Sling Blade (1996)

FADE IN:

INT. A MENTAL HOSPITAL - DAY

A few patients sit around fumbling with themselves. One man
sits at a table scratching back and forth on a piece of paper
with a crayon. Another stands in a corner smoking a cigarette
and staring at the crayon guy. This is CHARLES. Another man,
KARL, sits in a chair staring at the floor and rubbing his
hands together. We cut back and forth between Charles staring
and Crayon Man scratching. After a moment, an attendant
approaches Charles.

			ATTENDANT
	You can't smoke in here.

Charles stares at him blankly for a moment and continues
smoking. He looks back to Crayon Man again for a moment then
looks over at Karl and then goes and sits down beside him.

			CHARLES
	A Mercury is a good car and that's
	what I was driving that day. I've
	owned a lot of cars. Different
	kinds. Lots of different kinds of
	cars. She was standing, this girl,
	on the side of the street where
	there was a chicken stand; not the
	Colonel, mind you, but nevertheless
	a chicken stand, and I pulled the
	Mercury over and rolled down the
	window by electric power. She was
	wearing a leather skirt and she had
	a lot of hair on her arms. I like
	that. I like it a lot. It means a
	big bush. I like a big bush. She
	said, "Are you dating?" I said,
	"yes," and she got in the car. We
	pulled to a remote location, one
	that she and I both felt
	comfortable with and she said, "How
	much can you spend?" I said, "What
	it takes to see your bush. I know
	it's a big one." She said "twenty
	five dollars," which to a working
	man is not chicken feed. I produced
	the money and she put it in her
	shoe and pulled up her skirt. There
	before me lay a thin, crooked,
	uncircumcised penis. You can
	imagine how badly I wanted my
	twenty-five dollars back.

INT. A HALLWAY - DAY

Two young women, MARSHA DWIGGINS, carrying a briefcase, and
THERESA EVANS, carrying two camera bags are being led down
the hallway by a GUARD.

			THERESA
	I don't know why you're so weirded
	out, this is not San Quentin, it's
	just a nuthouse. Most of these
	people don't even know where they
	are, they're not gonna hurt you.

			MARSHA
	In a few minutes we're gonna be in
	a room with a killer. That doesn't
	bother you?

			THERESA
	Hey, you're the one that wanted to
	major in journalism. Anyhow, wasn't
	the guy something like twelve or
	thirteen when he did it, it was
	twenty-five years ago, he probably
	doesn't even remember it.

			MARSHA
		(wrinkling her nose)
	Do you smell shit?

			THERESA
	Yeah.

They reach a door and the guard ushers them through.

INT. AN OFFICE - DAY

JERRY WOOLRIDGE stands up from behind the desk as they enter.
He's in his fifiles and looks like a school teacher, shop
class or perhaps eighth-grade science.

			GUARD
	These are the people from that
	newspaper deal.

			WOOLRIDGE
	Oh yeah, from the college?

			MARSHA
	Yes sir.

Woolridge shakes hands with them.

			WOOLRIDGE
	My name's Jerry Woolridge.

			MARSHA
	Nice to meet you. I'm Marsha
	Dwiggins and this is Theresa Evans.
	She's here to take the pictures.

			WOOLRIDGE
	Y'all have a seat. Is this all of
	you?

			MARSHA
	Yes sir.

			WOOLRIDGE
	I think there must have been a
	little mix up. I told your sponsor
	or teacher or whatever he is, there
	couldn't be any pictures. It's
	s'posed to be just a little story
	or article or something, isn't that
	right?

			MARSHA
	Well, yeah, it's for the school
	newspaper. But it has pictures. I
	mean it's a regular paper, you
	know.

			WOOLRIDGE
	Karl's real sensitive about having
	his picture made. He wouldn't even
	be on the bulletin board for the
	Easter Collage.
		(to guard)
	Melvin, would you get me a good hot
	cup with two sugar substitutes? You
	girls want some coffee?

			MARSHA
	No thank you.

			WOOLRIDGE
	The other thing is I told your boss
	on the phone to send a man. Karl
	won't talk to women.

INT. REC ROOM - DAY

CLOSE UP on Karl's face. Charles has started another
monologue.

			CHARLES
	There was a young man named John
	Liggit Hunter who was in the
	filling station business and a good
	filling station business. He was
	one of those young men that we run
	across so often in life. I'm sure
	you've run across them, that didn't
	deserve the things he had. One of
	those things was his beautiful
	bride, Sarah. She was a Georgia
	Peach. As a matter of fact she
	looked more like the picture I've
	had in my head than any woman I've
	ever seen. I took it upon myself to
	take her away from John Liggit
	Hunter, who didn't deserve her. I'm
	not sure if I mentioned that he was
	a Frenchman who claimed to be an
	Englishman. It took some very
	strong nylon cord to take her away
	from him. She was a fighter as well
	as a Georgia Peach.

INT. WOOLRIDGE'S OFFICE

The girls look confused.

			WOOLRIDGE
	I don't know what to tell you. I'm
	sorry. I made myself pretty clear I
	thought. He probably got busy and
	wasn't thinking. I know how that
	is. I used to teach shop and eighth
	grade science.

			MARSHA
	Well, what do we do? We drove all
	the way out here.

			THERESA
	Let's just go, Marsha.

			MARSHA
	No, we have to get this story.

			THERESA
	I thought you'd be happy to leave.

			MARSHA
	Why won't he talk to women?

			WOOLRIDGE
	He has problems. You know. With all
	that. He won't hardly talk to
	anybody really. Just certain
	people. He's very troubled.

INT. REC ROOM

			CHARLES
		(leaning in to Karl)
	A shovel just makes too goddamn
	much racket.

INT. WOOLRIDGE'S OFFICE

			WOOLRIDGE
		(takes a drink of coffee)
	I don't think he's talked to a
	woman in twenty-five or so years.
	That I know of anyway. That's why I
	said to send a man. At least maybe
	he'd answer a question or two for a
	man. I'm all for helping the
	college out, believe me. It might
	be a real good article or story.

			MARSHA
	Can't you talk to him? Maybe talk
	him into it. I'm a real good
	interviewer. Just get me in the
	room with him.

			WOOLRIDGE
		(to guard)
	Melvin, go get Karl and take him
	down to the old classroom.

INT. HALLWAY - DAY

Woolridge and the two women walk down the hallway.

			WOOLRIDGE
	I'll talk to him and see what we
	can do.

INT. CLASSROOM - DAY

Woolridge is opening a door. He enters and the women follow
him in. He flips on a light switch and very bright florescent
lights illuminate the room.

			WOOLRIDGE
	You see, Karl, growing up, only
	knew that sex was wrong and that
	people who did it should be killed
	for it. He couldn't really read
	but, well, neither could his
	mother. But, his father made sure
	that his mother knew what the Bible
	said. And she made sure Karl knew.
	You know he slept in a hole in the
	ground under a toolshed, right?

			MARSHA
	I knew he slept in a toolshed.

			WOOLRIDGE
	His mother told him that he was
	their punishment. Hers and his
	father's; from God, for having sex--

			MARSHA
	Before they were married?

			WOOLRIDGE
	I don't think so. Just period, I
	think. She told him... God gave
	them the ugliest creation he could
	think of. Karl has an entire book --
	a notebook. On every page it says
	"Franklin Chapter 1 Verse number
	1." He wrote that a few years ago
	after he'd learned to write. His
	father's name was Franklin.

			MARSHA
	That's really strange. What does it
	mean?

			WOOLRIDGE
	One of his Daddy's Bible lessons I
	imagine. Y'all pull up a chair.
	I'll go out and talk to him.

INT. REC ROOM

CLOSE UP on Charles's face.

			CHARLES
	You have to make something explode
	to truly understand it. You have to
	examine the tiny particles while
	they're on fire.

Off screen we hear FOOTSTEPS approaching. We pull back and
see MELVIN the guard.

			MELVIN
	Karl, I gotta take you down to the
	old classroom. Mr. Woolridge has
	some people for you to see down
	there. Come on. Let's go.

INT. HALLWAY - DAY

Melvin and Karl walk down the hallway. Woolridge stands
outside the door of the classroom. They reach him and
Woolridge talks quietly to Karl.

			WOOLRIDGE
	Karl, you know, do you remember
	when I told you about those people
	from that newspaper?
		(pause)
	They want to ask you some questions
	about your release. They think it
	would make an interesting story.
	Will you talk to 'em? Get
	interviewed.
		(pause)
	Now, they're women. I think it
	might be good for you to. You're
	gonna be seein' all kinds of people
	when you go on the outside. This'll
	help you I believe.

INT. CLASSROOM - DAY

It's just Woolridge and the two women in the room.

			WOOLRIDGE
	Well, it surprised the dickens out
	of me. He said he'll talk to you.

Marsha smiles and looks at Theresa.

			WOOLRIDGE (CONT'D)
	But, here's the thing. He'll only
	talk to you. He doesn't want you to
	ask him anything. And you shouldn't
	stare at him.

			MARSHA
	How am I going to conduct an
	interview if I can't ask him any
	questions?

			WOOLRIDGE
	It's the best you're gonna get. I'm
	sorry.

			MARSHA
	Can I ask you a question? If he's
	so troubled, why are you letting
	him out? What if he does it again?
	It happens all the time.

			WOOLRIDGE
	He's free. His time's up. That's
	the rules. He's been treated and
	reevaluated. He doesn't show any
	signs any more.

			MARSHA
	Signs?

			WOOLRIDGE
	Homicidal signs. Oh, we're gonna
	change the light in here for Karl.
	I hope you can see to write.

Woolridge turns on a lamp on a desk and turns off the
overhead lights. He opens the door and Melvin brings Karl in.
In the semidarkness Woolridge pushes a chair up and motions
for Marsha to sit. Karl stands beside Melvin motionless.
Woolridge whispers to Theresa.

			WOOLRIDGE (CONT'D)
	You'll have to step outside.

Theresa starts to protest.

			WOOLRIDGE (CONT'D)
	Please.

Karl sits down in a folding chair near a lamp as Melvin
ushers Theresa outside into the hallway. Karl sits staring at
the floor. Rubbing his palms together and breathing
strangely, as usual. He sits silent for what seems like
forever.

INT. HALLWAY - DAY

Theresa stands on one side of the door, Melvin on the other.

			THERESA
	Can I just sneak in there? I won't
	take any pictures, I promise. I
	just want to listen.

			MELVIN
	No ma'am. I'm sorry you can't.

Theresa takes a cigarette from her purse and starts to light
it.

			MELVIN (CONT'D)
	You can't smoke in here. I'm sorry.

INT. CLASSROOM - DAY

Marsha is staring at Karl. Karl, still breathing and rubbing
his palms, starts to speak. His voice is low and raspy, but
not just low and raspy; strange.

			KARL
	Well, I reckon what you're a
	wanting to know is what I'm doing
	in here. I reckon the reason I'm in
	here is 'cause I killed somebody.
	But I reckon what you was a wanting
	to know is how come me to kill
	somebody. Well, I reckon I'll start
	at the front and tell you.
		(pause, heavy breathing)
	I lived most of my life out behind
	my mother and father's house in a
	little old shed and my daddy'd
	built for me. They didn't too much
	want me up there in the house with
	the rest of 'em. I mostly just set
	around out there in the shed all
	the time a lookin' at the ground.
	It didn't have no floor but I had
	me a hole dug out to lay down in
	and a quilt or tow that I put down
	there.
		(pause, more breathing)
	My daddy was a hard workin' man
	most of his life, not that I can
	say the same fer myself. I most
	just set around the shed and
	tinkered around with a lawn mower
	or two and went to school off and
	on from time to time but the
	children there made quite a bit of
	sport of me, made fun of me quite a
	bit. Some of 'em roughed me up
	sometimes so mostly I stayed out
	back there in the shed. My daddy
	worked down at the sawmill there,
	down there at the planer mill for
	an old man named Dixon.
	Old man Dixon was a very cruel
	feller, he didn't treat his
	employees very well, didn't pay 'em
	much of a wage, didn't pay my daddy
	much of a wage, just barely enough
	to get by on. But I reckon he got
	by all right, they come out one or
	the other of 'em, usually my
	mother, and fed me pretty regular.
	At least I know he made enough for
	me to have mustard and biscuits
	three or four times a week. Old man
	Dixon had a boy named Jesse Dixon.
	Jesse was really more cruel than
	his daddy. He made quite a bit of
	sport of me and takened advantage
	of the little girls around the
	neighborhood quite a bit.
		(pause)
	He used to say my mother was a very
	pretty woman. He said it quite a
	bit from time to time, when I was
	at the school house. Well, I reckon
	you want me to get on and tell you
	what happened so I reckon I'll tell
	you. I was settin' out in the shed
	one evenin' not doin' too much,
	just kindly starin' at the wall and
	a waitin' fer my mother to come out
	and give me my Bible lesson and I
	heared a commotion up in the house
	there so I got up and run up on the
	screened-in porch there to see what
	was a goin' on, and I looked in the
	kitchen window and I seen my mother
	a layin' there on the floor without
	any clothes on.
		(pause, breathing)
	And seen Jesse Dixon a layin' on
	top of her having his way with her.
		(pause)
	Well, I just seen red. I picked up
	a kaiser blade that was a layin'
	there by the screen door, some
	folks calls it a sling blade, I
	call it a kaiser blade. It's just a
	long handle like a axe handle with
	a long blade on it that's shaped
	kind of like a banana. Sharp on one
	edge and dull on the other. It's
	what the highway boys use to cut
	down weeds and whatnot.
	I went in the kitchen there and I
	hit Jesse Dixon up side the head
	with it and knocked him off my
	mother. I reckon that didn't quite
	satisfy me so I hit him again in
	the neck with the sharp edge and
	just plumb near cut his head off.
	Killed him. Well, my mother, she
	jumped up from there and started
	yellin', "What did you kill Jesse
	fer? What did you kill Jesse fer?"
		(pause, intense breathing)
	Well, come to find out my mother
	didn't really mind what Jesse was a
	doin' to her. I reckon that made me
	madder than what Jesse had made me.
	I takened the kaiser blade, some
	folks calls it a sling blade, I
	call it a kaiser blade and hit my
	mother up side the head with it an'
	killed her.
		(long pause, breathing)
	Some folks has asked me if I had it
	to do over again would I do the
	same thing. I don't know, I reckon
	I would. Anyhow, they seen fit to
	put me in here and here I've been
	for a great long while. I've
	learned to read some; took me four
	years to read the Bible. I reckon I
	understand a good deal of it. It
	wasn't what I expected in a lot of
	places. I've slept in a good bed
	for a great long while. They've
	seen fit to put me out now. They
	tell me they're a settin' me free
	today. Anyhow, I reckon that's all
	you need to know. If you want any
	more details I reckon I can tell
	'em to you. I don't know if that's
	enough for your newspaper or not.

Suddenly Marsha speaks from the darkness.

			MARSHA
	Will you ever kill anybody again,
	Karl?

This seems to startle the very room itself. Woolridge motions
for Marsha to shut up and Karl stops still. Very still. He
breathes hard for a moment then starts to calm down. He seems
almost at ease. He slowly looks up. From Karl's point of view
we barely see Marsha's face in the dim light. Karl is looking
straight at Marsha.

			KARL
		(slowly)
	I don't reckon I got no reason to
	kill nobody.

INT. HALLWAY - DAY

Woolridge stands just outside the classroom door with Marsha
and Theresa. Karl stands down the way a few feet with Melvin.

			MARSHA
	Is he leaving right this minute?

			WOOLRIDGE
	We've got some paperwork to take
	care of. Pretty soon. Don't worry,
	you won't run into him in the
	parking lot.

			MARSHA
	I didn't mean that.

			WOOLRIDGE
	I hope the best for you, Miss
	Dwiggins, with your school and your
	paper and all.

			MARSHA
	Where will he go?

			WOOLRIDGE
	Wherever he wants to. I think he's
	going back to Millsburg where he's
	from. It's just about twenty miles
	from here.

			MARSHA
	Will he be supervised?

			WOOLRIDGE
	As much as anybody else is, I
	guess. Y'all have a good rest of
	the day now.

Marsha and Theresa walk toward the exit. As they pass Karl he
speaks to Marsha.

			KARL
		(looking down)
	Thank you.

			MARSHA
		(immediately extends her
		 hand)
	Thank you.

Karl doesn't take her hand.

Karl continues to stare at the floor until the women exit.

			KARL
	I reckon I'm gonna have to get used
	to looking at pretty people.

			WOOLRIDGE
	Yes, I guess you are.

			KARL
	I reckon I'm gonna have to get used
	to them lookin' at me, too.

			WOOLRIDGE
	You better go get your things.

			KARL
	I ain't got nothing but them books.

			WOOLRIDGE
	You better go get 'em.

			KARL
	All right then.

Karl walks slowly down the hallway.

EXT. BUS STATION - MILLSBURG - DAY

Karl steps off the bus carrying a few books by a strap. He
stands there for moment staring at the bus station as the few
people around stare at him, then he starts walking.

A SERIES OF SHOTS

Karl standing in front of a barbershop looking through the
window at a man having his hair cut.

In front of the police station.

Staring at an empty school yard...

EXT. DAIRY QUEEN - DAY

Karl stands and stares at the building for a moment. He sees
a woman take a tray of food from the window.
When she's gone, he walks up to the window. A pimply-faced
TEENAGE BOY comes to wait on him.

			BOY
	Can I help you?

			KARL
	I was kindly wantin' somethin' or
	'nother d'eat.

			BOY
	Well, what did you want?

			KARL
	You have any biscuits for sale?

			BOY
	Naw, we don't have biscuits.

Karl stands in silence for a moment.

			BOY (CONT'D)
	Did you decide, sir?

			KARL
	What you got that's good to eat?

			BOY
	Well, I guess it's all good.

			KARL
	What do you like to eat here?

			BOY
	French fries. I like to eat them
	pretty good.

			KARL
	French-fried potaters.

			BOY
	Yeah.

			KARL
	How much you want fer 'em? I'll get
	some of them I reckon.

			BOY
	Sixty for small and seventy-five
	for large.

			KARL
	Give me the big'uns.

Karl digs in his pocket for money.

EXT. LAUNDROMAT - DAY

Karl sits on a bench eating french fries. After a moment, a
twelve- or thirteen-year-old BOY comes out of the laundromat
wrestling three or four big bags of laundry. He can't seem to
get a plan together for carrying them all. Karl gets up and
goes over to him. The boy looks up at Karl, a little startled
by Karl's strange figure looming over him.

			BOY
	These dang things are heavy. Hard
	to carry, too.

			KARL
	What you got in there, warshing?

			BOY
	Yeah.

			KARL
	Ain't you got no mama and daddy to
	tend to it?

			BOY
	I got a mama, but she's at work
	over at Ben's Dollar Store. My
	daddy's dead.
		(pause)
	He got hit by a train.

			KARL
	How fer you going with them sacks
	full of warsh?

			BOY
	About a half a mile I think it is.

			KARL
	I'll help you tote 'em if I don't
	give out first.

			BOY
	Okay. You don't have to though.

Karl picks up two sacks and they walk away.

EXT. STREET - DAY

They walk in silence for a while before the boy finally
speaks.

			BOY
	My name is Frank Wheatley. What's
	your name?

			KARL
	Karl's my name.

			FRANK (BOY)
	What's you last name?

			KARL
	Childers.

			FRANK
	What are all them books?

			KARL
	Different ones. One's the Bible.
	One of 'ems a book on Christmas.
	One of 'ems how to be a carpenter.

			FRANK
	How come you're carryin' them
	around with you.

			KARL
	Ain't got nowhere to set 'em down.

			FRANK
	Don't you live somewhere?

			KARL
	I did live there in the state
	hospital.

			FRANK
	Why'd you live there?

			KARL
	I killed some folks quite awhile
	back. They said I wadn't right in
	the head and they put me in there
	in the nervous hospital instead of
	puttin' me in jail.

			FRANK
	They let you out?

			KARL
	Yeah.

			FRANK
	How come?

			KARL
	They told me I was well. They had
	to turn me loose.

			FRANK
	Are you well?

			KARL
	I reckon I feel all right.

			FRANK
	You don't seem like you'd kill
	nobody.

They reach a little white frame house and the boy turns up
the sidewalk.

			FRANK (CONT'D)
	This is my house. You can just set
	those bags on the porch.

Karl sets the bags down and he and the boy stare at each
other in silence for a moment.

			FRANK (CONT'D)
	Do you like to play football?

			KARL
	I never was much count at it. I
	never did get picked out fer it.

			FRANK
	Me and the Burnett twins and some
	boys plays down at the junior high
	practice field all the time. If you
	ever want to come by and play. We
	ain't no good either. Well, I'll
	see you later.

He goes inside leaving Karl staring at the front door.

INT. BUS STATION - DAY

Karl stands at the counter. A middle-aged man is selling
tickets.

			KARL
	How does a feller go about gettin'
	up to the state hospital?

			MAN
	You buy a ticket for fourteen
	dollars and then set and wait for
	the four-fifteen bus to Kelton.

			KARL
	All right then.

INT. MENTAL HOSPITAL - DAY

Karl walks down the hallway carrying his books. A couple
staffers give him 'Why are you still here' looks. He reaches
a door and goes in.

INT. WAITING ROOM - DAY

There is no one at the desk in the outer office, so Karl goes
into Woolridge's office.

INT. WOOLRIDGE'S OFFICE - DAY

Karl finds Woolridge doing paper work. Woolridge looks up
startled.

			WOOLRIDGE
	Karl, what in the world are you
	doing here?

			KARL
	I want to come back and stay here.

			WOOLRIDGE
	Well, you can't do that. You're a
	free man. You've been let out to do
	as you please.

			KARL
	I reckon I don't care nothin' about
	bein' a free man. I don't know how
	to go about it.

			WOOLRIDGE
	Well, you have to learn. It'll take
	some time. Don't you know anybody
	down there to help you out?

			KARL
	Naw.

			WOOLRIDGE
	Your daddy's still livin' down
	there from what you told me.
		(pause)
	I guess he wouldn't help you any,
	would he? I wasn't thinking. You
	don't know anybody?

			KARL
	Naw. Never did know too much of
	nobody. Not to he'p me out anyway.

			WOOLRIDGE
		(sighs)
	Listen, Karl, the truth is I don't
	know where they expect you to go or
	what they expect you to do. If it
	was up to me, I'd let you stay here
	if that's what you wanted. I'm just
	doin' my job.
		(they sit in silence for a
		 moment)
	You follow me?
		(no answer)
	Listen, I know an old boy that runs
	a fix-it shop deal down in
	Millsburg. He used to go to church
	with me. You're good workin' on
	small engines and things. If I put
	my neck out for you with him, will
	you work at it if he'll hire you?

			KARL
	I'm pretty handy I reckon on lawn
	mowers and whatnot.

			WOOLRIDGE
	I know, I've seen it myself. Would
	you give that a try?

			KARL
	I reckon.

			WOOLRIDGE
	I can't promise he'll hire you.
	I'll have to tell him about your
	history.

			KARL
	I never was no good with history.

			WOOLRIDGE
	No, I mean your past. About why you
	were in here.
		(pause)
	I'll take you first thing in the
	mornin'. You have anyplace you can
	stay tonight at all?
	I just can't let you stay here.
	It's the rules. If something
	happened well, I'd be liable.

			KARL
	I reckon I can just walk around
	till the mornin'. Or set and read
	me a book somewhere.

They sit and stare at each other for a moment.

INT. WOOLRIDGE DEN - NIGHT

Woolridge, his WIFE, his teenage SON, BUBBA, and teenage
DAUGHTER sit in various comfortable chairs looking extremely
uncomfortable and staring at Karl, who is sitting on the edge
of a chair looking at the floor. After a long creepy moment,
Mom speaks.

			MRS. WOOLRIDGE
	Karl, would you like a muffin?

			KARL
	No thank ye.

			MRS. WOOLRIDGE
	I understand Jerry is going to take
	you somewhere else tomorrow.

			KARL
	I don't reckon I know nobody name
	Jerry.

			WOOLRIDGE
	She's talkin' about me, Karl.
	That's my first name.

			KARL
	He's a-carryin' me to look fer work
	in Millsburg where I was borned.

			MRS. WOOLRIDGE
	Would you like some coffee?

			KARL
	Coffee makes me a might nervous
	when I drink it.

			DAUGHTER
	Daddy, can I be excused to go to
	bed?

			WOOLRIDGE
	Sure, honey. You sleep with Mama
	tonight. I'll sleep with your
	brother and Karl can take your
	room.

			DAUGHTER
	Why?

			WOOLRIDGE
	We have company. Now you go on.

INT. BEDROOM - NIGHT

It's an all-American girls room. Everything is pink. There
are stuffed animals everywhere and posters of pop idols.

			WOOLRIDGE
	Well, Karl, there's plenty of
	blankets and things there.
	Bathroom's right there in the hall.
	We'll leave first thing tomorrow.

Karl stands in the middle of the room holding his books.
Woolridge closes the door.

INT. WOOLRIDGE KITCHEN - NIGHT

Woolridge walks into the kitchen where Mom and Son sit at the
table.

			MRS. WOOLRIDGE
	Jerry, why didn't you give him
	Bubba's room? Sister's is kind of
	girly, isn't it?

			WOOLRIDGE
	Yeah, I thought about that. No
	sense in moving him now I guess.

			BUBBA
	Daddy, don't you think one of us
	ought to stay up all night and kind
	of - guard or somethin'?

			WOOLRIDGE
	Why, hell no, son. What's wrong
	with you?

			BUBBA
	Well, he's crazy. He's a nut ain't
	he?

			MRS. WOOLRIDGE
	'Isn't' he, Bubba. Don't say ain't.

INT. WOOLRIDGE DEN AND HALLWAY - MORNING

Woolridge, already dressed, walks through the den and down
the hallway. He knocks on the bedroom door.

			WOOLRIDGE
	Karl, you up?

			KARL (O.S.)
	Yes sir.

Woolridge opens the bedroom door and sees Karl sitting on the
edge of the bed beside his books. The light is on, the bed
still as it was the night before.

			WOOLRIDGE
	Didn't you go to sleep at all,
	Karl? You been sittin' there like
	that all night?

			KARL
	Yes sir.

			WOOLRIDGE
	Well, I guess we better hit the
	road.

INT. FIXIT SHOP - DAY

Woolridge's car pulls into the parking lot. He and Karl get
out and walk toward the shop.

INT. FIXIT SHOP - DAY

Two men, BILL COX, a large man in his forties, and SCOOTER
HODGES, a really country-looking guy in his thirties, look up
from behind the counter as Woolridge and Karl enter.
Woolridge goes to the counter, Karl stands by the door
looking at the floor.

			BILL
	Hey Jerry, how it's goin'. Good to
	see you. Been a long time.

			WOOLRIDGE
	Good to see you, Bill. How's
	everybody doin'?

			BILL
	Aw, pretty good. Kids are drivin'
	me crazy and Phyliss is gonna put
	me in the poorhouse. Can't complain
	other than that. Wouldn't do any
	good if I did.
		(laughs)
	Do you know Scooter, Jerry?

			WOOLRIDGE
	No, don't guess I do.
		(he shakes hands with
		 Scooter who sort of
		 smiles)
	Scooter, good to meet you.
		(Woolridge leans in and
		 gets confidential)
	This is him, the one I talked to
	you about on the phone. Now like I
	said, I'll understand if you get
	nervous about it. I'm not gonna lie
	to you now, he did get in that
	trouble but then he was real young.

			BILL
	I remember it real well. Cut them
	folks to pieces. His mama one of
	'em.

			SCOOTER
	And that ol' Dixon boy. Hell, I
	always wanted to kill him myself.
	Asshole's what he was. I remember
	that ol' boy
		(points to Karl)
	too. Kind of retarded or somethin'
	back in school.

			WOOLRIDGE
	Well, he seems pretty well-adjusted
	these days. I don't think he'd ever
	hurt anybody.

			BILL
	Don't look much like he could. You
	say he can fix a small engine like
	nobody's bidness.

			WOOLRIDGE
	He's a regular whiz at it. That's
	all he did when he was a kid.

			BILL
	Well, I ain't scared of him workin'
	here. You know me. I'm a church
	goin' man. Forgivin' man. When your
	time's up the Lord's gonna come git
	you. You seared of him, Scooter?

			SCOOTER
	I don't guess. Can he talk?

			WOOLRIDGE
	Oh yeah. Listen I really appreciate
	it. He needs the job. I don't know
	what to do with him. He don't have
	anybody really.

			BILL
	That old man of his still livin'
	over there on Clark Street I
	believe.

			WOOLRIDGE
	He won't have anything to do with
	him. Now you say it's all right for
	him to stay out here in the back?

			BILL
	Fine with me. If he steals
	anything, I'll take it out of your
	pocket anyway.

Bill slaps Woolridge on the shoulders and wheezes with
laughter.

			WOOLRIDGE
	He won't steal. I'm tellin' you
	he's a pretty good ol' boy. Keeps
	to himself.

			BILL
	Well, I've got a roomful of work
	for him to do. Can't get Scooter to
	do any of it.

			WOOLRIDGE
	Karl, come over here. I want you to
	meet your new boss.
		(Karl obediently shuffles
		 over)
	This is Bill Cox, runs this place.
	Says you can work here and stay in
	the back.

			BILL
	Good to know you, Karl.

			KARL
	Thank ye.

			BILL
	Now it's minimal wage and there
	ain't nothin' but a army cot and a
	toilet back there.

Karl doesn't say anything.

			WOOLRIDGE
	That'll be fine. Karl, I'll go to
	the car and get your books.

Woolridge exits. Bill and Scooter just stare at Karl and Karl
stares at the floor.

			BILL
	They say you're a whiz on fixin'
	lawn mowers and things.

			KARL
	I've tinkered around on 'em a
	little bit.

			BILL
	We order from Dairy Queen at
	noontime usually. We can buy your
	lunch till you get on your feet a
	little.

			KARL
	I like them french-fried potaters.

			BILL
		(long pause)
	Yeah, me too.

			SCOOTER
	They make a good double meat
	burger.

INT. SHOP WORKROOM - NIGHT

The place is cluttered with mowers, edgers, weed-eaters, and
other equipment, most of it in pieces. A small cot is in a
little clearing in the corner by the bathroom. Karl is
sweeping up oil with sawdust and a push broom while Scooter
puts some tools away. Bill comes to the door.

			BILL
	All right then, I'll see y'all
	later. Karl you done a good day's
	work. They right about you.
	Scooter, he's gonna knock you out
	of a job if you're not careful.
	I'll see you tomorrow.

			SCOOTER
	Wait up, I'll leave with you and
	lock up.

			BILL
	Karl, they's a blanket up in under
	that cot and soap in the bathroom
	to clean up with.
		(pause)
	Now there's one more thing. The way
	we lock these doors at night, you
	can't get out. You didn't want to
	go anywhere, did you?

			KARL
	I don't reckon.

			BILL
	If it works out and all, maybe
	we'll get you a key so you can get
	out at night if you need to. See
	you later.

They leave Karl standing in the midst of the lawn mowers. He
sets the broom down and goes and sits on the cot. After a
moment, he gets back up and starts sweeping again.

INT. SHOP - DAY

It's lunch time and Bill, Scooter, and Karl are sitting in
folding chairs behind the counter eating from their Dairy
Queen to-go bags. Karl has french fries.

			BILL
	Scooter, did I tell about the two
	old boys pissin' off the bridge?

			SCOOTER
	I can't remember.

			BILL
	There was these two old boys hung
	their peckers off of a bridge to
	piss, one old boy from California
	and one old boy from Arkansas.
	Old boy from California says, "Boy
	this water's cold." Old boy from
	Arkansas says "Yeah, and it's deep
	too."
		(starts wheezing)
	Get it? That's a goodun.

			SCOOTER
		(laughing)
	Yeah, that's a goodun. I believe
	you did tell me that one before.
	I've heard that a bunch. Long time
	ago.

			BILL
	Well, yeah it's a classic. You
	know, Karl, I got to thinkin' about
	it last night and it's just not
	Christian of me to not let you have
	a key. I mean you been in lockup so
	long, you don't need me keepin' you
	locked up. You need to come and go
	as you please. Here, take this key,
	it'll get you in and out that back
	door.
		(Karl takes the key and
		 keeps eating french
		 fries)
	Them french fries good?

			KARL
	Yeah, they's good all right.

			BILL
	You got any money?

			KARL
	They give me fifty dollars when
	they turned me loose. I spent up
	some of it on ridin' the bus and
	eatin' french-fried potaters.

			BILL
	Well, I'm gonna pay you today for
	this comin' week, so you'll have
	some walkin' around money. When you
	get off this evenin' you better go
	buy some toothpaste and cleanin' up
	supplies to have back there. Some
	hard candy and some magazines.
	Somethin' to keep you busy at
	night.

			KARL
	All right then.

			BILL
	I'll let you off while it's still
	daylight.

EXT. STREET - DAY

Karl is walking down a residential street. He stops in front
of the house where the boy, Frank, lives and stares at the
house for a moment, then he walks up to the door and stares
at it. A curtain moves and the boy's face appears at the
window. He comes and opens the door.

			FRANK
	Hey there. I thought I heard
	somebody on the porch. Wasn't your
	name Karl?

			KARL
	Yeah it is. Your name's Frank.

			FRANK
	Yeah. What you doin' by here?

			KARL
	You told me to come by.

			FRANK
	Did you want to play ball with us?

			KARL
	I ain't no good at it. I just come
	by.

			FRANK
	Well, anyhow, I was just fixin' to
	go see my mama down at Ben's Dollar
	Store. She's workin' two till
	eight.

			KARL
	All right then.

He starts to walk away.

			FRANK
	Wait a minute. You want to go with
	me? You can meet my mama.

			KARL
	I don't want to worry your mama
	with company.

			FRANK
	Aw, come on. You'll like her. She's
	real nice. She'll give us somethin'
	if we ask her to. Candy or
	somethin'.

			KARL
	I was kindly needin' to do some
	tradin'. Reckon they sell
	toothpaste?

			FRANK
	They sell some of everything. Come
	on let's go. I won't tell her about
	you bein' in the state hospital for
	killin'.

INT. BEN'S DOLLAR STORE - DAY

Frank and Karl make their way through the fairly crowded
store. It's sort of a mini-version of a Walmart. They find
Frank's mother in her red smock talking to a guy in a red
Ben's knit shirt. They are laughing together and pricing some
mouthwash. LINDA WHEATLEY is a short, plain woman in her
thirties. The man, VAUGHAN CUNNINGHAM, is in his forties,
with a neat flattop hair cut, glasses, and a paunch hanging
over his belt. They eye Karl suspiciously, as the boys
approach.

			FRANK
	Hey, Mama. Hey, Vaughan.

			LINDA
	Hey, sweetheart. What you up to?

			VAUGHAN
	Let me guess. You want a bunch of
	candy and a pop.

			FRANK
	Yeah.

			VAUGHAN
	You're gonna rot your teeth that
	way. But I bet I know what you
	would like even better.
	I put potted meat on special, four
	cans for a dollar and they're not
	moving very well. I'd sure let a
	few cans go for free to the right
	boy.

			FRANK
	I don't like potted meat. Daddy
	used to say it was made out of lips
	and peckers and intestints.

			LINDA
	Frank, don't talk that way. Who's
	that strange lookin' man behind
	you? Did he follow you in here?

			VAUGHAN
	Can I help you, sir?

			FRANK
	Oh, that's Karl. I met him at the
	laundrymat. Karl, this is my mama.
	And Vaughan, Vaughan's the manager.
	He lets mama off any time she feels
	like it 'cause they're best
	friends.

			LINDA
	Nice to meet you, Karl.

			KARL
		(keeping his distance)
	Pleased to know y'all.

There's an uncomfortable silence.

			LINDA
	Frank come back here with me for a
	minute.

She shuffles him away and leaves Vaughan staring at Karl.

			VAUGHAN
	I don't think I've ever seen you
	before.

			KARL
	Naw, I don't believe you have. I
	don't reckon I never been in here.
	This store didn't used to be here.

			VAUGHAN
	It's been here seventeen years. Did
	you live here before or something?

			KARL
	I's horned and raised here up till
	I's twelve year old.

			VAUGHAN
	What brings you back?

			KARL
	What's that you say?

			VAUGHAN
	Why are you here now?

			KARL
	They turned me loose from the state
	hospital.

			VAUGHAN
	Is that right?
		(pause)
	Are you going to be staying here
	long?

			KARL
	I reckon Mr. Woolridge got me hired
	on to work for Bill Cox's outfit.

			VAUGHAN
	Do you have family here?

			KARL
	Not really to speak of.

Linda and Frank return from the back.

			FRANK
	Hey Karl, guess what. Mama said you
	can stay with us. Out in the
	garage. Our car won't fit in there
	anyway. It's real neat.

			LINDA
	Frank told me about your situation.
	And Frank loves company. You know,
	especially after his daddy passed
	and all. There ain't no sense in
	you stayin' in that old greasy
	shop.
		(to Vaughan, hushed)
	He's mentally retarded, poor thing.

			VAUGHAN
		(hushed)
	He just got out of the state
	hospital.

			LINDA
		(put out)
	I know.

			FRANK
	Can we get some candy and pops?

			VAUGHAN
	Sure, go ahead.

They walk off down the aisle leaving Vaughan a little
puzzled.

			VAUGHAN (CONT'D)
	Are you sure it's safe to let him
	around that guy?

			LINDA
	Frank's just crazy about him. He
	likes the way he talks. He helped
	him carry home the clean laundry.

			VAUGHAN
	He's been in the state hospital a
	long time, something must be wrong
	with him.

			LINDA
	He's retarded's all. You know he's
	always after a father figure and
	Lord knows Doyle ain't a good one
	with his mean ass.

			VAUGHAN
	What about me?

			LINDA
	I don't think he sees you as a guy
	guy.

			VAUGHAN
		(wrinkles his brow)
	Karl is a guy guy?

EXT. WOODED AREA - LATE AFTERNOON

Karl and Frank sit on stumps in a little clearing enjoying
the spoils of their Ben's Dollar Store visit.

			FRANK
	This is what I call my secret place
	'cause I come out here when I feel
	like bein' by myself. I used to
	come here with Karen Cross. She's
	kind of like my girlfriend, or used
	to be. She says she likes Jerry
	Maroney now. But I'm gonna get her
	back 'cause I love her. We used to
	come here and hold hands and talk
	and read books to each other with a
	flashlight. She didn't want to have
	anything to do with me in front of
	other people 'cause I don't have
	any money. Well, mama and me, I
	mean. She seemed to like me a whole
	lot when we were out here though.
	She said she loved me, too. Out
	here. Settin' right on that stump
	you're on. See, her daddy's a
	dentist so they're rich. So's Jerry
	Maroney's daddy. He owns the ice
	plant. Was your folks well off?

			KARL
	Naw. Didn't have too much. Enough
	to scrape by on, I reckon.

			FRANK
	They still around, your folks?

			KARL
	My mother's dead. My daddy's
	s'posed to be around still. He
	don't want to have nothin' to do
	with me though.

			FRANK
	How do you know?

			KARL
	He never did want to. I figure he
	ain't changed his mind much.

			FRANK
	How did your mama die?

			KARL
		(long pause)
	You don't need to know all of that.
	You're just a boy.
	You need to think about good
	thoughts while you're still a boy.
	They'll be plenty of time for the
	other.

			FRANK
	I've had a lot of bad thoughts
	since my daddy died. Sometimes I
	wish I was still real little and he
	was still here. My mama's real
	good, but I wish I had both of 'em.
		(pause)
	When we went to Memphis one time in
	the car, it was rainin' so hard we
	couldn't see the road. But I wadn't
	scared because I thought as long as
	daddy was drivin' nothin' could
	happen to us. I feel that way about
	mama now.
		(he looks at the ground
		 for a moment)
	Mama has a boyfriend now. His name
	is Doyle Hargraves. He works
	construction so he makes a pretty
	good livin'. He still don't help
	mama out with any money though. He
	ain't no good. He's mean to her. He
	don't like me at all. Mama says
	it's because he's jealous I belong
	to my daddy instead of him. He
	stays with us all night sometimes,
	but he's got his own house.
	Somebody told me it's so he can
	still have other girlfriends. I
	like it on the nights when he ain't
	at our house. I'm not so nervous
	then.

			KARL
	How come her to keep bein'
	girlfriends and all with him if
	he's mean to her?

			FRANK
	She says it's for the times when
	he's good to her. She's lonely
	since daddy died. She said
	sometimes she don't know why.
		(pause)
	He threatened to kill her if she
	ever left him. My daddy would kill
	him if he was here and somebody was
	mean to mama. Vaughan, he's real
	good to mama. Vaughan that you met.
	But he's not able to do anything to
	Doyle, he's funny you know. Not
	funny ha, ha, funny queer. He likes
	to go with men instead of women.
	That makes him not to be able to
	fight too good. He sure is nice
	though. He's from St. Louis. People
	who are queer can get along better
	in a big town. He got transferred
	here to work. But mama said the
	real reason he left is 'cause his
	daddy hated him. For bein' the way
	he is. I wish he liked to go with
	women. I'd rather him be mama's
	boyfriend than Doyle.

Pause as Frank looks at the ground again. He seems troubled.

			FRANK (CONT'D)
	Karl.
		(pause)
	You know when I said daddy got hit
	by a train.

			KARL
	Yeah, I remember you a-tellin' me
	that.

			FRANK
	It ain't the truth. He shot hisself
	with a shotgun on purpose.

			KARL
	Why did he do that, reckon.

			FRANK
	'Cause he didn't have enough money
	to take care of us the way he
	wanted to. That's what the letter
	said. He got laid off from work and
	had to just work odd jobs. I
	thought he took care of us fine.
		(pause)
	Karl, did you really kill somebody?

			KARL
	Yeah, I did.

			FRANK
	Who did you kill?

			KARL
	Two people.

			FRANK
	Were they bad people?

			KARL
	I thought they was.

			FRANK
	Maybe they needed it.

			KARL
	I growed up and got taught it ain't
	right to kill nobody.

			FRANK
	It's okay if you're lookin' out for
	yourself. If it's self-defense. Was
	it self-defense?

Karl shifts around and makes a noise in his throat and
doesn't answer.

			FRANK (CONT'D)
	My daddy was good. I think too many
	good people die. It ain't right.
	That's what I think.

INT. SHOP - DAY

Karl is tying the strap around his books. His sack of
toiletries is on the bed. Bill Cox comes in.

			BILL
	Now, Karl, you sure you want to go
	stay with these folks? You're
	welcome to keep on stayin here.
	It's workin' out real good.

			KARL
	That boy wants me to.

			BILL
	All right then. I'll see you bright
	and early. How you comin' along on
	that garden tiller?

			KARL
	I fixed it. Hit's a workin' pretty
	good.

			BILL
	You done fixed it? I'll be damned.
	Scooter told me it couldn't be
	fixed.
	'Course Scooter's about as shitless
	as one poor son-of-a-bitch can be.
	You done fixed it. I'll just be
	damned. See you tomorrow.

INT. WHEATLEY LIVING ROOM - NIGHT

DOYLE is in the comfortable easy chair with adjuster handle
drinking beer. He's in his late thirties and dressed in his
construction clothes. Linda sits on the arm of the chair and
Frank stands before them.

			DOYLE
	Well, honey, I don't guess I give a
	shit. I ain't here half the time
	anyway. If you want a retard livin'
	in the garage, I don't guess I
	care. I've got a good tool box and
	socket set out there I don't want
	stol'd. I guess I could take it
	home with me.

			FRANK
	He's real honest. He wouldn't steal
	nothin'.

			DOYLE
	Now son, I wadn't talkin' to you,
	was I?
		(pause)
	Was I?

			FRANK
	No sir.

			DOYLE
	No sir's right. I'm talkin' to your
	mama. This is your mama's decision,
	not yours. I'm lettin' it go on
	because she asked me, not you.
		(to Linda)
	Now is this the kind of retard that
	drools and rubs shit in his hair
	and all that, 'cause I have trouble
	eatin' around that kind of thing.
	Just like I am about antique
	furniture and midgets. I can't so
	much as drink a glass of water
	around a midget or a piece of
	antique furniture. Same thing with
	a droolin' retard.

			LINDA
	Doyle, you're awful. You shouldn't
	be that way.

			DOYLE
	I ain't sayin' it's right. I'm just
	tellin' the truth. What was he in
	the nuthouse for?

			LINDA
	He's just mentally retarded, I
	guess.

			DOYLE
	He had of went nuts and did
	somethin'. They don't put you in
	there for just bein' a retard.
	They's retards all over the place
	that ain't in the nuthouse. Do you
	know, Frank?

			FRANK
	I ain't sure.

			DOYLE
	You might want to find out. He
	might of hacked his family to
	pieces with a hatchet or somethin'.

			LINDA
	Yeah, that's right, Frank, you
	better ask him. I mean, don't hurt
	his feelin's or anything, but it
	would be good to know. I'm sure
	it's nothin'. He seems real sweet.

			DOYLE
	You sure are hung up on people
	bein' sweet.
		(takes a long pull on his
		 beer)
	Speakin' of which, where's your
	girlfriend? I thought he was comin'
	by here for something.

			LINDA
	He'll be here in a little while,
	he's takin' me to get an ice cream.

			DOYLE
	Ain't that the sweetest thing. What
	am I supposed to do about supper
	with you traipsin' around with that
	fag?

			LINDA
	You're not crippled. Get in there
	and make somethin'.

			DOYLE
	Boy, ain't you somethin' else.
	Talkin' back and everything. It
	kinda makes me horny when you talk
	back.

			LINDA
	Frank, why don't you go off and
	play in your room if Doyle's gonna
	talk nasty.

			FRANK
	I want to watch T.V.

			DOYLE
	Yeah, honey, let the kid watch T.V.
	Hell, let's all watch T.V. like a
	family till your retarded friend
	and your homosexual friend gets
	here.

EXT. PORCH - NIGHT

Karl is standing on the porch with his bag and his books
staring at the door. After a moment, we hear a car door slam
and footsteps on the porch. Then we hear Vaughan's voice.

			VAUGHAN
	Karl?

Karl turns to face Vaughan.

			KARL
	Yes sir.

			VAUGHAN
	So, you're really going to stay
	here?

			KARL
	That boy wants me to.

			VAUGHAN
	Did you knock on the door yet?

			KARL
	Naw, I ain't.

			VAUGHAN
	How long have you been standing
	here?

			KARL
	Quite a spell, I reckon.

			VAUGHAN
	Listen, before you get very used to
	staying here, I think you and I
	need to talk about a few things.
	Can I take you to lunch?

			KARL
	I done et just a little bit ago.

			VAUGHAN
	I mean tomorrow or the next day.

			KARL
	I reckon I can stand to eat a
	little somethin' or 'nother at
	noontime tomorrow. Bill Cox
	generally gets me a box of french
	fried potaters. But I reckon he can
	lay off doin' it tomorrow.

			VAUGHAN
	Okay, I'll come by Mr. Cox's and
	get you at noon.

They stand therefor a moment. Vaughan doesn't really know
exactly what else to do, so he knocks on the door. After a
moment, Frank answers the door.

			FRANK
	Hey. Y'all come on in.

INT. LIVING ROOM - NIGHT

Vaughan ushers Karl in and they stand behind the sofa. Doyle
looks up and grins.

			LINDA
	Hey, Vaughan. How are you, Karl?

			KARL
	Tolerable, I reckon.

			LINDA
		(in a hurry to get out)
	Karl, this is my boyfriend, Doyle.
	Frank, why don't you and Karl go
	out in the garage and fix him up a
	place or play a game or somethin'.
	Vaughan, you ready to go?

			VAUGHAN
	Sure, I guess.

			DOYLE
	Don't rush ever'body, honey.

She starts to get her things together.

			LINDA
		(to Frank)
	Maybe you and Karl want to go with
	us?

			FRANK
	Naw, I don't want to. Me and Karl
	got things we need to do.

			DOYLE
	Hey, Vaughan, you know what I
	heard? I heard you been puttin' it
	to Albert Sellers that works over
	at the funeral home.

			VAUGHAN
	I know Albert. We're friends.

			DOYLE
	I heard you was more than friends.
	I heard Dick Rivers caught y'all
	all bowed up and goin' at it in the
	same room with poor, little, old
	Mizz Ogletree and her dead as a
	doornail layed out on a gurney.

			VAUGHAN
	That's ridiculous. That's just a
	total lie.

			LINDA
	Let's go, Vaughan.
		(they start for the door)
	Frank, we'll be back in a little
	while. I'll bring you back
	somethin'. You're food's in the
	oven warmin' over.

			DOYLE
	See, you made him somethin'. Hey
	Vaughan, I was just goin' on with
	you, jokin' around, buddy.

			VAUGHAN
		(smiles a little)
	Yeah, I knew that. You're a card
	all right.

Linda kisses Frank on the forehead and they leave.

			DOYLE
	So, Karl, come have a seat, talk to
	me.

Karl sits on the couch.

			FRANK
	Come on, Karl, let's go out to the
	garage.

			DOYLE
	Goddamnit, I'm talkin' to the man.
	You set right there, Karl.

Frank leans on the sofa arm beside Karl.

			DOYLE (CONT'D)
	What's in your bag?

			KARL
	This and that. Toothpaste and
	whatnot.

			DOYLE
	What's all them books?

			KARL
	Different ones. The Bible's one of
	'em.

			DOYLE
	You believe in the Bible?

			KARL
	A good deal of it, I reckon. Can't
	understand all of it.

			DOYLE
	Well, I can't understand none of
	it. This one begat this one and
	that one begat this one and begat
	and begat and begat and lo somebody
	sayeth some shit or another. Just
	how retarded are you?

			FRANK
	Stop it, Doyle!

			DOYLE
	You be quiet, Frank, we're talkin'.
	The adults are talkin'. Were you in
	the lockup for cuttin' somebody up
	with a hatchet?

			KARL
	I ain't never used no hatchet that
	I remember.

			DOYLE
	You're just crazy in a retarded
	kind of way then.
		(pause)
	It wouldn't matter to me if you did
	do violence on somebody 'cause I
	ain't afraid of shit. You think I'm
	afraid for you to stay here. You're
	just a humped over retard it looks
	like to me. Not really, I'm just
	jokin' with you. Welcome to our
	humble home, buddy. Frank needs all
	the friends he can get. Frank's a
	real weak little kid. His daddy
	taught him how to be a pussy.

			FRANK
	Stop it, Doyle! Don't talk about
	daddy, you hear me!

			DOYLE
		(mocking)
	Don't talk about daddy. Y'all go on
	to the garage and let me be.

Frank is crying now.

			FRANK
	Come on, Karl.

They get up and walk away.

			DOYLE
		(yelling to Frank)
	Don't tell your mama we had a
	little spat. She don't need to be
	worried with your ass.

INT. GARAGE - NIGHT

Karl sits on an old sofa and Frank sits on an upside down
paint bucket, still upset.

			FRANK
	I'd like to kill that son of a
	bitch. I hate him.

			KARL
	You ort not to talk that way.
	You're just a boy.

			FRANK
	Well, I hate him.

			KARL
	He ort not to talk that away to you
	neither. He ain't no count. He's
	mean to you and your mama.
		(pause)
	Yore mama and that feller that's
	carryin' me to get somethin'
	d'eat's gonna be back here
	directly.

			FRANK
	Will you stay here with us for a
	long time?

			KARL
	I reckon if you want me to.
		(pause)
	I got some of that potted meat and
	sodie crackers left over if you
	want some.

			FRANK
	I don't see how you can eat that
	stuff with all those insides it's
	made out of.

			KARL
	I reckon it tastes pretty good to
	me.

			FRANK
	I like the way you talk.

			KARL
	I like the way you talk.

Karl starts to put together a cracker and potted meat delight
as we:

						DISSOLVE TO:

INT. HAMBURGER ESTABLISHMENT - DAY

Vaughan is carrying a tray of food as Karl follows him to a
table and they sit and immediately start to eat. After a few
bites, Vaughan starts to speak in an official manner.

			VAUGHAN
	Okay, Karl, the reason I brought
	you here was to talk to you about
	something that is on my mind.
		(pauses for a response,
		 instead Karl eats french
		 fries and stares at the
		 table)
	I guess I'll put it right out on
	the table. Where do I start. Linda
	and Frank are very important to me.
	They're like family. My own family
	was never like family. They're
	horrible people. As a matter of
	fact I prayed every night for years
	that my father would die. I finally
	realized through a lot of therapy
	that I was wasting my energy on
	hating him. Now I just don't care.
		(pause)
	You see, you and I are a lot alike,
	strange as that may seem. I mean
	not physically or even mentally
	really, just well, maybe
	emotionally or actually the hand
	we've been dealt in life. We're
	different. People see us as being
	different anyway. You're -- well
	you have your affliction or
	whatever and I, well mine's not as
	easy to see. I'm just going to say
	it. I'm gay.
		(watts)
	Does that surprise you?
		(watts)
	That I'm gay. You know what being
	gay is, don't you?

			KARL
	I reckon not.

			VAUGHAN
	Homosexual. I like men. Sexually.

			KARL
	Not funny, ha, ha, funny queer.

			VAUGHAN
	Well that's a very offensive way to
	put it. You shouldn't say that. You
	were taught that, weren't you?

			KARL
	I've heard it said that way.

			VAUGHAN
	Anyway, it's hard to live gay,
	that's the right way to say it, in
	a small town like this. I've wanted
	to leave many times, but my love
	for Linda and Frank and another
	certain person that we won't go
	into have kept me from it. Anyway,
	I'm rambling. If you're going to
	live in the Wheatly garage you need
	to know that it won't be easy.
	Doyle is a monster. Not just a
	closed minded redneck, but a
	monster. A dangerous person. I've
	told Linda that one day that man is
	going to really hurt her or that
	boy. Maybe even kill one of them. I
	see it in his eyes. I'm very in
	tune, maybe even psychic. Doyle
	will make your life hell. You're a
	perfect target. When I first saw
	you I was afraid of you. Not really
	afraid, I guess, just taken aback.
	But also, I felt a real sensitive
	feeling from you. And for some
	reason, Frank has adopted you. Much
	like a stray animal. I'm sorry, I
	didn't mean it like that. In a good
	way. Anyway, I just want you to
	know what you're in for. I have a
	good feeling about you. You're good
	for Frank. Maybe it's that he can
	have an adult friend on a child's
	level.
	I'm sorry, I didn't mean it in a
	bad way.
		(pause)
	There's one more thing. It's none
	of my business why you were in the
	state hospital. Everyone has
	something in their past, maybe you
	tried suicide, maybe you did
	something -- terrible. But what I
	see before me is a gentle, simple
	man. All I want you to promise me
	is that you're capable of being
	around Linda and Frank. You know.
	You would never hurt them under any
	circumstances, would you?

			KARL
	I wouldn't never hurt them.

			VAUGHAN
	That's what I thought. I hope I
	haven't offended you in any way.
	You seem like a thinker. You seem
	to always be in deep thought. Tell
	me something. What are you thinking
	right now?

Karl looks up and stares for a moment.

			KARL
	I was thinkin' I could use me
	another helpin' of these potaters.

			VAUGHAN
	Oh. How about before that?

			KARL
	Before that I was thinkin' it'd be
	good if I could get another three
	or four cans of that potted meat if
	you got any extry.

INT. WHEATLEY KITCHEN - NIGHT

Linda, Frank, and Doyle are eating.

			LINDA
	How come Karl won't eat here with
	us?

			FRANK
	I don't know. He just said he'd eat
	out there.

			DOYLE
	Well, I wouldn't let it get to you.

			LINDA
	I just feel sorry for the poor
	thing.

			DOYLE
	Who could eat with him settin'
	there makin' that goddamn racket
	with his throat.

			LINDA
	He does make some funny noises.

			FRANK
	I sure like the way he talks. It
	sounds like a race car motor
	idlin'. It makes me not be nervous.

			LINDA
	I'm glad of it, honey.

			DOYLE
	What have you got to be nervous
	about? You're a damn kid. You ain't
	got any bills to pay or bidness to
	run or old lady to stay on your ass
	all the time.

			FRANK
	I get nervous, that's all I know.

They eat in silence for a while. Linda and Frank know where
this conversation could lead and know when to leave well
enough alone.

			DOYLE
	You know what, by God?

			LINDA
	What?

			DOYLE
	You know what we ought to do
	tonight?

			LINDA
	Please Doyle, don't.

			DOYLE
	Have a damn party! Call Morris and
	them and get the band together and
	just party our asses off. I'd like
	to show that fuckin' Karl to the
	guys. They'd get a kick out of
	that. Don't you know they would.

			LINDA
	Please don't. Not tonight. I'm not
	up for it. They always stay till
	mornin'. I'm just give out, Doyle.

			DOYLE
	You don't have to do anything but
	pour some potato chips in a bowl
	and bring beers out when we get
	low.

			FRANK
	Last time you got mad and run
	Morris and them off and said to
	stay away from here.

			DOYLE
	That ain't none of your damn
	bidness. Besides that's the way
	friends do one another. Fuck it,
	I'm gonna go call 'em. Honey, find
	my guitar, I think it's out there
	in the garage with that loony tune.

INT. GARAGE - NIGHT

Karl sits on his cot eating from the plate Frank brought him.
Frank and Linda come through the door. Frank comes and sits
beside Karl. Linda gets a guitar case down from a shelf and
comes over and stands in front of Karl.

			LINDA
	Karl, now listen, there's gonna be
	a party tonight here at the house.
	Doyle's invited his music-playin'
	buddies over to make a bunch of
	racket out on the patio.

			FRANK
	They ain't even no good. The only
	one can play is Randy
	Horsefeathers. He claims he's an
	Indian. His real name's Randy
	Collins and he works at the feed
	mill. He can at least play guitar.

			LINDA
	He's no more an Indian than I am
	though. Anyhow, Doyle's gonna try
	and tease you and be mean to you to
	show off to his friends. Just like
	he does to Frank and me sometimes.
	You just ignore it. Or stay out
	here away from 'em if he'll let
	you. He's an okay guy till he gets
	drunk but tonight he'll get drunk.
	I guarantee it.

			FRANK
	He ain't ever okay to me.

The garage door opens and Doyle appears. He seems really
happy.

			DOYLE
	Well, it's on! We're gonna rock.
	Linda, call Vaughan. Tell him to
	get over here. I'd like him to be
	here. I owe him a good time.

			LINDA
	No Doyle. Vaughan don't want to
	come to a party with you.

			DOYLE
	Too late, Honey. Fooled you. Done
	called him. He'll be here.
		(grins)
	Or I'll go get him. Come on Karl, I
	need you to help me ice down a tub
	of beer, you and Frank.

INT. BACKYARD - NIGHT

White Christmas tree lights are strung above the patio. Karl
sits to the side in a kitchen chair staring at the ground
alongside Vaughan, Frank, and Linda. The "band" is set up on
the patio. The band consists of MORRIS, a heavyset guy in a
military uniform on tambourine, TERENCE, a skinny guy in a
wheelchair on bass, RANDY, a long haired younger guy who's
not an Indian on guitar, Doyle on a guitar which he can't
play and MONTY "The Johnson " Johnson, a large guy with a ZZ
Top beard on drums. A tub of beer is in front of them.
They're all hooting and hollering and drinking. They've
obviously been at it for a while. Doyle steps forward to
address the 'crowd.'

			DOYLE
	Okay ladies and gentlemen
		(points to Vaughan)
	or both. It's come to the time in
	our show when we like to introduce
	the band. Over here on lead guitar
	Mr. Randy Horsefeathers. Come on
	hit a hot lick, Randy.
		(Randy plays a lick)
	Well, come on, y'all are supposed
	to clap now. Come on!
		(they clap a little except
		 for Karl)

ANGLE ON LINDA

			LINDA
	Karl, you better clap your hands or
	he'll just keep on.

Karl claps his hands a little.

			DOYLE
	On the bass, give it up for Terence
	"One Ball" Atkins.
		(more half-assed clapping)
	On the tambourine and lyrics Morris
	Hobbs the fuckin' genius of the
	group.
		(claps)
	On drums "The Johnson."
		(claps)
	And last and most importantly,
	Doyle Hargraves on rhythm guitar
	and business affairs and the only
	motherfucker with a truck big
	enough to haul this outfit on the
	next world fuckin' tour. Come on, a
	big hand for these guys. They're
	workin' their asses off here.
		(pauses for a slug of
		 beer)
	Okay I'd like to dedicate this next
	one to some very special people in
	our audience tonight. To my lovely
	female companion Linda, her lovely
	son Frank, our new boarder Karl -
	what's your last name Karl?

			KARL
	Childers.

			DOYLE
	Karl Childers just in from the
	state facility. Make one of them
	gruntin' sounds Karl or whatever it
	is you do.
		(nothing)
	Oh well, Karl's a little retarded,
	he don't know what the hell I'm
	talkin' about. And to Vaughan who
	fucks a mortician in the rear
	entrance right in front of his
	clients. Now that takes balls. Our
	number one tune for the folks,
	boys. Kick it off Johnson!

They play "Walk Don't Run" while the audience of four sits in
motionless silence. They finish the song and hoot and holler
and drink some more and say nasty things to each other.

			DOYLE (CONT'D)
	You like that Vaughan?

			VAUGHAN
	Sure. It sounded like a number one
	tune all right.

			DOYLE
	You enjoying yourself, Karl?

			KARL
	I reckon.

We hear the voice of an OLD MAN NEIGHBOR in the near
distance.

			VOICE (O.S.)
	I wished you all would lay off for
	tonight. I can't hear myself think
	for that racket. It's nighttime,
	now let folks be! I'll call the
	law!

			DOYLE
		(hollers back)
	I told you already three times, the
	laws on my side. I play cards with
	J.D. Shelnutt, chief' of police.
	Get fucked you old bastard!
		(to the party)
	Okay now, Linda, you and the kid
	clean up and get a tarpaulin over
	this instruments. Me and the boys
	are goin' to the county line.
	We're out of liquor and beer. Come
	on Karl, you and Vaughan are goin'
	with us.

			VAUGHAN
	I'd better go on home now, it's
	late. I have to work tomorrow.

			DOYLE
	Come on, don't be a pussy.
	Everybody has to work.

			LINDA
	He don't want to Doyle. Don't go
	Vaughan if you don't want to.
	You'll wreck Doyle, you're drunk.

			DOYLE
		(very sincere)
	But honey, I'll be good. I promise.
	I love you sweetie. I'm just tryin'
	to help these two be part of
	things.

INT. DOYLE'S TRUCK - NIGHT

Doyle is driving, Vaughan in the middle, and Karl by the
window. Doyle cranks up the truck and pops in a cassette
tape. The first few notes of "Ghost Riders in the Sky" play.

			VAUGHAN
	Are you sure you can drive? You've
	really had a lot of alcohol.

			DOYLE
	Shhhh! This is the national anthem.

They take off, tires screaming on the pavement as the song
goes louder.

EXT. STREET - NIGHT

The truck fishtails into the night and we see the rest of the
"band" in the back of the truck trying to control Terence's
wheelchair as it rolls back and forth.

INT. TRUCK - NIGHT

			DOYLE
		(points to tape player)
	Not that you afflicted sons of
	bitches would know anything about
	it, but this is art.

They are stopped by a red traffic light. A police car pulls
up beside them and Doyle looks over at the RED-FACED COP on
the passenger side and turns down the music.

			DOYLE (CONT'D)
	Hey Freddy, what's goin' on boy. I
	seen your pitcher in the paper for
	catchin' that big-ass bass.

			FREDDY
	Yeah She was a big 'un. You ain't
	drunk drivin' are you Doyle?

			DOYLE
	Yeah.

			FREDDY
	I figured that. Well you better be
	careful with that cripple in the
	back. You'll throw him out. Looks
	like you got a wagonful.

			DOYLE
	We run outta somethin' to drink.
	Goin' to the county line. You want
	to race?

			FREDDY
		(laughing)
	You know better than that. We're on
	duty. Catch me in that Camaro next
	week one night.

			DOYLE
	Catch you later Freddy!

Doyle peels out and the music blares again.

			DOYLE (CONT'D)
	I bet you like sittin' between two
	men in a dual wheel truck don't
	you?

			VAUGHAN
	Oh, yeah, I'm thrilled.

			DOYLE
	Sarcastic right?
		(pause)
	You know the boys in the band are
	probably gonna stay over tonight.
	We'd be glad to have you.

INT. LIVING ROOM - NIGHT

Doyle slouches in his chair drinking whiskey from the bottle.
Terence and Morris are sitting facing Karl and Vaughan who
are on the sofa. Randy and The Johnson are sitting across the
room in straight-backed chairs drinking beer. They really
stocked up at the county line and beer and liquor bottles are
strewn everywhere. Morris is in the middle of a monologue,
which has obviously been going on for awhile.

			MORRIS
	Anyhow I'm not sure if you follow
	me on those particular points, but
	it's not really important in the
	smaller picture, which is where
	most people dwell anyway. Not that
	being manager of Ben's Dollar Store
	is insignificant. Or that making it
	through years of incarceration in a
	state supported facility is any
	small feat.

			THE JOHNSON
	Morris, he's the only one in the
	band that went to college.

			RANDY
	I'm in junior college right now
	over in Westfield.

			THE JOHNSON
	That ain't no college, that's trade
	school. Auto repair ain't ever made
	a genius out of nobody.

			MORRIS
	Holidays are for campers.

			RANDY
	What do you know about bein' a
	genius, Johnson. You can't even
	hardly keep a steady beat on that
	high-price drum set.

			TERENCE
	I think y'all play really tight
	together, Randy. Y'all shouldn't
	throw off on one another.

			MORRIS
	Anything that has to be discussed
	can't mean anything.

			DOYLE
	You got that shit right.

			VAUGHAN
	What exactly do you mean by that? I
	don't understand.

			MORRIS
	Exactly the point, my young
	levelheaded friend.

			VAUGHAN
	I don't get it.

			MORRIS
	I rest my case.

			TERENCE
	Morris is real smart with
	philosophies and things. That's why
	him and me are the songwriting team
	of our group. I make up good tunes
	or melodies as we call them and
	Morris is the lyrics.

			MORRIS
	Not unlike Gary Brooker of the
	Protocol Harum.

			RANDY
	We don't ever play any songs that
	y'all wrote. I never even heard one
	of 'em. Y'all just talk.

			THE JOHNSON
	We don't even play any songs with
	words at all that I remember. We
	ain't got no fuckin' microphone. Or
	speaker set up.

			TERENCE
	We wrote one last night standin'
	outside Mini-Mart. Morris called it
	"Stuart Drives a Comfortable Car."
	Then, you know, like on country
	songs in parenthesis it says "There
	is usually someone in the trunk." I
	came up with a tune just humming.

			DOYLE
	See Vaughan, you shouldn't question
	a genius. Morris is a modern day
	poet like in the old days.

			MORRIS
	Our latest composition is as
	follows: entitled:
	"The Thrill" --
	"I stand on the hill
	Not for a thrill
	but for a breath
	of a fresh kill
	Never mind the man
	who contemplates
	doing away with license plates
	He stands alone anyway
	Baking the cookies of discontent
	By the heat of a laundrymat vent
	Leaving his soul"
	(Then like in poetry I have dot dot
	dot then drop down to the next line
	kind of off center.)
	"Leaving his soul parting waters
	Under the medulla oblongata
	of (then dot dot dot again)
	mankind."

Silence for a moment as everyone in the room just stares at
something other than Morris.

			TERENCE
	I don't think that's right. I
	believe dot dot dot come between
	medulla and oblongata or something
	like that.
		(Morris stares at him)
	Well it did. It wadn't before
	mankind, I know that much.

			MORRIS
	The dots are where I say they are.
	Melody and tune. That's your trade.
	You're a tunesmith Terence.

			VAUGHAN
	I don't really understand the
	meaning of the words.

			DOYLE
	If y'all don't shut up I'm gonna go
	out of my mind. And plus you're
	liable to bust a spring in Karl's
	head. He's already off balance.

			TERENCE
	That wadn't the way you made it up
	before, Morris. That's all I know.

			RANDY
	We don't need fancy words, we need
	to practice. We don't ever
	rehearse.

			THE JOHNSON
	We need some payin' gigs instead of
	just messin' around on first one
	patio and then another'n.

			RANDY
	Morris, you should just be the
	manager, you can't play nothin'
	anyway.

Doyle jumps up and throws his whiskey bottle through the
window. He has changed from groggy drunk to a wild-eyed
madman in a flash.

			DOYLE
	We don't have a goddamn band! Y'all
	just shut the fuck up! We don't
	need no practicin' or managers
	cause we ain't no fuckin' band!
	Morris ain't no genius and the rest
	of you are just losers. Am I the
	only one sane human bein' around
	here? Just get the hell out of my
	house and don't come back!

			VAUGHAN
	It's not your house, Doyle, it's
	Linda's.

			DOYLE
	I'll kill you, you fuckin' faggot!
	You mind your own business. Now get
	out! Now, before I get too mad to
	turn back.

			TERENCE
	What about our instruments?

Doyle grabs the handles of Terence's wheelchair and pushes
him right out the screen door. We hear the chair clatter down
the steps and a cry of pain from Terence.

			DOYLE
	Now!

They all file out the door except Vaughan and Karl who sit
frozen on the sofa.

			THE JOHNSON
		(turning back)
	You ain't right Doyle. Somethin's
	wrong with you. Nobody needs your
	shit.

			MORRIS
		(stops at the door)
	The dots just look good on paper.
	You don't sing 'em anyway. You're
	showing your true Aries colors now.

			DOYLE
	Get out of my goddamn face, you
	fuckin' buzzard!

He slams the door and turns to see Vaughan and Karl on the
sofa and Linda and Frank, in their nightclothes, standing in
the doorway.

			DOYLE (CONT'D)
	I thought I told everybody to get
	out of my house. That includes
	cocksuckers and retards. Get off
	your asses and go.

			LINDA
	This is not your house, Doyle. This
	is my house and I'll say who stays
	and goes. You've got a house, why
	don't you go get one of your
	girlfriends and go home to it.

			DOYLE
	You know better than to talk like
	that when I'm hurtin'. Don't make
	me knock the piss out of you.

			VAUGHAN
	Doyle, don't you lay one hand on
	her.

			DOYLE
	That's funny.
		(to Linda)
	You go to bed and take snot nose
	with you.

Linda walks up to him with Frank close behind. Vaughan gets
up also. Karl stares at the floor rubbing his hands together.

			LINDA
	You're not stayin' here tonight. Go
	get sober before you come back. I'm
	tired of my child seein' this. Now
	you get yourself straight or I'll
	lock your ass out of my life for
	good.

			DOYLE
	You know what I told you, you even
	think of leavin' me, I'll kill you
	dead as a doornail.

			LINDA
	That might be better than this.

			VAUGHAN
	I'm a witness. I heard you threaten
	her life.

			DOYLE
	I thought I told you to keep out!

			LINDA
	Leave.

			DOYLE
	Don't tell me what to do.

			LINDA
	Leave.

			DOYLE
	Don't tell me what to do.

			LINDA
	Leave.

			DOYLE
	Don't tell me what to do.

			LINDA
	Leave.

			DOYLE
		(an inch from her face)
	Don't tell me what to do.

She shoves him in the chest and he slaps her hard in the
face. Vaughan starts looking for a weapon and Frank goes
wild. He starts throwing anything he can find at Doyle. Empty
cans, bottles, a lampstand.
He connects with an encyclopedia to the head. Doyle goes to
the door. His face has changed from angry to sad, almost
pitiful.

			DOYLE (CONT'D)
	Okay, I'll leave and sober up.
	Everything's botherin' me, that's
	all. I'm hurtin' Linda. I love you.

			FRANK
	I hate you!

			DOYLE
	Well, I hate you, too. No I don't.
	I love your mama. Nobody
	understands what I go through. I'll
	leave. You bunch of freaks have
	fun. I'll call you tomorrow honey.
	I'm sorry. You can kiss my ass,
	really.
		(to Frank)
	You ever hit me again you little
	bastard and I'll make you sorry
	your daddy ever squirted your
	little ass out.

He leaves and slams the door. Frank goes to Linda's side, as
does Vaughan.

			FRANK
	You all right, Mama?

			LINDA
	I'm fine, honey. Let's just try and
	forget about tonight.

			FRANK
	We don't need to think bad
	thoughts, do we Mama?

			LINDA
	No, honey, we don't.
		(pause)
	I'll make some coffee and start
	cleanin' up this mess. Karl, you
	want some coffee, huh?

			KARL
	No, ma'am. Coffee kindly makes me
	nervous when I drink it.

						DISSOLVE TO:

INT. LIVING ROOM - NIGHT

Linda cleaning up the last of the mess. Frank comes in sleepy
eyed in his pajamas.

			LINDA
	What are you doin' up again, Frank?
	You need to get a little sleep.

			FRANK
	Did Vaughan go home?

			LINDA
	Yeah, he has to go to work in a
	little while. I do too.

			FRANK
	Did Karl go to bed?

			LINDA
	I guess. He went to the garage.
	Poor thing, he's probably never
	seen such a crazy mess. He probably
	wants to go back and live in Mr.
	Cox's shop.

			FRANK
	I bet he don't. Karl likes me.

			LINDA
	I know he does.

			FRANK
	Mama?

			LINDA
	Huh?

			FRANK
	Is everything gonna be all right
	someday? I just stay nervous all
	the time just about.

			LINDA
	Yeah, honey, someday everything's
	gonna be all right.

			FRANK
	Doyle wouldn't really kill you,
	would he?

			LINDA
	I promise we're gonna get away from
	him. The time has to be right,
	that's all. I'd rather him get
	tired of me and leave me. Then he
	wouldn't want to hurt me. He
	wouldn't care then. We'll be fine.
	I promise. You go to bed now.
		(she hugs him)
	I love you.

			FRANK
	I love you, too, Mama.

He goes to his room.

INT. KITCHEN - NIGHT

Linda goes into the kitchen and pours a cup of coffee and
sits at the table. After a moment, she looks up and is
startled to see Karl in the doorway.

			LINDA
	You scared me.

			KARL
	I didn't aim to.

			LINDA
	Want to sit down? Did you need
	somethin'?

			KARL
	No ma'am.

Karl just keeps standing there and Linda keeps staring.

			KARL (CONT'D)
	Two fellers was on a bridge a
	takin' a leak and one feller says
	the water was cold and the other
	said it was deep water. One of 'em
	came from Arkansas, I believe.

			LINDA
		(puzzled)
	I'll be dog.

More silence.

			KARL
	Do you reckon you can make me some
	biscuits?

			LINDA
	Right now?

			KARL
	Just whenever you take a notion to.
	I don't aim to put you out.

			LINDA
	Well, it is nearly breakfast time
	anyway. I can't go to sleep. I have
	to be at work in three hours. You
	know how it is when you just sleep
	an hour or two, you feel worse than
	if you hadn't slept at all?

			KARL
	Yes ma'am.

			LINDA
	Well, set down and I'll make some
	biscuits and gravy.

			KARL
	Mustard's good on 'em to me.

			LINDA
	Okay.

Karl sets at the table and Linda starts to make the biscuits.

			KARL
	Thank ye.

			LINDA
	It's all right.
		(pause)
	You know I was thinkin' there's
	this girl that works with me. She's
	real heavy, but she's cute in the
	face. Well, you know, she's slow.
	She's a little bit, I think. She's
	not retarded, just -- it don't
	matter, listen to me. I thought you
	might like to meet her. Vaughan
	wants to have a little supper over
	at his house and we could invite
	her. Would you like that?

			KARL
	I wouldn't mind a havin' supper.

			LINDA
	Vaughan's "friend" will be there,
	too. He works at the funeral home.
	And Frank. You know Frank likes you
	a lot. He says you make him feel
	calm.

			KARL
	I like Frank. He's a good boy. Me
	and him's made friends.

She keeps working.

			KARL (CONT'D)
	Hit ain't right for me to keep from
	tellin' you how come me to be put
	in the state hospital.

			LINDA
	That's okay. It's not really my
	business. I have wondered though.
	Why was it? Was it like a nervous
	breakdown?

			KARL
	I killed my mother and a old boy
	name Jesse Dixon. I thought they
	was a-doin' wrong. I was about your
	boy's age. They say I'm well now
	from it.

Linda stops working and turns to Karl, a little shocked, but
not as much as you would think.

			LINDA
	Was that you? I remember that. I
	was only three or four, but I
	always heard about it growin' up.
		(pause)
	They say you're well?

			KARL
	Yes ma'am.
		(pause)
	I like your garage.
		(pause)
	I wouldn't never hurt you or your
	boy. I'd lay my hand on the Bible
	and say the same thing.

			LINDA
	I believe you. I really do.

EXT. COVS PARKING LOT - DAY

Bill Cox is standing beside a garden tiller with an old man.
Bill is trying to crank it up, but it won't start. A car
pulls into the parking lot and Gerry Woolridge gets out of it
and comes over to Bill.

			BILL
	How 'bout you, Jerry.

			WOOLRIDGE
	How are you, Bill?

			BILL
	Doin' pretty good. Got a sick
	tiller here. What's got you down
	this way?

			WOOLRIDGE
	Just thought I'd check on Karl and
	see if everything's working out.

			BILL
	Well, he's pretty quiet. Except for
	them rackets and breathin' things
	he does. Ain't threatened me with a
	killin' or anything.
		(laughs)
	But boy you couldn't of been more
	right about him fixin' things. That
	son of a bitch is a regular Eli
	Whitney on a lawnmower. Loves
	french fries. Eats four larges and
	don't even so much as belch. I'm
	proud to have him.

			WOOLRIDGE
	Is him stayin' here workin' out?

			BILL
	He's gone to stayin' over with that
	Wheatley boy and his mama in their
	garage. I think that little boy
	adopted him damn near like a
	mascot. But he's got a key here to
	come and go as he pleases.
	Everything's worked out good.

			WOOLRIDGE
	Can I see him?

			BILL
	Sure.

Bill looks over at Scooter, who is putting up a sale sign on
new mowers in the front window.

			BILL (CONT'D)
	Scooter! Run get Karl for me.

EXT. PARKING LOT - DAY

Woolridge and Karl lean on the hood of Woolridge's car. In
the background, Bill and the old man tinker with the tiller.

			WOOLRIDGE
	Are you sure you're okay staying
	with that woman and boy?

			KARL
	Yes sir.

			WOOLRIDGE
	Do they know about you?

			KARL
	My history.

			WOOLRIDGE
	Yeah.

			KARL
	I told 'em about it. They know I'm
	well. That Mizz Wheatley made me
	some biscuits.

			WOOLRIDGE
	I'll be.

			KARL
	That boy, he's my friend. He likes
	the way I talk and I like the way
	he talks.

			WOOLRIDGE
	I knew you'd do all right. Well, I
	just wanted to check on you. I'll
	say bye to Bill and get on back.

They walk over to Bill.

			BILL
	Karl, see if you can figure out
	what's wrong with this thing. It
	won't crank up and ever'thing seems
	to be put together right.

Karl squats beside the tiller.

			WOOLRIDGE
	I'll see you, Bill.

			BILL
	Okay, stop back by. Don't worry
	about your boy here, he's doin'
	good.

Karl looks up from the tiller holding the gas cap.

			KARL
	Hit ain't got no gas in it.

			BILL
	See there. Thinks of the simplest
	thing first.

INT. VAUGHAN'S DINING ROOM - NIGHT

Vaughan, ALBERT the "friend," Linda, Frank, Karl, and
MELINDA, the Dollar-Store girl, are seated at the table. Karl
and Frank are going at the delicacies while Melinda shyly
picks at hers and the others are engaged in idle chit chat.
This goes on for a few moments, then Albert's attention turns
to Karl.

			ALBERT
	So Karl, do you intend to stay in
	the lawnmower business for a while
	or do you have other plans?

			KARL
	I reckon.

			VAUGHAN
	I think Karl is going to be a
	writer or a librarian eventually.
	You should see all the books he
	has. He must read constantly.

			KARL
	I ain't read 'em yet except two or
	three of 'em. I can't understand a
	lot of what I try to read. My mind,
	hit wonders off to somethin' else
	when I try to read.

			ALBERT
	I'm the same way. Of course, in my
	line of work, I stay too busy to
	read.
	But at least I have job security.
	People may stop doing a lot of
	things, but one thing is for sure,
	they won't stop dying.

			LINDA
		(looks at Frank)
	Why don't we talk about something a
	little more festive.

			VAUGHAN
	Does everyone like the food?

Nods and yeses.

			VAUGHAN (CONT'D)
	Good. I haven't decided yet if I'm
	a good cook.

			LINDA
	Hey Karl, you know what? Melinda
	was voted employee of the month at
	the Dollar Store last February.
	Isn't that somethin'?

			KARL
	Yes ma'am, I reckon.

			MELINDA
	Well, when you like pricing items
	as much as I do, I guess it's just
	bound to happen sooner or later.

			VAUGHAN
	Karl, maybe you and Melinda might
	want to take a walk or something
	after dinner. It's a nice night.

			LINDA
	Vaughan, don't get pushy.

			VAUGHAN
	I'm sorry.

			KARL
	I like walkin' quite a bit from
	time to time.

			MELINDA
	I stay on my feet all the time at
	work. I just can't find shoes
	that's comfortable.

			ALBERT
	Hospital shoes might be the answer.
	Nurses' shoes.

			VAUGHAN
	Or the kind old ladies who work in
	the school cafeteria wear.

			ALBERT
	Same difference.

			MELINDA
	I get real mean when my feet hurt.
	It's the only time I don't like
	checkin' out the customers, when my
	feet hurt.

			LINDA
	Frank, you and Karl aren't talkin'
	much, you boys must really like
	that food.

			FRANK
	I just don't have anything to say
	about shoes.

Silence for a moment.

			VAUGHAN
	Listen everybody, I know this may
	sound corny, I've had a few glasses
	of wine and that kind of makes me a
	little emotional, but I'm going to
	say it anyway. It just came over me
	in a rush. I want you all to know
	that I care about each and every
	one of you at this table.

			LINDA
	That's very sweet of you Vaughan.
	We care about you, too. Don't we
	y'all?

Nods, grunts, "Sure do's."

			VAUGHAN
	Also, Melinda, please don't tell
	anybody at the store that Albert
	was here tonight, okay.

			MELINDA
	Why?

			VAUGHAN
	Well, a lot of people in town talk
	and spread cruel rumors.
	Unfortunately, I have to keep
	certain parts of my life private.

			MELINDA
	You mean about y'all bein' together
	in "that" way?

			VAUGHAN
	Yes.

			MELINDA
	I think everybody at the store
	knows that already. They always
	talk about it. Maureen Ledbetter
	told a awful story about why you
	ain't allowed over at the First
	Baptist Church no more.

			LINDA
	Karl, why don't you and Melinda go
	take a walk. It's nice out.

			KARL
	All right then.

He gets up and walks toward the front door. Melinda gets up
and tries to catch up.

EXT. SIDEWALK - NIGHT

Karl and Melinda are walking in the moonlight. It seems a
little hard for Melinda to keep up.

			MELINDA
	You walk fast, don't you?

			KARL
	I reckon.

They walk a little farther in silence.

			MELINDA
	These is the worst shoes I own for
	walkin'. How far did you want to
	go?

			KARL
	I ain't really thought about it too
	much I don't reckon.

They walk until they disappear into the darkness.

INT. COX'S SHOP - DAY

Karl is on the floor working on a mower with Scooter, they
are ad libbing semi-technical lawnmower things. Bill Cox
appears in the door.

			BILL
	Hey Karl, they's somebody out here
	to see you. Some gal holding a nice
	bouquet.
		(Karl doesn't move)
	Come on now, she wants to talk to
	you. Don't just set there.

Karl gets up and goes to the counter followed by Scooter.
Melinda stands on the other side of the counter holding a
cellophane wrapped store-bought flower assortment. Nobody
says anything for a moment.

			MELINDA
	Hi, Karl, I'm on lunch break. These
	was on sale 'cause they're not
	fresh. Two ninety-nine a bunch plus
	my ten percent employee discount.
	Since I didn't bring you anything
	to our date last night, I thought
	you'd like to have 'em.

She hands them to him.

			KARL
	Thank ye.

			BILL
	Scooter, let's me and you go over
	to Dairy Queen and pick up a few
	things for lunchtime.

			SCOOTER
	I can go. You don't have to. You
	don't never go.

			BILL
	Goddamnit, Scooter, come on. Pardon
	my language, ma'am.

They start to leave. At the door, Bill Cox turns and winks at
Karl. They exit leaving Karl and Melinda staring at the
counter. They are silent for a while.

			MELINDA
	Well, I just thought I'd give you
	them. I liked walkin' with you. I
	got a blister the size of a quarter
	on one heel. Well, I'll see you
	sometime, I guess.

She walks to the door and stops as if she expects Karl to say
something.

			KARL
	A blister shore can hurt.

			MELINDA
	Yeah.

			KARL
	Flowers is pretty. I've always
	thought that.

			MELINDA
	Me, too.

She leaves and Karl goes to the window holding the flowers
and watches her walk away.

EXT. SIDEWALK - DUSK

Holding the flowers, Karl is walking down the sidewalk toward
the Wheatley house when he sees Frank coming out the front
door with a book and a flashlight. He sees Karl.

			FRANK
	Hey Karl, you off work?

			KARL
	Yeah.

			FRANK
	Where'd you get them flowers?

			KARL
	That gal that made employee of the
	month give 'em to me for awalkin'
	with her.

			FRANK
	I was goin' to the secret place. I
	borried one of your books to take
	down there. You ain't mad, are you?

			KARL
	Naw. You can look at all my books
	you want to.

			FRANK
	It's name's A Christmas Carol.

			KARL
	That's than un on Christmas I was
	tellin' you about.

			FRANK
	You want to go with me?

			KARL
	Yeah.

EXT. SECRET PLACE - NIGHT

Karl and Frank sit in the clearing, Karl on the stump, Frank
on the ground. Frank is shining the flashlight on the book.
He finishes reading a few lines and turns off the flashlight.

			FRANK
	I'm gettin' tired of readin' for a
	while.

			KARL
	All right then.

			FRANK
	Boy, folks sure had it rough back a
	long time ago, didn't they?

			KARL
	Yeah, I reckon they did. Hit like
	to tore me up when I read about
	that pore little cripple boy.

			FRANK
	Yeah, me too.
		(pause)
	That was nice of that woman to give
	you them flowers.

			KARL
	Hit was right thoughty of her.

			FRANK
	I was wantin' to ask you somethin'.

			KARL
	All right then.

			FRANK
	You know that girl I told you
	about. The one I love.

			KARL
	Yeah, I recollect it.

			FRANK
	Would you go see her with me? I
	kind of thought I might take her
	some flowers like that woman done
	you.

			KARL
	If you want me to.

			FRANK
	I ain't got no money to get 'em
	with but I bet Vaughan will let me
	have some of them flowers at the
	store.

			KARL
	I bet he will. I got a little money
	if he don't. I'll get 'em for ye.

			FRANK
	I usually get run off by her mama
	or daddy if they're home. Reckon
	why they don't like me?

			KARL
	They ort to. You're a good boy.

			FRANK
	Just 'cause I'm not rich don't mean
	I don't love her.

			KARL
	Naw.

			FRANK
	And I don't try to touch her. You
	know, in a bad way. Foolin' around,
	sex and all.

			KARL
	That's real good. You ort not to if
	ye ain't married to somebody. Bible
	tells you that much. Hit tells some
	things that don't seem right too, I
	reckon. I guess a feller ort to
	foller it close as he can, though.
		(pause)
	You don't touch yourself, do you?

			FRANK
	What do you mean?

			KARL
	Pull on your works. Your privates.

			FRANK
	Oh, jackin' off?

			KARL
	Yes sir. You ort not know that
	language.

			FRANK
	I didn't know till here while back
	a year or two ago when I spent the
	night with Ronnie Smart one time.
	He said just tug on your peter and
	think about your mama. I tried it,
	but I felt funny thinkin' about my
	mama. So, I switched over to
	thinkin' about his mama and then
	what he told me would happen,
	happened. It sure tingles, don't
	it?

			KARL
	You ort not to pull on yourself
	that away.

			FRANK
	I kind of like you tellin' me what
	to do and not to do. Just like my
	daddy. I didn't mind him tellin'
	me. I hate Doyle to tell me what to
	do. Mama said the only way to ever
	get away from him is for him to get
	away from us. That we can't leave
	him or he'll try and hurt her.

			KARL
	He ain't no count.

			FRANK
	You don't seem like a daddy. You
	seem like a brother.
		(pause)
	Wonder what makes you like somebody
	right off when you don't even know
	'em like what happened with me and
	you.

			KARL
	I don't reckon I know.

			FRANK
	And then some people you don't like
	right off. It's funny.
		(pause)
	You know why I want you to play
	ball with me?

			KARL
	Naw.

			FRANK
	'Cause it's fun. It don't matter if
	you ain't no good. It takes your
	mind off of everything else while
	you're doin' it. When you run real
	fast tryin' to make a touchdown you
	don't think about anything else. I
	ain't no good, but my daddy always
	said he was proud of me when I
	threw a ball or ran with it. Did
	you have any brothers and sisters
	growin' up to play with?

			KARL
	I had one there for little bit. Hit
	didn't get old enough to play with.

			FRANK
	Why not? It died?

			KARL
	Yeah.

			FRANK
	Why?

			KARL
	Hit was borned a little too early
	on. My mother and father made hit
	come too early some way or other. I
	reckon they changed their mind
	about havin' another'n. I was about
	six or eight year old then and they
	didn't care too much for me so I
	reckon they didn't need somethin'
	else to worry 'em with.

			FRANK
	So it died when it come out?

			KARL
	My daddy come to the shed out back
	and got me and said throw this here
	away and handed me a towel with
	somethin' in it. I went for the
	trash barrel there and opened up
	the towel to see 'cause they was a
	noise and somethin' movin' in it.
	Hit was bloody-like around that
	towel. Hit was a little ol' bitty
	baby, no bigger than a squirrel.

			FRANK
	It was alive?

			KARL
	Yes sir. Right then it was.

			FRANK
	A boy or girl?

			KARL
	A little ol' boy.

			FRANK
	You threw it in a trash barrel?

			KARL
	I didn't feel right about doin'
	that. I takened a shoe box from
	there in the shed and emptied out
	some screwdrivers and nuts and
	warshers from it and put the little
	feller in that and buried him in
	the corner of the yard there. That
	seemed more proper to me, I reckon.

			FRANK
	It was still alive when you buried
	it?

			KARL
	I heared it cryin' a little through
	that box.

			FRANK
	That don't seem right. It seems
	like you should have kept him alive
	and took care of him if he was your
	brother.

			KARL
	I wadn't but six or eight. I reckon
	I didn't know what to do. I didn't
	know how to care for no baby. Mama
	and Daddy didn't want him. They
	learned me to do what they told me
	to. These days I figure it might of
	been best to give him right back to
	the Good Lord right off the bat
	anyhow.

			FRANK
	That makes me feel real sad.
	Couldn't you have done somethin',
	Karl? I would have. I wish I would
	of had him. He'd be here right now.
	Livin'.

			KARL
	Hits been hard thinkin' about it.
	They ain't a day goes by I don't
	think about it. I kindly have a
	picture of it up in my head that I
	see. Hit makes me sad, too. I have
	bad thoughts on it. I wished they
	was somethin' I could of did, too.
	Shouldn't no bad things happen to
	childern. All the ol' bad things
	ort to be saved up for folks that's
	growed up, the way I see it. I
	shouldn't of told you about that. A
	boy ort not hear about such things.
	It just kindly come out.

			FRANK
	I didn't mean to say anything bad
	about you. I know you're good. You
	didn't mean no harm.
		(pause)
	Did you ever think about killin'
	yourself on purpose like my daddy
	did?

			KARL
	I've studied about it. The Bible
	says not to or you end up goin' to
	Hades. Some folks calls it Hell, I
	call it Hades.

			FRANK
	Bible says the same thing about
	killin' others, too.

			KARL
	Yes sir, I reckon it does.

EXT. RESIDENTIAL NEIGHBORHOOD - DAY

Frank, flowers in hand, and Karl approach a very nice two
story house. They get to the door and Frank rings the
doorbell.

			FRANK
	I always get nervous when I hear
	that doorbell. I'm okay just
	walkin' over, but somethin' about
	that dang doorbell. They have one
	room where you can't walk on the
	carpet or sit on the furniture. I
	don't see much sense in havin' it.

The door opens and we see an older black lady, the
HOUSEKEEPER.

			HOUSEKEEPER
		(eyes Karl)
	Son, I don't know why you keep
	comin' over here. You know these
	folks don't want you here. They run
	you off ever' time. Don't keep
	doin' this to yourself. You a sweet
	boy. Now go give them flowers to
	somebody that'll enjoy 'em.

			FRANK
	Ma'am, I really want to give them
	to Karen.

			HOUSEKEEPER
		(to Karl)
	You his daddy?

			KARL
	No ma'am.

			HOUSEKEEPER
	Well, whoever you are, you ought to
	talk some sense into him. That
	little old girl is way too fast for
	him and don't wanna see him no way.

			FRANK
	Will you get her for me. Please. I
	really want to see her.
	She'll want to see me, too, 'cause
	we're not in public. Just don't
	tell her folks I'm here.

			HOUSEKEEPER
		(sighs)
	Okay.

She disappears and a moment later KAREN appears. She's
thirteen, pretty and very neatly dressed.

			KAREN
		(put out)
	Hey Frank. You shouldn't be coming
	over here. My parents really don't
	want you to.

			FRANK
	I wanted to bring you some flowers.
	They're pretty good ones.

			KAREN
	They're from the Dollar Store. I'm
	not an idiot. Besides we have a
	garden full of flowers.

She eyes Karl.

			FRANK
	I wanted for you to meet Karl, too.
	He's my new friend. But I feel like
	I've always known him. I thought
	you should meet him.

			KAREN
	Why? Hi, Karl.

			FRANK
	He's gonna be around a lot and I
	hope you are too, so...

			KAREN
	Here give me the flowers, I'll do
	something with them. Thank you. Now
	you better go. Maybe I'll see you
	down at the secret place one day in
	a week or two or something. I have
	a boyfriend now you know. And we're
	pretty serious. He gave me a ring.

She proudly displays the ring.

			FRANK
	Can you go there with us now? Me
	and Karl. We could just hang out.
	Karl has some cool books.

			KAREN
	Frank, I just like you as a friend.
	Only at the secret place. Okay? I
	can't go there now. I'll see you
	later.

			FRANK
	But maybe just for awhile --

			KAREN
	I'm closing the door now. I told
	you, I'll see you later.

She closes the door. They stand therefor a moment, then walk
away down the sidewalk.

			FRANK
	She said she'd see me later. That's
	kinda good, right?

			KARL
	I reckon.

EXT. WHEATLEY HOUSE - DAY

Frank and Karl walk up the steps to the house. Frank opens
the door and they enter.

INT. HOUSE - DAY

As Frank and Karl enter, they see Doyle sitting on a
footstool facing Linda who's in a chair. Doyle is holding
both her hands and talking very softly to her. He sees the
guys and looks up.

			DOYLE
	Well, I'll be damned, there's the
	boys. I'm glad y'all came in. I
	wanted to talk to y'all, too. I was
	just tellin' Linda here -- Oh hell,
	I'll just start over, set down you
	boys.

They do, on the couch.

			DOYLE (CONT'D)
	Well, what it is is, I just, well I
	took off work early today and your
	mama was good enough to do the same
	so we could talk. I guess you'd say
	I'm really here to apologize, which
	ain't easy for me to do, about the
	way I acted the other night. I was
	just drunk and kinda got a little
	too worked up and one thing led to
	another. I care about y'all a lot,
	I do. I don't mean to be so damned,
	assholish I guess the word would
	be. Now Karl, I don't believe I hit
	you, did I? So no apology needed
	there I guess, but Frank, I'm
	sorry. I'm sorry I hit your mama.
	I'm just jealous of her. I don't
	like her life or the way she runs
	it. I don't like homosexuals and
	she buddies with one. I don't like
	little wimpy ass kids or fuckin'
	mental retards and she's got one of
	each livin' with her.
		(laughs)
	I was just kiddin'. But really I
	guess people need to get along even
	if they have differences.
		(pause)
	You see, I work construction. I
	build things. Do you realize how
	important that is to the world. I
	have a lot of pressure on me. The
	upshot is, I'm gonna spend a lot
	more time over here and we're gonna
	get along. Like a family should.
		(to Linda)
	I may even surprise you one day and
	pop the question.
		(he gets up)
	Well, I'm goin' back to work. I
	just wanted to give y'all some
	little piece of happiness today.
		(kisses Linda)
	See you tonight honey. Karl. Be a
	good boy, Frank.

He leaves.

			LINDA
	Well, at least he's tryin'. But who
	knows for how long.

			FRANK
	He's lyin' Mama. He ain't gonna do
	better.

			LINDA
	I know honey. Just remember what I
	said, we'll bide our time. You just
	steer clear of him as much as you
	can. Doyle's had a real hard life.
	It's just about run him crazy I
	think.

			FRANK
	We've had a real hard life, too,
	Mama.

Linda moves to the couch and puts her arms around Frank.

			LINDA
	You're a hell of a boy, Frank.
	Someday you're gonna get all the
	good things you deserve. And Karl
	here's gonna get some more biscuits
	tonight. What do you think about
	that?

			KARL
	I could shore use some. Thank ye.

INT. SHOP - DAY

Karl is cleaning some parts in a bucket of gasoline. Bill
comes to the door.

			BILL
	Hey there Karl, can you come unload
	a generator for me?

Karl wipes his hands on a shop towel and starts outside.

EXT. PARKING LOT - DAY

A MAN and a TEENAGE BOY stand by a pickup truck. A small
generator is on the tailgate.

			BILL
	Karl, lift this thing down and
	carry it to the back. It's on the
	blink.
		(to man as Karl unloads
		 it)
	We'll have it for you in a day or
	two, Walter.

			WALTER
	Y'ont us to he'p you there liftin'
	that?

			BILL
	Oh no, that dang Karl can lift a
	bulldozier. Fix anything, too.
		(confidentially)
	He's mentally retarded, but he's a
	whiz on small engines. Lord works
	in mysterious ways.

Karl carries the generator toward the shop. He turns and
watches the man and boy talking and laughing with Bill. The
man playfully puts an arm around his son's neck and tousles
his hair.

			WALTER
	Hell, he didn't just make the team,
	Coach says he's probably gonna
	start at end on defense. He's a
	chip off the old block. Ain't you,
	Steve?

			STEVE
	I guess so.

Karl turns and goes in the shop.

INT. WHEATLEY GARAGE - DAY

Karl is on his cot reading a book. Frank comes in. He looks
very depressed. He sits beside Karl.

			FRANK
	What you readin'?

			KARL
	Readin' on this book on how to work
	carpentry. I aim to learn how to
	build things out of wood one of
	these times. I've always been
	partial to wood buildin's and
	cabinets and whatnot. These
	drawin's they got here don't make
	no sense to me so far.
		(he looks directly at
		 Frank, which he seldom
		 does)
	You seem like yore tails a'draggin'
	a might. You got somethin' wrong
	with ye?

			FRANK
	Seems like Doyle's wormed his way
	back in. Mama said he's stayin'
	over tonight and he's talkin' about
	movin' in for good. We ain't ever
	gonna be happy. We'll always be
	nervous, won't we Karl?

			KARL
	I don't reckon I know. I ain't
	found no way yet and I'm three or
	four times as old as you. Might be
	that's just the way folks is.

			FRANK
	I feel sad about Karen Cross, too.
	I just make like to myself she
	loves me. I know better, though. It
	just feels good to me when I
	imagine it.

			KARL
	Make believin' always made me feel
	good too from time to time.

They sit in silence for a moment.

			KARL (CONT'D)
	Bill Cox is goin' to a funeral for
	a Mister Turner tomorrow and a
	closin' up shop early.

			FRANK
	Is that right?

			KARL
	I'll play ball with ye. I reckon if
	neither one of us is no count it
	won't make no difference.

			FRANK
	You will? For sure?

			KARL
	Yeah.

			FRANK
	We'll be on teams, me and you?

			KARL
	Yessir.

EXT. JUNIOR HIGH FOOTBALL FIELD - DAY

It's the practice field, so it's not very well kept. Karl,
Frank, and two other boys around Frank's age are huddled up.
Four boys are lined on defense. They break the huddle and
come to the line. They are on about the fifty-yard line.
Frank hikes the ball to one of the boys. He later als it to
Karl who stands there for a minute as the defenders run
toward him. Then he takes off like the wind. He runs funny,
kind of humped over and pigeon-toed, but fast. All the others
are chasing him. Two of the other team's boys catch him on
about the fifteen-yard line, but he drags them along. Karl
sees Frank out of the corner of his eye and tosses him the
ball just as Karl bites the dirt. Frank goes into the end
zone untouched. There are cheers from Frank and the other
boys. Frank runs over to Karl who's still on the ground.

			FRANK
	Way to go, Karl. We got a
	touchdown. That was a good lateral,
	man. That was just like the
	Wishbone.

			KARL
	I dern near had me a touchdown till
	them boys got a-hold of me there so
	I figured I better give it off to
	you. I seen you over there
	follerin' me.

			FRANK
	We're liable to win if we keep this
	up. For somebody like you, you sure
	run fast.

He grabs Karl by the hands and helps pull him up.

			FRANK (CONT'D)
	Come on, let's kick off to 'em.

EXT. SIDEWALK - DAY

Karl and Frank, dirt, grass stains and all, walk toward home.

			FRANK
	I know you could of scored them
	three touchdowns by yourself
	instead of throwing 'em over to me.

			KARL
	Them boys was tryin' to pull me
	down pretty hard.

			FRANK
	You're strong though. You let me
	make them touchdowns so I'd feel
	good. My daddy used to do that kind
	of thing.

They walk in silence for a moment.

			FRANK (CONT'D)
	It don't matter to me about us
	losin' does it to you?

			KARL
	No sir.

			FRANK
	It was fun, anyhow.

			KARL
	I wadn't thinkin' about nothin'
	else just like you told me I'd do.

			FRANK
	Can we play ever' Saturday?

			KARL
	If I ain't too stove up. I ain't
	like you. I'm old and give out.
		(pause)
	I'm proud of ye.

INT. GARAGE - DAY

Karl sits on his bed rubbing his hands together, deep in
thought.

EXT. STREET - DAY

Karl is walking down the street past rundown houses. He comes
to an old gray woodframe house. It is in bad repair, the
paint is peeling, the yard is grown up. There is an old
wooden shed in the back yard. He stands looking at it for a
moment then walks through the yard and opens the door to the
shed. He's motionless for a moment, then goes inside.

INT. SHED - DAY

Sunlight comes through the cracks in the wood. The shed has
nothing but dirt for a floor. A few tall patches of grass
shoot up between boxes and rusty lawnmowers. A few old garden
tools hang on the wall. In the center is a low circular spot
in the ground and a few tattered shreds of an old quilt.
Karl stands looking at the hole for a moment, then turns and
walks out of the shed.

EXT. YARD - DAY

Karl walks across the yard to the house.

INT. SCREENED-IN PORCH - DAY

Karl goes onto the screened-in porch, looks through the
kitchen window and goes inside.

INT. KITCHEN - DAY

The place is a mess. Dirty dishes are piled in the sink and
on the table. It's not just clutter, but filth everywhere.

INT. LIVING ROOM - DAY

Karl walks into an equally filthy living room where an OLD
MAN in overalls sits slumped in a chair looking at his lap.
Karl stands facing him for several moments.

			KARL
	I'm ye boy.

			OLD MAN
	I ain't got no boy.

			KARL
	I'm ye oldest boy name Karl.

			OLD MAN
	I ain't got no boy.

			KARL
	They turned me aloose from the
	nervous hospital. Said I was well.

No response.

			KARL (CONT'D)
	I got hired to work for a Mr. Cox
	fixin' lawnmowers and whatnot.

No response.

			KARL (CONT'D)
	That grass out in the yard's all
	growed up. I figured I might cut it
	fer ye.

			OLD MAN
	I told you, I ain't got no boy, now
	get on out from here and let me be.

Long silence.

			KARL
	I learned to read some. I've read
	on the Bible quite a bit. I don't
	understand all of it, but I believe
	I understand a good deal of it.
	Them stories Mama and you told me
	ain't in there. You ort not to of
	done that to ye boy.
		(pause)
	I've studied on killin' you. But I
	don't reckon they's no reason fer
	it if all you're gonna do is set
	there in that chair. You'll be dead
	soon enough I reckon and the
	world'll be shut of ye.
		(Karl walks toward the
		 kitchen and turns back to
		 the old man)
	You ort not to of killed my
	brother. He ort to have had a
	chance to grow up. Sometimes he
	would of had fun.

EXT. YARD

Karl walks out of the house and across the yard to a hedge in
the corner and kneels down. He pushes some grass aside to
reveal a rock about afoot tall and afoot across. In front of
it, the ground is raised a little. He stares at the rock for
a moment and touches it.

			KARL
	Little feller.

EXT. A LARGE OLD WOODEN SLAT BRIDGE - DUSK

Karl stands on the side of the bridge looking into the river
below.

INT. WHEATLEY HOUSE - NIGHT

All the lights are out. We see a shot of Frank in his bed
asleep, but tossing and turning. Then a shot of Linda in bed
staring at the ceiling and Doyle beside her snoring.
Suddenly, the lights come on and Linda lets out a little yelp
and sits up, which wakes up Doyle and he sits up with a
start. From their P.O.V. we see Karl standing in the door
holding a hammer.

			DOYLE
	What in the goddamn hell are you
	doin'? It's the middle of the
	night.

			LINDA
	What do you want, hun?

			KARL
	I want to be baptized.

			DOYLE
	Baptized? Well, get baptized then.
	I don't give a shit. Call a fuckin'
	preacher, goddamnit! I can't
	baptize you.

			LINDA
	We'll go to church and get you
	baptized, tomorrow's Sunday. You go
	on back to bed.

			DOYLE
	What are you doin' with that damn
	hammer?

			KARL
	I don't rightly know. I just kindly
	woke up a-holdin' it.

INT. CHURCH - DAY

We see a shot of Frank and Linda and Vaughan in a church pew.
The church is pretty full. From their P.O.V. we seek Karl in
a robe standing in the baptismal tank. The preacher takes
Karl and dunks him under the water and brings him back up.

INT. WHEATLEY LIVING ROOM - DAY

Doyle is in his favorite chair as Linda, Frank, and Karl come
through the front door.

			DOYLE
	How'd your baptizin' go?

			LINDA
	It went real good.

			DOYLE
	Well, that's good. It's about time
	to eat and you know what I'm
	cravin'? Some of that take out
	chicken. Why don't you run get some
	of it, honey, for lunch?

			LINDA
		(to Frank and Karl)
	Would y'all like that?

			FRANK
	Yeah, I guess.

			KARL
	Yes ma'am. I like a fried chicken
	leg.

			LINDA
	All right, y'all gonna go with me?

			DOYLE
	Naw, hell, let them stay here with
	me and do men things. There might
	be some kind of ball game on we can
	watch. You go on.

			LINDA
	I'll be back in a little bit then.

She leaves and Doyle walks up to Karl and Frank.

			DOYLE
	I really just wanted to git your
	mama out of the house for a minute
	so we can have a talk. Y'all set
	down.

They sit on the couch and Doyle kneels in front of them.

			DOYLE
	Now here's the deal. Now that I'm
	gonna throw my entire life away
	doin' what I want to come live here
	with y'all, we have to get a few
	things straight. See, Frank, me and
	you mama wouldn't have any problems
	if it wadn't for you. We'd never
	have a bad word between us. But
	since you do exist, if I'm gonna be
	here as the head of the household,
	we'll have to live by my rules.
	And my rules are you don't speak
	unless you're spoken to. Stay out
	of my way and do what a regular kid
	does. You're a weird little shit. I
	don't get you. So wake up. Face
	what they call reality. We're gonna
	be a family now. And it's my
	family. I'll be payin' the bills so
	you got me. But I ain't your daddy.
	You just treat me like I am. I'm
	the boss, okay. And the other thing
	is your friend Karl has to go. We
	can't have a normal family with him
	livin' in the garage and comin' in
	the bedroom at four in the mornin'
	with hammers and shit. See?

			FRANK
	Karl can stay if he wants to. Mama
	said --

Doyle slaps him across the face and Karl grabs Doyle's arm.
Doyle shakes him off.

			KARL
	Don't hit that boy no more.

			DOYLE
	You shut up you, fuckin' retard.
	Get your shit and get out of here.
		(to Frank)
	That was a wake-up slap, Frank.
	Remember. Reality, like I said.
	Don't forget any bit of what I said
	to you and we'll be fine.

Frank jumps up and runs from the house and Doyle sits back in
his chair and pops a beer. Karl gets up and goes to the
garage.

INT. GARAGE - DAY

Karl ties his books up with his strap and gets a bag from his
bed and leaves.

EXT. DRIVEWAY - DAY

Karl is walking away as Linda pulls up in her car and gets
out with fast-food bags.

			LINDA
	Where are you goin', Karl? Didn't
	you want some chicken and things?

			KARL
	No ma'am. I'm a'goin' off sommers.

			LINDA
	Well, okay. I got you some.

			KARL
	Frank, he went off, too. He ain't
	gonna be in there when you get
	indoors.

			LINDA
	Where'd he go? What's goin' on?

			KARL
	He wanted to go off and play, I
	reckon.
		(pause)
	You go in there and you and that
	Doyle eat ye dinner. You don't have
	to worry yourself none.

			LINDA
	All right then. Well, I'll see you
	later. If you see Frank, tell him
	to come on back home. I don't get
	to see him all day except Sundays.
	He can play tomorrow.

			KARL
	Ma'am?

			LINDA
	Yeah.

			KARL
	You're a good mama to that boy. You
	care for him. You work hard fer him
	to take care of him. You light him
	up in his eyes, I've seen it. He
	wouldn't know what to do without
	ye.

			LINDA
	Well thank you, hun. That's real
	good of you to say. I wouldn't know
	what to do without him either.

			KARL
	You've been real good to me, too.
	It ain't ever'body that'd make
	biscuits in the middle of the
	night. You and that boy has give me
	a good feelin'.

			LINDA
	We sure like havin' you.

			KARL
	Thank ye.
		(Karl walks away, then
		 turns)
	I'm just getting around to tellin'
	you, but I fixed your warshin'
	machine.

EXT. SECRET PLACE - DAY

Frank is on the ground digging a trench in the dirt with a
stick. He hears footsteps in the leaves and looks up and sees
Karl coming toward him.

			FRANK
	Hey, Karl. How'd you know to come
	out here?

			KARL
	I knowed you'd be here.
		(Karl sits on the stump)
	What are you a-doin' digging with
	that stob?

			FRANK
	Just diggin'.
		(pause)
	I ain't ever gonna be happy now.
	Not with that son of a bitch movin'
	in for good. I wish me and you and
	Mama could just run away. But she
	said he would find us wherever we
	went. He's crazy. Sometimes I think
	it would of been better if I wadn't
	ever born.

			KARL
	I'm glad of it you was borned.
		(pause)
	I reckon I ain't gonna be there in
	the garage no more.

			FRANK
	You have to Karl. You have to look
	out for me. You don't let that son
	of a bitch run you off.

			KARL
	You're just a boy. You ort not to
	use that sort of language.

			FRANK
	Karl, I ain't tryin' to say nothin'
	bad about you, but why don't you
	stop Doyle when he gets that away?
	You're older than him. You're
	strong, too. My daddy wouldn't let
	him do that to me and Mama.

			KARL
	That feller's a whole sight meaner
	than me. He'd just whup the tar out
	of me.

			FRANK
	Yeah, I guess so. I'm real tired,
	you know that. A kid my age
	shouldn't be tired of things.

			KARL
	I'm tired, too, Frank.
		(pause)
	If I ain't around no more, it don't
	mean I don't care fer ye. I care
	for ye a good deal. I care for you
	more than anybody they is. We made
	friends right off the bat.

			FRANK
	I care for you, too. But you'll be
	around, don't say that.

			KARL
	Hit don't make no difference where
	I was to be. We'll always be
	friends. There ain't no way to stop
	that.
		(pause)
	I aim for you to have these books.

He hands him the books.

			KARL
	Maybe you can make more sense out
	of them than I can.
	I made you a little old book marker
	and stuck it in that book on
	Christmas.

			FRANK
	You don't want to give away all
	your books.

			KARL
	I aim fer you to have 'em.

			FRANK
	Man. Thanks.
		(pause)
	You know when you get a feelin' and
	you don't know why?

			KARL
	Yes sir.

			FRANK
	I've got a feelin' today.

			KARL
	Reckon what kind of a feelin'?

			FRANK
	Like something different. I don't
	know.
		(pause)
	You're leavin' ain't you, Karl?

			KARL
	Will ye do somethin' for me if I
	ast you to?

			FRANK
	You know I would. Whatever you
	want.

			KARL
	Don't go home tonight and stay with
	that Doyle. He's got it in for ye
	tonight. I got me a feelin', too.
	Feels like to me you ort not be
	there in that house with him
	liquored up and mean. Ye mama
	neither. When you get up from here,
	I want you to go to that feller's
	house. Your mama's friend. I want
	you to give me your word on it.

			FRANK
	Okay. I give you my word. Is
	ever'thing gonna be okay? Are you
	all right?

			KARL
	Ever'thing's okay, boy. I kindly
	want to put my arm around ye for a
	minute and then I'm gonna go on and
	leave here.

			FRANK
	Okay.

Karl lays his arm on Frank's shoulder and Frank puts his hand
on Karl's arm. They sit like that for a few moments, then
Karl gets up with his paper sack and walks away. Frank takes
the book marker out of the Christmas book. It is just a
folded piece of notebook paper. On it is written 'You will be
happy.' He looks up at Karl who is now thirty yards away in
the trees.

			FRANK (CONT'D)
	Karl!

Karl turns around and he and Frank stare at each other
through the trees.

EXT. VAUGHAN'S HOUSE - DAY

Karl knocks on the door. After a moment, Vaughan answers in a
pair of big shorts and a sweatshirt.

			VAUGHAN
	Karl, what are you doing here? Come
	in.

			KARL
	I ain't a-stayin'. I need to ast
	you fer a favor.

			VAUGHAN
	Okay.

			KARL
	This evenin' I want you to go get
	Mizz Wheatley and that Frank and
	have them stay with you tonight.

			VAUGHAN
	What's wrong? Is everything okay?

			KARL
	That dern Doyle is in a bad way
	again with that drinkin' and bein'
	mean to folks. Will you give me
	your word you'll do it?

			VAUGHAN
	Well, sure, okay. He hasn't hurt
	them, has he?

			KARL
	Naw, not yet.
		(hands the bag to Vaughan)
	I want ye to give this to Mizz
	Wheatley. Hit ain't much, but maybe
	there's a little somethin' to hep
	out. Hits what I've earned fixin'
	lawnmowers and whatnot fer Bill
	Cox.

Vaughan takes the bag.

			VAUGHAN
	What about you, Karl? Do you want
	to stay here?

			KARL
	I don't reckon you have to go with
	women to be a daddy to a boy.
		(pause)
	You've been real square dealin'
	with me. The Bible says two men ort
	not lay together. But I'll bet you
	the Good Lord wouldn't send nobody
	like you to Hades. Some folks calls
	it Hell, I call it Hades.
		(Karl starts away)
	That boy lives inside of his own
	heart. Hits an awful big place. You
	take care of that boy.

Vaughan watches Karl walk away.

EXT. BUS STATION - NIGHT

Karl stares at the bus station door.

EXT. WHEATLEY HOUSE - NIGHT

Karl stares at the house from the sidewalk.

EXT. OLD WOODS BRIDGE - NIGHT

Karl stares into the river.

INT. COX'S SHOP - NIGHT

Karl has a lawnmower blade sharpening it on a grinding wheel.

EXT. WHEATLEY HOUSE - NIGHT

Karl carrying the blade walks onto the porch and enters the
living room.

INT. LIVING ROOM - NIGHT

Doyle is in his chair drinking beer and watching TV. He looks
up as Karl comes around and sits on the sofa.

			DOYLE
	Where's ever'body else? You seen
	'em?
		(no response)
	I thought I told you to get the
	hell moved out of here anyway.

			KARL
	How does a feller go about gettin'
	ahold of the police?

			DOYLE (CONT'D)
	Pick up the fuckin' phone and call
	'em, I guess.

			KARL
	What numbers do you punch?

			DOYLE
	I told you to get away from here,
	didn't I? I'm tryin' to relax and
	look at TV.
		(notices blade)
	What are you doin' with that piece
	of iron? I swear to God you're the
	weirdest son of a bitch I ever
	heard of.

			KARL
	I aim to kill you with it.

Doyle keeps drinking and watching TV.

			DOYLE
	Yeah, okay. Well, to get the police
	you push 911. You'll need to tell
	'em to send an ambulance, too. Or a
	hearse. You fuckin' idiot. You're
	gonna kill me.
		(laughs)

Karl gets up and walks slowly toward Doyle out of frame. We
see the flickering light of the TV on the wall. O.S. we hear
one short dull thud.

			DOYLE (O.S.)
	Oh God! Oh God!

We hear one more thud, then the sound of Doyle's body hitting
the floor. Karl appears in frame again and we follow him to
the kitchen where he picks up the wall phone. He stares at it
for a moment, then pushes 911. He has a few specks of blood
on his face, hand and shirt.

			KARL
		(into phone)
	Yes ma'am. I need the police over
	here at the Wheatley house.
		(pause)
	I've killed somebody with a mower
	blade.
		(pause)
	Yes ma'am, I'm right sure of it. I
	hit him two good whacks. That
	second time just plumb near cut his
	head in two.
		(pause)
	Hits a little old yeller house
	right on the corner of Marigold
	Street and some other street.
	They's a red pickup truck out front
	says DOYLE HARGRAVES CONSTRUCTION
	on it. I'll be a settin' here
	waitin' on ye. Beside sendin' the
	police, Doyle said you might want
	to send a ambulance or a hearse.
	Thank ye.

He hangs up and goes to the refrigerator and takes out a jar
of mustard. He gets a knife out of the drawer and sits at the
kitchen table and pulls back a table cloth that is covering
up some leftovers. He picks up a biscuit and opens the
mustard jar and runs the knife around it.
There's hardly any mustard in it. He dabs a little on the
biscuit and takes a bite and relaxes to wait for the law.

						CUT TO:

CLOSE UP OF CHARLES THE NUT CASE

He's in the middle of one of his sick monologues. We pull
back and see we're in the recreation room of the hospital
again with Karl in his usual chair listening to Charles. Karl
is now wearing the hospital issue clothing.

			CHARLES
	... on the third day I washed her.
	She wasn't very clean. I got all
	the right spots. She was the first
	one I ever kept for any length of
	time, you see I get bored easily, I
	have a short attention span. I
	can't say she enjoyed her stay,
	although the washcloth in her mouth
	held in place by good duct tape
	kept any complaints to a minimum. I
	don't really like people who talk a
	lot. I like to do the talking. I
	guess that's why I'm so fond of
	you. You're so easygoing, although
	I do sense a little tension in you
	sometimes. By the way, how was it
	out there? Did you have any fun?
	Make any new acquaintances? Tell me
	what it was like.

			KARL
	They was a boy. We made friends.

			CHARLES
	I bet you did. I was never bent
	that way. I'm bent the other way.
	So, you liked it out there in the
	world.

			KARL
	It's too big.

			CHARLES
	Well, it's not too big in here, is
	it?
		(pause)
	I feel very generous today. I feel
	like listening. I'm sure you have
	plenty to tell me. And please bore
	me with the details.
		(long pause) )
	Come on Karl, who did you kill? Was
	it the boy?

			KARL
	Don't say nothin' about that boy.

Karl looks him right in the eye for the first time ever.

			KARL
	Fact the bidness, don't you say
	another word to me. I ain't
	listenin' to you no more.

Karl gets up and goes to the window and looks out at the
grass that separates him from the next building. He stares
out the window, as we:

						FADE OUT.

			      THE END