James shakes his head.
COWIE
You want me to ride with you on the route?
LANGSTON JAMES
I'll be ok.
COWIE
You sure.
LANGSTON JAMES
I like being out there in the dark by myself.
COWIE
Hmm...
Langston James stares ahead for a moment silent.
LANGSTON JAMES
One thing, though...
COWIE
(yawning)
What's that?
Langston James lays down next to her, and grabs her hand.
LANGSTON JAMES
Would you hold my hand.  Just for a minute or two?
INT. KITCHEN -- MOMENTS LATER
Langston James has just finished breakfast and smokes a cigarette while he finishes his coffee.  
He has a piece of paper if front of him on which he writes his name.  
He takes a drag of his cigarette and stares at his name tracing it over again bolder.  
He then adds the names of Cowie, Halstead and Gabriel, doing the same; tracing them over again.  
He finishes his cigarette and puts it out, then adds Bodine's name at the bottom of the list, and traces it over again to make it dark.  Finally he takes the paper and folds it deliberately over and over again, running a spoon down the creases to compact them.  
INT. LANGSTON JAMES' HUDSON -- MOMENTS LATER
Langston James gets in his Hudson and opens the glove box.  
He takes out Bodine's can of Tube Rose, puts the paper in it and closes the lid firmly. 
He then wraps tape around the can, winding it over and over again, sealing it tight.
EXT. GRAVEYARD -- DAY
Langston James is leaning at a distance, against a tree, watching Bodine's funeral. 
Just a small crowd of black mourners; amongst them is Bodine's daughter in law and her daughter.
Langston James is chewing on his lip and he looks agitated.  
His agitation grows as he watches the howling of the mourners, and the high pitch of emotion coming out of the preacher as he instigates them with his sermon. 
Finally it gets too much for him to handle and he storms away wringing his hat in his hands.  
LANGSTON JAMES
God damn niggers.
INT. WHIPPET MONUMENT AND FUNERARY ADORNMENT COMPANY -- DAY
Langston James and Wicklow are seated in the office.
WIKCLOW
That's a nigger graveyard Eljay.  Something like that gonna have repercussions, deep repercussions.  I gotta think about it, you know, in a business way.
LANGSTON JAMES
God damn Wicklow.  It's just a dead man out there.  What the hell difference does it make.
WIKCLOW
There's a colored monument place over in Slabtown.  Why don't go and see what they can do for you.
LANGSTON JAMES
I don't want no nigger gravestone Wicklow.  I want first class work.
WIKCLOW
I don't know.
LANGSTON JAMES
Listen.  I'm ready to go for two doves this time.
Wicklow's interest peaks slightly.
LANGSTON JAMES
Two doves and an angel.
WIKCLOW
Two doves and an angel
LANGSTON JAMES
That's right.
Wicklow takes out his handkerchief and wipes his brow.
WIKCLOW
Tell you what.  You throw in four lines of Old English text and it's a deal.
LANGSTON JAMES
Fine.
WIKCLOW
But I'm carrying it in there after dark.  I ain't puttin' it up in broad daylight.
LANGSTON JAMES
Don't they lock the gates at sundown?
Wicklow starts writing in his note pad, and without looking up...
WIKCLOW
What for?  Ain't nothing but niggers in there, ain't it?
INT. LANGSTON JAMES' BEDROOM -- NIGHT
Langston James is wide awake staring at the ceiling, while Cowie sleeps soundly beside him
INT. HALSTEAD AND GABRIEL'S ROOM -- LATER
Langston James walks into the bedroom slowly and stares at his boys.
INT. MCHENRY LIVING ROOM -- LATER
Langtson James is walking around holding Gabriel again. 
He eventually lays Gabriel down gently on the couch and slumps back in an exhausted way.  
Dead silence except for Gabriel's breathing. 
He sits watching him sleep.
INT. MCHENRY KITCHEN -- LATER
Langston James is sitting at the table eating his breakfast, he hasn't slept again.  Cowie walks in.
COWIE
Eljay you shoulda woke me.  I woulda cooked you some breakfast.
LANGSTON JAMES
I didn't wanna bother you.
She sits down next to him
COWIE
It ain't no bother cooking my honey lamb breakfast.
She studies him; he looks awful.
COWIE
Eljay what you gonna do about this?  You gotta get some sleep.
LANGSTON JAMES
(shaking his head)
I just can't wrap my head around it Cowie.  It's like I don't know who I am anymore.  There was a time when my life was perfectly laid out.  I woke up knowin' what was gonna happen every day.  Now it's all I can do just to leave the house.
COWIE
It'll pass Eljay, just give it some time.
LANGSTON JAMES
I don't know.  It just seems to be gettin' worse.
EXT. SHOEFELT'S OLDSMOBILE-CADILLAC DEALER -- DAY
We see Langston James talking with a dealer.
INT. LANGSTON JAMES' CADILLAC -- CONTINUOUS
Langston James wraps the can of Tube Rose with ribbon and hangs it from the rear view mirror.
EXT. BROTHER MOATES' FRONT YARD -- DAY
Langston James pulls up in his new Cadillac.
INT. BROTHER MOATES' FRONT ROOM -- MOMENTS LATER
Langston Jame is seated in a chair.  MRS. MOATES walks in with coffee, just as Brother Moates walks in on crutches.
BROTHER MOATES
Eljay!
LANGSTON JAMES
What happened?
MRS. MOATES
(interjecting))
He thought he heard a burglar.  So he got up in the middle of the night and shot himself in the foot.
LANGSTON JAMES
Did you shoot the burglar?
MRS. MOATES
Waldn't no burglar.
(pointing toward the floor)
I don't know how we're gonna get that hole fixed.
There is a large hole in the rug with black powder stains around it.
BROTHER MOATES
Put a chair over it.  Won't nobody be able to tell.
She heads back toward the kitchen and yells back over her shoulder.
MRS. MOATES
In the middle of the floor?
Brother Moates gestures toward her in a wave of dismissal.
BROTHER MOATES
Listen, Eljay.  Hand me a cup of coffee there will ya'.
Langston James hands him a cup.
LANGSTON JAMES
Listen Brother Moates.  What I came to see you about is... you got a gun you can sell me?  You know... for cheap?
Mrs. Moates walks back in with a small plate of snacks and sets them on the table
MRS. MOATES
Mister McHenry, you're gonna get the deal of a lifetime.  Take your pick.  Take the whole lot.  I'll sell 'em to you by the pound!
Brother Moates struggles and gets out of his chair, standing with his cane.
BROTHER MOATES
Don't pay no attention to her Eljay.
(he begins to limp toward the back)
Step this way.
Langston James gets up and follows.
MRS. MOATES
He don't have to step that way.  He hadn't blown no hole in his foot!
EXT. BLUFF ON OAKMULGIE RIVER -- DAY
Langston James drives his truck right next to the bluff.
EXT. BLUFF ON OAKMULGIE RIVER -- MOMENTS LATER
Langston James is sitting on a rock smoking a cigarette and staring at his truck.  
He takes a few drags and calmly puts it out.  
He walks over to the truck, pulls his new gun out and begins shooting at it.  
He blows all the windows out and shoots several holes in the frame.  After he runs out of bullets,he drops the gun, and begins ripping parts off and throwing them in the water.  
He tears off the antenna, the hub caps, the side mirrors, and kicks the bumper off.  
He also tears out anything he can from under the hood and in the cab.  
Finally he pulls out Bodines chair and heaves it in the river.
He collapses on the tailgate and smokes a cigarette while calming down and looking at the trees and brush blowing in the breeze.
He leans in the cab and lets off the hand brake.  
The truck slowly runs down the bluff and crashes into the water.  
He watches calmly for a moment as the truck disappears. 
Then picks up the gun off the ground and throws that in as well.
EXT. MCHENRY FRONT PORCH -- DAY
It's Easter Sunday, Cowie and Gabriel are on the porch coloring eggs.  
Langston James and Halstead pull up in Langston James's new Cadillac.  
Halstead jumps out of the car with an Easter basket filled with candy and Easter items.  He runs up to the porch excited.
COWIE
Halstead, go wash your hands before you start touchin' these eggs!
Halstead runs inside.  
Langston James comes up with a basket for Gabriel and sets it down in front of him on the table.
He screams with delight.
LANGSTON JAMES
Happy Easter son.
COWIE
(affectionately)
Aahh, Eljay!
Langston James pulls out of the basket a big soft white fake bunny rabbit.  
Gabriel grabs it and hugs it to himself.  
Then he spots the sticks of horehound candy in the basket and quickly grabs them and holds them up to Cowie smiling.
COWIE
Yes angel, your favorite.
Gabriel turns to Langston James smiling.  
Langston James gently kisses him on the head.
EXT. MCHENRY FRONT PORCH -- LATER
Langston James is sitting on the porch steps, smoking a cigarette, watching Gabriel play on the lawn with his rabbit.
Cowie walks out and sits next to him.
COWIE
What you reckon you'd do without him?
Langston James doesn't answer right away.
LANGSTON JAMES
I don't hardly think about what he looks like no more.  I don't really see him, you know.
He turns and looks in Cowie's eyes.
LANGSTON JAMES
Just all I can think about is ... the sweetness.
He turns back to Gabriel.
LANGSTON JAMES
That there's the sweetest child God ever put on this earth.
Cowie leans against him gently.
COWIE
That's right.
They both watch Gabriel for a moment.
COWIE
(softly)
He's our Angel Child.
Just then Mizres Fanshaw's Lincoln pulls up.
He furrows his brow.
LANGSTON JAMES
Our's and Mizres Fanshaw's.
He throw his cigarette into the dirt.
Gabriel sees her and becomes ecstatic.
Mizres Fanshaw gets out of the back seat carrying an Easter Basket three times the size of the one Langston James gave Gabriel.  
She waves sweetly toward the McHenry's.
MRS. FANSHAW
Haloo!
COWIE
(waving back)
Hi Mizres!
LANGSTON JAMES
Oh Lordy.
COWIE
Eljay!  You be nice, it's Easter Sunday!
Mizres Fanshaw sets the basket down beside Gabriel, who jumps up on his feet. 
The first item she pulls out is a huge tin of the same horehound candy Langston James gave to him.  
Gabriel claps his hands and jumps up and down.
Langston James lets out a BREATH through his nose.
Next she pulls out a real live white bunny rabbit.  This time Gabriel loses it and shrieks loudly.
COWIE
Oh, Eljay!
Cowie quickly gets up and walks over to them.  
Langston James watches them as Gabriel holds the bunny and pets and kisses him.
Cowie thanks Mizres.
Langston James gets up and stomps in the house.
INT. LANGSTON JAMES' CADILLAC -- MORNING
Langston James is on his morning route by himself.
EXT. GRAVEYARD -- BODINE'S GRAVE -- CONTINUOUS
Langston James walks up to the tombstone Wicklow made.  In old english letters it reads:
BODIN ALMA POLITE 1899-1963
Missing the 'E' at the end of BODINE.
LANGSTON JAMES
God damn Wicklow.
He takes off his hat.
LANGSTON JAMES
Sorry about calling your loved ones niggers.  It just seemed offensive is all.  I don't think you would'a liked all that nonsense.  You was a quiet man from what I seen.
A beat.
LANGSTON JAMES
I feel like I'm losing my mind Bodine, and I need someone to talk to 'bout this.  Cowie means well an all but her answer for every ail is either food or sleep and I don't feel like doing much of either of those these days.
A beat.
LANGSTON JAMES
I mean how come you never told me about what happened to yer boy?  Or about your great grand kids?  I told you everything! 
A beat.
LANGSTON JAMES
Well, I guess you never was much for talking anyway.  But for some reason it always helped to tell you things.
A beat.
LANGSTON JAMES
I just don't feel like I'm myself anymore.  And maybe I didn't know you all that well after all, and I don't know even if you ever really liked me all that much either... but...
(he starts to well up)
...God damn it Bodine you was my friend.
A beat.
LANGSTON JAMES
You was my only friend.
He puts his hat back on and walks away.
INT. MCHENRY'S FIVE AND DIME -- DAY
Langston James is sitting in his rocking chair smoking a cigarette staring off.  
Just then a SILHOUETTED MAN shows up at the front window. 
Langston James stops rocking and watches him.
The man peers through window a moment, then walks off.
INT. LANGSTON JAMES' BEDROOM -- NIGHT
Cowie is fast asleep as Langston James lays, staring at the ceiling.
INT. HALSTEAD AND GABRIEL'S ROOM -- LATER
Langston James walks in the room and gently picks up Gabriel.
INT. MCHENRY HOUSE -- CONTINUOUS
Langston James is walking around the house again holding Gabriel, and humming softly to him.
INT. BATHROOM -- CONTINUOUS
Langston James walks in the bathroom and holds up Gabriel to himself in the mirror, comparing their faces.
LANGSTON JAMES
(leaning in)
Lordy, I forgotten just how ugly was.
He takes a towel from the rack and exits.
INT. MCHENRY LIVING ROOM -- CONTINUOUS
Langston James spreads the towel out on the sofa and lays Gabriel down on top of it.  
Gabreil wakes up and looks at him
LANGSTON JAMES
Shh. 
Langston James strokes his hair until he goes back to sleep.
INT. KITCHEN -- CONTINUOUS
Langston James pours himself a cup of coffee, and sits down at the table.  
He grabs a piece of horehound candy out from Mizres Fanshaw's Easter basket, sits calmly and eats it.
After a while, he gets up and puts a piece of candy in his pocket. 
He grabs a butcher knife from the drawer and touches the edges with his thumb to test it's sharpness; it draws blood as he covers the tip.  
He grabs a bottle of turpentine from under the sink and pours it over the blade.  
He looks up and sees himself in the dark reflection of the window panes above the sink.  
He touches his face and turns his head back and forth.
LANGSTON JAMES
Was there somebody else I might have been, if I had been born different?
INT. MCHENRY LIVING ROOM -- CONTINUOUS
Langston James walks in with the knife and sits softly next to Gabriel.  
He stares down at Gabriel, studying him.  
Blood is dripping from his thumb.
LANGSTON JAMES
(to Gabriel)
Hurting is the only way you know you're alive.  If I'd had it easy, I wouldn't of known who I was.
He strokes Gabriels face with his hand, leaving smudges of blood on his cheek.
LANGSTON JAMES
You ain't never hurt at all.  Not never in your whole life. You had it easy.  Mizres Fanshaw too.
He begins to cry.
LANGSTON JAMES
Mrs. Fanshaw's not gonna like you no more Gabriel.  Not when you ain't pretty.  You gonna all mine.
He notices a stream of blood dropping onto Gabriel.
He opens his hand to find a large gash where he had been gripping the knife.
No reaction at all; just numb.
COWIE (O.S.)
You're not really gonna do it, are you Eljay?
He turns and looks at her.  Then back down at his wound.
LANGSTON JAMES
I can't feel it honey.
His crying turns into a laugh.
LANGSTON JAMES
I can't feel nothing at all.
COWIE
Eljay...
LANGSTON JAMES
What you reckon?
COWIE
You don't know what you're doing.  You're gonna hurt yourself bad.
LANGSTON JAMES
I could cut my hand off and I wouldn't feel nothing.  You reckon it's something I could get used to?  Nothing?
She walks toward him.
COWIE
Give me the knife Eljay.
He doesn't give it to her, but doesn't pull it back either.
She takes it from him.
COWIE
We got to get a bandage on that.  You're bleeding all over the place.
Their talking wakes Gabriel.  He rubs his face and smears the blood.  He looks up at Langston James.
GABRIEL
Daddy.
Langston James smiles sweetly.
LANGSTON JAMES
How you doing angel?
He reaches into his pocket and pulls out the piece of horehound candy and gives it to Gabriel.
He grabs it but immediately falls back to sleep.
Langston James chuckles.
LANGSTON JAMES
Well.  At least that's something.
He lays down next to him.
Cowie sits down close to him.
He reaches out to her.
LANGSTON JAMES
Honey.  Could you hold my hand?  Just unit I fall asleep?