The time is just before the election of President Obama and the setting is a house in Florida. The white woman who owned the house has died, and her daughter Carrie (Jennifer Van Dyke) is bound by her mother’s wishes to sell their home, something she is reluctant to do. She reminisces with Mackie, an African-American played by the wonderful veteran actor Arthur French, who worked for her family, and with whom she was very close growing up, almost like a father-daughter relationship. Mackie gives off vibes of a wise old man who has lived and learned to face life. There is also Elain Graham, convincing as his wife Josephine, who wants to get him to move on from the pain of having a criminal, imprisoned son from a former relationship.

Going through a box with assorted pictures becomes the framework for talking about the past, and in the process, we see the relationships that existed between employer and employee, white and black, and the bonds that bridged the divide. We see it from the viewpoint of Carrie, Mackie and Josephine in the context of a situation in which the house is to be torn down by a white couple who are purchasing the property with the intention of rebuilding, complete with security to protect them from the local ethnic residents, who make them fearful.

The owners-to-be are exaggerated stereotypes, particularly the husband Bob (Malachy Cleary), who is boorish and racist, and even allowing for his attitudes, the crassness of his behavior seems contrived. It is unlikely that he would assail Mackie with the N word no matter what he might be thinking. His wife Karen (Marisa Redanty) is drawn more sympathetically, at least in comparison with her husband, who rides roughshod over her wishes. She would never use the N word, at least to someone’s face.