Created by Sailorboy

Screenplay version by C van D

Part 7: Joel’s life on Vardaman Plantations

Scene 1: Outside a church.

Joel and his friend Agnes come down the church steps, walking slowly. Both are in their Sunday best. Agnes is in the middle of an intriguing story.

Agnes. So you see, Joel, it’s all over the papers, in the North! You know I wrote to the Washington Post , well, they ran the story of a white boy being sold as a slave – meaning, of course, you! – and then other papers took it up. The latest thing is that the Bishop of Kentucky has got interested in the case and has asked the Archbishop of New Orleans to investigate. Don’t you see, Joel - you could soon be free!

Joel To be free again – oh, Agnes! I daren’t think about it! (His eyes fill with tears. The camera pans from one to the other. Agnes is crying too)

FADE OUT.

Scene 2. An office in the Abbey precincts.

Enter, together, Bishop Marelli, Father Greenwood, and a millionaire plantation owner, Mr William V Vardaman. The priest and the Bishop are dressed in white soutanes, the Bishop’s rank denoted by his purple sash. Mr Vardaman wears the full outfit of a Southern planter, complete with string bow tie and broad brimmed hat. He carries a walking cane with a golden knob.

Mr Vardaman Well now, gentlemen, as I need to get home some time today, where’s this boy you told me about?

Father G. Waiting for us, I hope. (Raising his voice) Come along in, Joel!

(Enter Joel, barefoot, wearing a homespun shirt and cotton trousers halfway down his shins)

Mr V. H’m! Bit small for my liking. Still. Let’s have a good look at you, boy! Take all your clothes off. (Joel hesitates)

Father G/ Come on, Joel, don’t be shy. Mr Vardaman is a busy man.

(Joel strips off. Mr Vardaman walks all round him. He prods him in various places, and makes him open his mouth. The camera zooms in on the boy’s gelded genitals – his tiny, rosebud penis, and dried-up scrotum.)

Mr V. Well, he’s sound in wind and limb, I’ll say that- but one thing’s for sure! I won’t be using this boy to breed from! Do you castrate all your choirboys, Bishop?

Bishop No, not all. But when Joel came to us, we found he had a very sweet soprano voice – quite exceptional. It would have been a sin to let it go to waste so I had him castrated right away to preserve it. Why, don’t you approve ?

Mr V. I don’t have it done on my plantation, I don’t believe in it. . But I know other plantation owners who often get a man in to castrate young boys if they are getting uppity. They say it quietens them down and makes them stronger for work. But enough talking , I’ve not got all day – I’ve ten thousand acres of cotton waiting! Let’s get the papers signed. (Raising his voice) Banks! Banks! Where has that man gotten to?

(Enter Mr Vardaman’s confidential clerk, Banks, dressed in sober black, with a sheaf of papers in his hand)

Mr V. Oh there you are, Banks! Have you got the Bill of Sale?

Banks It’s right here, Mr Vardaman, sir.

Mr V. Good. Well, Bishop, I daresay you’d like to run through this draft. I’ve pencilled in $800, which is the price we agreed on, yes? But I hope you are open to negotiation?

Bishop. Certainly. Come into my study.

Mr V (over his shoulder, to Joel) Boy, go get your belongings. Not too much, mind. I run a plantation, not a hotel.

(The Bishop and Mr Vardaman go out).

Scene 3. In the Abbey main gateway, a short time later. Joel is speaking to Father Greenwood. His possessions, a very small bundle, are at his feet.

Joel I don’t understand, Father! How can the Bishop sell me to this man?

Father G. He has every right to, you darling boy. You are his property. The Church bought you when you first became a slave.

Joel But supposing – just supposing, someone was trying to set me free, just now?

Father G. Then the Bishop would have all the more reason to sell you, to make you more difficult to trace. But you will keep this a secret, won’t you, darling boy? You see, I’m being moved on, right away from here, and I don’t want any trouble with the Bishop.

Joel. So I won’t be seeing you again.

Father G (mistaking Joel’s meaning) But I shall be thinking about you, dear darling boy. I’ll never forget you! Say you’ll never forget me – and the happy times we’ve had here!

Joel looks the priest up and down. He says nothing, but we know what he is thinking.

Oh, I won’t forget, Father. How you had me castrated, so that I can never be a man, and now girls think I’m some sort of freak. How you’ve had me flogged for things I never did; How you’re getting rid of me so I can’t embarrass His Lordship, the Bishop. Some “holy father, I must say! And you! You only call me “darling boy” because you want my ass! No, I won’t forget.

(Ignoring the priest’s outstretched hand, Joel swings his bundle on to his shoulder and marches out.)

Scene 4. The main gateway of Mr Vardaman’s plantation “Rose Oak”. There is a small log cabin by the gate, and big shady trees. Enter Mr Vardaman driving a smart 2-wheeled buggy. Joel follows behind on foot. It is some hours since we saw Joel last and he is near exhaustion.

Mr V. Here, you, boy! Ring that bell!

(Joel does so. From the cabin an aged black man shuffles out. He is toothless and nearly blind).

Mr V. Rastus, hurry up!

Rastus Is that yo’, Mas’ Vardaman, sir?

Mr V. Of course it’s me, you silly old fool! Send someone up to the house, at once, and tell them I’m back. And I want a mint julep, with lots of ice – I’m parched. And then take this boy to the slave lines and hand him over.

Rastus. Sure t’ing, Mas’ Vardaman, sure t’ing!

Mr V. And you, boy, just listen. Round here there’s only one thing for you to do. OBEY! OBEY! OBEY! (He thumps the handle of his whip on the dashboard to emphasize the words.) If you keep hold of that idea you’ll be fairly treated. If not, you’ll be whipped. I often go round the cotton fields myself, so I shall know. That’s all. Open the gate, Rastus! (He drives in).

Rastus. Come along with me, young fella.

Joel Is it far, to the slave lines?

Rastus. It’s way, way ‘cross the Mississippi River. But tonight yo’ll stay with ol’ Rastus and get some rest – so just yo’ come ‘long in. (He leads Joel into his tiny cabin).

Scene 5. The slave lines. Joel has entered one of the cabins. It is bare but clean. There are shelf-like bunks for six boys.

Joel (to himself) I don’t like the look of this – it’ll be terribly crowded, sharing with five others.

(Enter Rufus. He is a good-looking black boy, a little older than Joel, and well-muscled).

Rufus. No, it won’t, because there will only be you and me, and that’ll make it real cosy! What’s your name?

Joel. I’m called Joel. I come from Kentucky.

Rufus. (looking him up and down) That’s a nice name. But say, your face and hair – it’s like a girl’s! And you’ve a girl’s voice too! Say………

Joel (interrupting) That’s because I’m not a boy – not entirely. I’m a castrato.

Rufus What’s one of those?

Joel I used to be a choirboy at the cathedral. They had me castrated so that my voice wouldn’t change. The way it’s done, they crushed the cords of my balls with a tool called a burdizzo, and my balls dried up.

Rufus (open-mouthed) They did THAT to you?

Joel It was the worst time of my life. At first I thought I’d die of a broken heart, quite apart from the pain, knowing I could never get a hard-on, and I would never be able to fuck girls. I’ve got used to it now, even though never a day goes by without my remembering I can’t do anything.

Rufus Say, that’s terrible! But there sure is one thing you can do. Talking about this is making me horny! You can suck me off!

Joel You want that?

Rufus I want that real bad!

Joel. Okay then.

(Rufus drops his trousers, revealing a 6-inch rigid erection. Joel rolls the black boy’s foreskin back and takes the knob in his mouth. In a very short while Rufus climaxes. Joel spits out his semen on to the earth floor.)

Rufus (pulling up his trousers) Gee, that felt so good! How was it for you?

Joel I didn’t feel anything, but then I never do – not since losing my balls.

Rufus. Well, I guess that’s too bad. But hey – we mustn’t hang about. Let’s go pick some cotton. (They go out).

Scene 6. In the cabin, later the same day.

Rufus. Say, Joel, will you let me see you – without your clothes on?

Joel If you like. (He strips off his shirt and trousers and stands up straight.

Rufus (whose eyes are popping out of his head) Oh Joel! That tiny little dick- it’s so cute and pretty – like a rosebud! You must have had the sweetest little balls before you had them taken out. Turn around (Joel turns around) You’ve a real nice bubble-butt! But you’re making me want to do something! I want to (lowering his voice) fuck your ass!

Joel Well, that’s alright if that’s what you want – you’re a good-looking guy too! Only you must get some lubrication – I’m not doing it without, it hurts too much.

Rufus. Okay! (He hurries out, returning almost at once with a bowl of some greasy substance)

Rufus I think this is lard – I found it in the kitchen.

Joel. That will do. (He strips off his trousers)

Rufus (drooling) Bend over. (Rufus applies lard between Joel’s buttocks, and to the length of his stiffly-erect penis.)

Rufus. Here goes – I’m going to put it in you. (He begins to slide his penis into the golden-haired boy’s rectum.)

FADE OUT to the sound of Rufus groaning out loud with sex pleasure.

INTERLUDE

Several weeks follow, in this narrative, during which time Joel works in the cotton-fields on Rose Oak plantation. To give the impression of time passing, the screen shows a succession of images, without dialogue.

We see Joel picking cotton, hoeing between the rows, watering young plants. From time to time Mr Vardaman rides by on his gray thoroughbred, pausing to watch Joel at work.

In between these images there are scenes of the growing relationship between Joel and Rufus: the black boy kissing Joel’s face and neck, and spreading Joel’s buttocks, to put his penis up his bottom.

…..oOo…..

Scene 6. A few weeks later. The scene is the assembly area where all the slaves gather each morning to be assigned to their work for that day. Joel is conspicuous, with his golden hair and fair complexion. Present also is Baines, the overseer, a hulking brute of a man. He wears a shirt, breeches, a shapeless felt hat, and heavy working boots. His long stockwhip is tucked under his arm.

Baines. Quiet now! Absolute silence! Now hear me and hear me good! Now the year’s harvest is over. You’ve seen the last loads go down to the levée. But that doesn’t mean you can slack off and laze around – no, sir! There’s plenty work to do and I mean, plenty! I’m going to divide you up into working parties. First party will be you, you and you….

A voice Stop a minute!

(A man rides on to the scene. Despite the hot sultry morning he is smartly dressed in black, with a slouch hat. This is Samuel Gordon, Mr Vardaman’s estate-manager and accountant.)

Baines, Why, Mr Gordon, good morning, sir!

Gordon Baines, have you a boy here – a boy called Joe?

Baines. Soon find him, sir, if he’s here. (Some of the slaves snigger). (Shouting out) Joe! Joe!

(Joel timidly steps forward).

Gordon Are you Joe?

Joel Sir, I’m called Joel, please, sir.

Gordon (thoughtfully) Joel, eh! Well now, Joel. Mr Vardaman has the idea that you know how to read and write. Is that so?

Joel. Yes, sir, a little, sir.

Gordon. Well, I’m going to borrow you from Mr Baines and see what you’re capable of. Come along now.

(The camera follows Joel and Mr Gordon into a hut that serves as a site-office for this part of the plantation. Gordon sits Joel down at a table where there is a pile of paper, an inkwell and a pen).

Gordon. Now Joel, this big book is called a ledger. I want you to copy out all of this first page, and if you can, to add up the column of figures on the right. Can you do that?

Joel I’ll try, sir.

(Joel starts writing. The camera fades out, then fades in again, suggesting a short time has passed. Joel has put his pen down and is sitting quite still)

Gordon. Having problems, Joel? (To himself, with a sigh) I thought it was too good to be true. Let’s have a look.

(The camera focuses on Joel’s copy. It is beautifully done and the addition is correct).

Gordon. Good God! (Pulls himself together) That’s very good, Joel – very good! Now listen – there’s a job I have to do. It’s called “Taking the annual inventory”. I have to list all the equipment, all the stores and materials, all the livestock, and then I have to value it all, for the year-end accounts. Do you think you could help me with that?

Joel Yes, sir, I should like to help you.

Gordon. Right, that’s settled then. No more work in the fields for you!

Scene 7. The morning-room in the Vardaman family mansion. This is furnished in the height of mid-Victorian fashion. Every flat surface is loaded with ornaments, every square inch of wall is hung with pictures. Everything is very expensive and lavish.

Mr Gordon and Mr Vardaman are examining the inventory.

Gordon. All the moveable assets are organised under main headings, sir: Slaves, livestock, carriages and wagons and so on. These in turn are subdivided: under “Hand Tools” you find Mattocks, Scythes, Spades, Hoes and all the rest.

Mr V. Yes, I follow. I’m most impressed, Gordon. This is the most thorough annual inventory we’ve ever had. But the text – this isn’t your handwriting.

Gordon. No, sir, it’s not. And I have a surprise for you. (Calling out) Come in, Joel!

(Joel enters, dressed in his usual working clothes)

Mr V. This boy?

Gordon. Yes sir! Joel wrote out the listings, start to finish. The only part he didn’t do is the final valuation, for which, of course, he didn’t have the information.

Mr V. (Turns towards Joel with the pretence of a frown) Boy, I’ve got a bone to pick with you! What’s the meaning of this? (gesturing towards the inventory) Hiding your light under a bushel, eh?

Joel (stammering) Sir – I meant no harm! I only wanted to serve and obey, like I promised, and – and….(he breaks off in confusion)

Mr V. (laughing) It’s quite alright, Joel! In fact the fault’s all mine. I took you for a very ordinary little boy, and I find you’ve got these hidden depths. Tell me, how long did you attend school?

Joel Eight years, sir.

Mr V. (marvelling) Eight years! And you are how old?

Joel Fifteen, sir. Fifteen today (he points at a calendar on the wall)

Mr V. M-mm! This will take some thinking. I need to talk with Mr Gordon about your future. I’m sure you have some jobs to get on with?

Gordon Yes, Joel, go back to the office and carry on with the monthly Statements of Account.

Joel Yes, sir. (He goes out).

Mr V. (to himself) Fifteen years old and he looks about twelve – that’s because of the operation he had. (Turning to Gordon) Eight years at school, Gordon - are you thinking what I’m thinking?

Gordon I know as well as you, sir, that negro slaves do not attend school. That’s a Supreme Coutt ruling, from Chief Justice Taney himself. A slave is not a person but a chattel, and you don’t educate chattels.

Mr V. So?

Gordon Either someone ran a mighty risk, relying on the boy’s fair complexion to pass him off as white, or……

Mr V (interrupting) What do you think that boy really is?

Gordon At first I took him for an exceptionally fair-skinned mulatto. Now, though….

Mr V. Now though, you’re not so sure. Well, I’m a bit further down the road than “not so sure”. I’m beginning to doubt whether there’s a drop of Negro blood in him. And the implications of keeping a white boy as a slave don’t bear thinking about. (He is silent for a few minutes.)

Mr V. (slaps his hand on the table) Gordon, when is the next boat to New Orleans?

Gordon. Tonight at eight-thirty, sir.

Mr V. Get me on it – in fact get all my family on it. First class sleeping cabin for myself and Mrs Vardaman, and my daughters can share another. And a private saloon. I need to speak to my lawyers. Somebody – somebody is going to have to answer a lot of questions. While I’m away you’ll have to hold the fort. Get Joel to give you a hand with the correspondence – he can prepare rough drafts and you can tidy them up. Alright? If there’s anything urgent I’ll telegraph. I’ll see you in about two weeks.

FADE OUT.

Scene 8. As before, a series of vignettes pass across the screen, suggesting the passage of time. Joel is seen in Mr Gordon’s office, working hard; Mr Gordon examining Joel’s work, making suggestions and alterations.

These scenes alternate with glimpses inside the cabin that Joel still shares with Rufus. The negro boy still uses Joel as a passive sex partner, and we are left with the impression that the golden-haired boy is becoming less happy with this relationship.

Scene 9. Two weeks later, in the morning-room of the Vardaman mansion once again. Present are: Mr Vardaman, Mr Gordon, Joel.

Mr V. I’ve had a busy time, Joel! To begin with , I met with Archbishop Blanc of New Orleans – or rather, he got in touch with me first. He’d had an urgent enquiry from the Bishop of Louisville, Missouri - had I heard any rumours about a white boy being sold into slavery about two years ago? The Archbishop had also received a letter from a couple in Tennessee, Daniel and Pamela Barclay. They claimed to be your grandparents, Joel. Do you know them?

Joel, Yes, sir, those are my grandparents’ names alright. But I’ve not seen them for seven or eight years.

Mr V (nodding) I see. Well, the next thing was that the Archbishop asked me whom I’d purchased you from. Straightway I told him “Bishop Marelli, of St Mary’s Cathedral”.

Joel Bishop Marelli!

Mr V. Yes. But when questioned, Bishop Marelli denied that the Cathedral had ever owned any slaves. (He pauses) Someone wasn’t telling the truth and I had to find out who that was. My further enquiries took me to the door of Messrs Franklin and Armistead, who are in business as registered dealers in slaves. They – that is, Mr Franklin himself – showed me from the firm’s records that on a date in 1857 a customer giving his name as Aaron Barclay….

Joel Aaron Barclay? That’s my father’s name!

Mr V. Precisely, Joel – your own father. What did this man do? Listen and I’ll tell you, exactly as Mr Franklin told me. This man offered the dealers a 13- year-old boy for sale, stating that he was of mixed race – a mulatto in fact. Mr Barclay was willing to let the boy go for a low price – no more than $300 – adding that this sum would suffice to cover his gambling debts.

Gordon Good God! The child’s own father! Just to pay gambling debts!

Mr V. Yes, and you haven’t heard the worst. Slave dealers have a legal duty, if they have any doubts about the legality of a purchase or sale, to apply to the Probate Court for a ruling. The sale of a white person into slavery is totally forbidden under Federal law, as I need hardly tell you. The dealers ignored their statutory duty and without wasting time, they sold Joel on to Bishop Marelli at an enormous profit - $785. I’ve seen the office copies of all the sale documents to prove it. The rest, I think, we know.

Gordon So, Joel is white!

Mr V. Yes, he’s white. It needs to be confirmed by a Court of Law but it will be an open-and-shut case, I’m sure. Now, I’m going into town to arrange for a hearing, and meanwhile Joel can move into this house – we are scarcely short of rooms after all - and during the day, Gordon, he can continue to help in the accounts-office. He’ll need to fetch his things - hurry up now, Joel, or you’ll miss the last boat.

Scene 10. Begins with a vignette of the cabin that Joel has been sharing with Rufus in the slave-lines. Joel has just finished making-up his few belongings into a bundle.

Rufus enters and seems to ask Joel a question. Joel shakes his head.

Joel turns to go. Rufus asks him again, with an imploring look on his face. Again Joel shakes his head.

Rufus comes to the cabin door, tears streaming down his face. With a resolute look and no backward glance, Joel strides down the path towards the landing-stage.

The scene now shifts to:

Inside a courthouse, a few days later. Joel is in conversation with Mr Brown and Mr Inghram, lawyers retained by Mr Vardaman to represent Joel. Their dress and appearance are what we might expect of distinguished and prosperous professional men. The jury box is already full of white males in sober black. Joel himself is dressed in reach-me-downs from the Vardaman household, and has shoes on his feet.

Mr Brown. Now Joel, you’ll be asked a lot of questions. Just answer them plainly and in a clear voice – “Yes, sir” or “No, sir”. Alright? (Joel nods)

Mr Inghram, And if His Honour, the Judge, asks you anything, just look him in the face and tell the absolute truth. No harm can come to you if you do that.

(These exchanges are cut short by the appearance of the Court Usher)

Usher All rise!

(Everyone rises to their feet for the entry of the Judge. The Judge wears a black legal gown. He has a severe but wise face, and impressive sideburns)

(The complicated and lengthy proceedings in the Court are conveyed by another series of vignettes that flash across the screen: different people on the witness stand, the faces of the jurymen, snatches of speech. Finally:-

Usher Pray silence for His Honour, the Judge!

Judge Gentlemen of the Jury, this has been one of the most complicated and distressing cases that has ever come before this Court.

You have heard a mass of evidence on a variety of issues. But you must not lose sight of the principal question before you. On the basis of that evidence, Is the appellant, Joel Barclay, a freeborn citizen of this nation? Or is he, as the defendants assert, a slave? On this issue I will ask you to retire and consider your verdict. (Jury rise and shuffle out)

(Fade out, suggesting an interval) and fade in again as the Jury resume their seats)

Mr Brown (to Mr Inghram) Ten minutes only! It’s looking good!

Judge Gentlemen of the Jury, do you find for the appellant, or for the defendants?

Foreman of the Jury For the appellant, Joel Barclay.

Judge And is that the verdict of you all?

Foreman Yes your Honour, it is.

(A buzz of conversation breaks out, which soon turns to cheering. Mr Brown and Mr Inghram seize Joel’s hand with “Congratulations! Congratulations!” Joel’s face is aglow. The camera picks out Mr Vardaman in the seats allotted to the public. He is clearly delighted. )

Usher Silence in court!

Judge. Joel Barclay, the Court confirms you as a freeborn citizen. All transactions and contracts for the purchase and sale of yourself, as a slave, are null and void, and are set aside. You are at liberty to leave this Court whenever you wish. (Buzz of conversation)

Judge. (To the room at large)If there are any more interruptions I shall have the court cleared! (He speaks directly to Joel)

On the other hand there are a number of side issues that concern you to a greater or lesser degree.

Joel Thank you, Your Honour, I should prefer to stay and hear the remainder of the proceedings.

Judge. Very well. Gentlemen of the Jury, we first have to consider the position of Aaron Barclay, the appellant’s father. You have heard how on February 13th 1857, Aaron Barclay sold the appellant – his own son – to the co-defendants Thomas Jabez Franklin and Josiah Armistead, for the sum of $300. Apart from the enormity of the act of selling his own child into slavery, it is a felony, under the law and constitution of this nation, to cause a white person to become a slave, by any means whatsoever.

This Court has not been convened to deal with criminal offences. But here and now, I issue a warrant for the arrest of Aaron Barclay, wherever he may be found. I should say that, if found guilty of the crime I have outlined, he faces a term of imprisonment with hard labour, for five years.

Let us move on to the co-defendants Thomas Jabez Franklin and Josiah Armistead. You have heard how they were misled by Aaron Barclay into believing that the appellant, Joel Barclay, was a child of mixed race – a mulatto. They compounded the felony of Aaron Barclay insofar as they neglected to apply to the Probate Court for a ruling. However, in view of the satisfactory way in which they have co-operated with the State authorities, all charges against them are waived.

Unfortunately I cannot say the same of the Diocese of St Mary, Natchez. Though summoned to testify to this Court they have not seen fit to do so. The Court therefore rules the Diocese of St Mary’s to be in contempt, and orders the arrest of the Head of the Diocese, Bishop Antonio Marelli, to be remanded in custody until the contempt is purged. Let no one suppose that the Church is not answerable to the laws of this land.

I have not finished with the Diocese of St Mary’s. They, like the earlier co-defendants, are guilty of failing to apply to the Probate Court to establish whether the appellant, Joel Barclay, was slave-born or free. And that is not all. Hardly had Joel Barclay – an innocent child of thirteen – come within the power of the Diocese and its clergy, than they subjected him to a shameful and cruel mutilation. Decency forbids that I should elaborate further. For this, the Court orders that the Diocese shall pay a fine of $1,000, which is the heaviest penalty I have the power to bestow. I only wish it could be ten times as much.

That concludes the business of this Court. These proceedings are now closed. (He gets up from his seat)

Usher. All rise!

FADE OUT.

Scene 11. Down at the levée. A big stern-wheeler is preparing to depart. On her upper works the name “Mississippi Giant” is emblazoned in huge, ornate gilt letters (‘Showboat’ style). There is a lot of bustle and activity.

We hardly recognise Joel: new suit, new carpet-bag for his things, new hat, new shoes. For all that, he still comes across as a very young boy.

Mr Vardaman is there, with all his family, and others.

Mr V. Well now, Joel! We’ve come to the parting of the ways. I can’t pretend I’m not distressed to see you go – in the last few weeks you’ve seemed almost like one of my family. (Mrs Vardaman and the girls make sympathetic noises). Somehow I’m sure you’ll try to put it all behind you – all that you’ve suffered, all that’s been done to you (the older of the Vardaman girls stifles an embarrassed giggle – she knows that Joel has lost his balls; she has seen ponies gelded and understands the consequences for Joel).

Ship’s Officer (shouting) All abo-o-o-ard!

Joel Goodbye, sir. Thank you for all you did, to give me back my freedom. (Puts his arms up to Mr V, who gives him a hug. Mrs V. does the same.)

Wiping away a tear Joel goes up the gangway. The whistle blows and the steamer casts off. Joel remains at the rail. The camera remains focused on the Vardamans until they are out of sight.

Another series of vignettes follows, covering Joel’s 3½-week journey to his family home. We see him in his cabin (1st class, the Vardamans paid); exploring the steamer, ordering meals in the saloon. At one point he gets a good view of the “Natchez” and “Robert E Lee” racing. Other scenes flash across his mind, scenes of two years earlier, of himself manacled to two other young boys. In between these scenes the face of Rufus appears, to be resolutely dismissed from his thoughts.

Later we see Joel disembarking at Memphis, transferring to the Memphis & Ohio R.R. express for the North, later still changing to the local line.

Scene 12. Still aboard the train.

Conductor. Now, young sir, your request stop is just comin’ up. T’ain’t no more than a whistle stop, so get ready to get down. Engineer won’t wait more ‘n a minute.

As the brakes grind on we are conscious of a dull murmur, audible above the hiss of steam. The camera follows Joel along the gangway of the car and out of the end-door on to the verandah. The source of the noise is now plain. A huge crowd of people is surging round the little railroad depot. Banners slung between the trees proclaim “WELCOME HOME, JOEL!”, and “LOCAL HERO” There are two raised platforms built of old railroad ties, the Mayor of Louisburg and other civic worthies occupy one, on the other a brass band is ensconced.

Joel. What the……….(His voice is drowned by the music. As Joel reaches the top of the steps down from the car, there is a roll of drums and the band crashes into “See the Conquering Hero Comes”. When this finally dies away the Mayor steps forward.)

Mayor. Friends and fellow citizens! On this most auspicious occasion it gives me the very greatest pleasure….(At this point Joel catches sight of a very familiar face)

Joel (in a shrill scream, audible above the hiss of steam, the band, the Mayor’s speech and all else)

MOTHER!

(He rushes forward, dropping his carpet bag which is retrieved by a bandsman, and into his mother’s arms.)

Joel. Mother! Oh, mother!

Joel’s mother (fondling his head) My little boy! My own precious, darling little boy!

(The mayor continues to drone on, but no one is listening).

Standing a little apart from Joel’s family the camera picks out Agnes. She is smiling quietly. Her time is yet to come.

FADE OUT.

Scene 13. A day or two later. By a river. Joel and Agnes enter, walking slowly.

Agnes (earnestly) Listen, Joel – I’m telling you – the only thing that prevents us getting married right now, is that you are still under-age, and time will cure that. If you were two years older Pastor Brown would marry us tomorrow. I know – I’ve asked him.

Joel But Agnes, I’ve tried to explain, I can never give you children. I can’t even be a proper husband to you.

Agnes I know what you mean, silly boy! I should! I’m older than you! (She is nineteen). Listen, this is farming country and I was raised on my uncle’s farm. You are worried about two little blobs between your legs that aren’t there anymore. You’re no different to a young horse, and horses are always gelded to quieten them down. And I ask you – did I stop loving my pony after they gelded him? Of course not. Well, it’s just the same with a boy – a girl can love him just as much afterwards. (She gives him a quick peck on his cheek)

Joel. (weakly) Oh.

Agnes And listen. You’re not the only one. I’ve read about places in Europe – Italy – where a quarter of all boys have that operation that you’ve had. It’s just one of those things that happens. And those boys all get to know girls and some even get married.

Both are silent for a few paces. Joel plucks up courage.

Joel But Agnes, however can they get married, really married, and be happy, if the boy’s been……if the boy is like me?

Agnes (confidingly) There are many, many ways that a boy can give a girl a nice time. (Into his ear) I shall teach you! (Joel looks up at her, adoringly)

Suddenly Agnes stops in her tracks.

Agnes. Joel, I’m forgetting! There’s been a lot happening while you’ve been travelling. I don’t suppose you’ve seen the newspapers?

Joel No, I haven’t.

Agnes Well, for starters, your father has been put in prison, for five years. It seems they caught him trying to stow away on a cargo-ship in Charleston. He’d been on the run for quite some time.

(Joel nods)

Agnes And there’s been a lot in the papers about St Mary’s Cathedral. Bishop Marelli isn’t there anymore. He’s gone to be Assistant Bishop of Barrackpore, in Bengal.

(The screen shows a quick flashback of the Bishop making a getaway by night, and of fat Father Greenwood being marched off to jail, for contempt of court)

Joel (to himself) So he got away before they caught up with him! Assistant Bishop sounds a bit of a come-down. Wonder how he’ll get on. I suppose he’ll still be at sea?

Fade out.

Scene 14. Some months later. On board a sailing vessel in the Bay of Bengal. Bishop Marelli lies in his berth, tossing and turning in a high fever. Present are: the ship’s chaplain and the ship’s surgeon.

Bishop (moaning) No, no! Leave me alone! Go away! Oh, go away! (his voice turns to unintelligible gabbling)

Chaplain He’s been like this all day. Will he recover, doctor?

Surgeon (with a snort) My dear fellow, I’d be surprised if he lasts till tonight.

Chaplain Not long ago he was muttering about ‘red-hot irons’. I believe he imagines he’s in Hell, being tormented by devils.

Surgeon. Sounds like a guilty conscience talking. You know how it is, with these unmarried priests and young boys.

Chaplain I’ll stay with him a while longer, I’ll call you if there’s any change.

The camera moves to:

Scene 16. Evening on the same day. We are up on deck. The vessel is hove-to for the Bishop’s burial at sea. The ship’s masts and spars show black against a lurid sunset. The ship’s captain and officers stand in a little group. The Chaplain, wearing a surplice and stole, stands a little apart. On the deck lies the Bishop’s body sewn up in a weighted blanket. Two seamen await their cue.

Chaplain (reading) For as much as it has pleased Almighty God…………….

(He reads on to the end of the burial service)

We therefore commit his body to the deep.

(The two seamen take hold of the body and heave it over the side. There is a splash.

Captain. That will be all, Chaplain. Back to work, you men.

Fade out.

Scene 17. A few weeks later, back by the riverside where we last left Joel and Agnes.

It is evening again. Joel and Agnes are walking slowly along the river bank. The camera follows them at a distance. We are not close enough to hear what they are saying, but we see that Agnes’ arm is round Joel’s waist, and Joel’s arm round hers.

FADE OUT SLOWLY.

FINIS