1. HOLE IN THE HEAD: A LIFE REVEALED
by
Wilbert Smith & Ken Davis
Screenplay Adaptation of the
Book "Hole in the Head: A Life
Revealed" by Wilbert Smith
Ph.D.

2. HOLE IN THE HEAD: A LIFE REVEALED
FADE IN:
EXT. SMITH HOME - NIGHT
CAMERA OPENS on a TWO LEVEL sprawling house with a CIRCULAR
driveway - on which are PARKED TWO late model CARS. On the
right side of the home is PARKED a LARGE MOTOR HOME.
INT. SMITH UPSTAIRS BEDROOM - NIGHT
The room is well lived in, but leading-edge as far as modern
creature comforts are concerned. WILBERT SMITH, black,
mid-fifties is sound asleep at 2 o'clock in the morning,
next to his wife SUSAN, white, mid-to-late forties. A
DIFFERENT CAMERA ANGLE reveals a RADIO CLOCK which indicates
the TIME.
Wilbert's SMART PHONE begins a familiar and distinctive RING
TONE -- which startles Wilbert and Susan from their sleep:
Wilbert ANSWERS his PHONE.
WILBERT
Vertus, what's wrong?
INT. /EXT. WILBERT DRIVES HIS LATE MODEL CAR - NIGHT
There is a look of concern on his face as Wilbert SPEEDS
along in PASADENA on near empty streets.
EXT. VERTUS CONDO BUILDING - NIGHT
Wilbert PARKS his car with some sense of urgency, gets out
of the car, then BOUNDS up the STAIRS to VERTUS' SECOND
FLOOR condo.
INT. VERTUS' BATHROOM - NIGHT
Wilbert towers over VERTUS, a black man in his mid-80s,who
stands at the BASIN. The older gentleman stares into the
WALL MIRROR, while using a PAIR of TWEEZERS as a pointing
device to indicate a HOLE in his (Vertus) skull about the
LENGTH and WIDTH of a TOOTHPICK. The protrusion is in the
right frontal portion of Vertus' scalp.

3. 2.
VERTUS
(agitated)
A piece of my skull has cracked. I
have a hole in my head. My skull
is breaking apart.
CUT TO:
EXT. PASADENA HOSPITAL - NIGHT
To ESTABLISH it is the SAME NIGHT.
INT. EMERGENCY WAITING ROOM - NIGHT
Wilbert sits with an ARM draped around Vertus' SHOULDER,
amid a very full room, filled with PEOPLE awaiting emergency
care, many of them HISPANIC.
START TITLES HERE. Include: BASED ON A TRUE STORY
A small HISPANIC BOY, about 5-years old, plays with a TOY of
some sort at the foot of Vertus, who wears a BLACK BEANIE.
The boy's HISPANIC MOTHER pays as little attention to her
son as possible. Vertus gives the child a WARM SMILE
realizing the kid is paying particular ATTENTION to him.
Vertus REACHES into his coat pocket and comes out with a
TOOTSIE POP. As the young boy's eyes go PING - Vertus looks
to the boy's mother who NODS her approval; he HANDS the
tootsie pop to the young boy, who quickly UNWRAPS the
tootsie pop and puts it in his mouth.
The WALL CLOCK reads: 2:45 A.M.
INT. ER ADMISSION COUNTER - NIGHT
The ADMISSION CLERK sits behind a counter FILLED with STACKS
of PAPERWORK. She is middle-aged and white. A COUPLE of
other STAFF are visible in the b.g. busying themselves with
various and sundry tasks.
ADMISSION NURSE
Vertus Hardiman...
ADMISSION NURSE POV
She SEES Wilbert RISE on cue and COME to the counter.
ADMISSION NURSE
What's going on, Mister Hardiman?

4. 3.
WILBERT
Actually, I'm not Mr. Hardiman,
he's sitting over there... Crazy
as this may sound, his skull is
breaking apart.
The admission nurse does not even bat an eye; evidently
she's seen and heard it all.
ADMISSION NURSE
(writing on a
CHART)
Was there a fall? Was he attacked?
How did it happen?
WILBERT
Believe me, it's a very long
story.
(beat)
Is there anyway he can see a
doctor right away?
ADMISSION NURSE
Is his injury life threatening?
WILBERT
He's not about to kill over, if
that's what you mean.
ADMISSION NURSE
(a beat)
He'll have to wait his turn just
like everyone else who hasn't got
a life threatening condition...
Wilbert is left standing alone at the counter as the
admission nurse steps behind a PARTITION to her right and
OUT OF FRAME.
Wilbert's EXHALE is quite demonstrable.
HOLD ON WILBERT
INT. EMERGENCY ADMISSIONS - NEARLY TWO HOURS LATER - NIGHT
Vertus and Wilbert WAIT patiently in a room that is now
largely empty. The small boy and his mother are long gone.
Vertus REACHES into his pocket and comes out with another
tootsie pop, which he offers to Wilbert, who SHAKES it off.
The WALL CLOCK reads: 4:30 a.m.

5. 4.
INT. ER ADMISSION COUNTER - NIGHT
Wilbert STANDS at the counter just as the admission nurse
STEPS BACK INTO FRAME from behind the partition - a large
CLIP BOARD in HAND:
ADMISSION NURSE
Bring your father on back.
WILBERT
(cotto)
He's not my father, just a close
family friend.
ADMISSION NURSE
Whatever.
Wilbert beckons to Vertus, who is immediately on his feet
and APPROACHING the admission desk counter.
The admission nurse BUZZES them inside through a DOOR just
left of the counter. Vertus and Wilbert DISAPPEAR inside.
INT. ER EVALUATION ROOM - NIGHT
Vertus sits on the EXAMINATION TABLE, looking somewhat
frail.
Wilbert stands a few feet away in the small room.
WILBERT
Are you feeling any discomfort?
VERTUS
I'm not feeling any pain... But
seems like every time my heart
beats I can hear a cracking sound
in the top of my head.
(a beat)
Wilbert, I'm sorry to get you out
of bed so late.
WILBERT
Don't worry about me, I'm cool,
straight. Let's just worry about
getting you fixed.
The DOOR OPENS and DR. TROY enters the ROOM. He is a young
preppy looking white guy in his early thirties.
DR. TROY
Hi, I'm Dr. Troy...

6. 5.
Dr. Troy and Wilbert exchange a hand shake.
Dr. Troy moves to the small SINK a mere swivel away and
WASHES his HANDS, then PUTS ON a PAIR of LATEX GLOVES.
He moves to Vertus who looks on anxiously.
DR. TROY
(continuing)
(Are) you doing all right, Mr.
Hardiman?
Vertus NODS in the affirmative.
Dr. Troy takes Vertus' head in his hands and begins to very
gentle probe the older man's scalp.
CUT TO:
EXT. WILBERT'S ALLSTATE OFFICE - DAY
To ESTABLISH it's later that same morning.
INT. WILBERT'S INNER OFFICE - DAY
Wilbert sits in his leather CHAIR behind his rather plush
DESK leaning back catching a POWER NAP. He's got on the same
casual attire he had on to take Vertus to emergency.
The CONNECTING DOOR OPENS and Susan STEPS inside. The motion
is just enough to AWAKEN Wilbert; he SITS UP TALL.
SUSAN
(shakes head)
Honey, how long do you think you
can keep this up?
WILBERT
(beat)
I'm okay... really.
Susan CLOSES the connecting door and comes closer to
Wilbert.
SUSAN
(with a push)
The Regional Office is threatening
to put us on probation if things
don't pick up around here. They're
very serious this time, Wilbert.

7. 6.
WILBERT
Their bark is worse than their
bite. We're still outperforming
70% of the other offices in this
state. They've been trying to get
this business away from us for
years by putting target numbers so
far out of reach. They'd like
nothing better than to pay us
thirty cents on the dollar and
have us ride off into the sunset.
Those greedy...
(voice trails off)
Come here...
Susan steps closer to Wilbert and gently sits in his lap,
which he has made available to her. A PHOTO of SUSAN is
prominently DISPLAYED on the desk.
SUSAN
Oh, Mr. Smith... What will your
wife say?
Susan gently KISSES her husband:
WILBERT
Everything will be fine. I don't
want you worrying...
(finally)
What I am doing for Vertus I feel
compelled to do... Someone has to
tell his story.
Wilbert's PHONE begins to RING. It's Vertus' RING TONE yet
again.
CUT TO:
EXT. USC COUNTY GENERAL - SEVERAL WEEKS LATER - DAY
Wilbert DRIVES his CAR into the CROWDED PARKING AREA, with
Vertus in the passenger seat:
VERTUS (O.S.)
Big General. I spent 40 years of
my life here; never missed a day
of work. And I can prove that.
INT. HALLWAY ADJOINING IMAGING SERVICES - DAY
The SIGN on the DOOR reads IMAGING SERVICES.

8. 7.
INT. IMAGING SERVICES ROOM - DAY
Vertus, who lays PRONE, is being ENGULFED by the IMAGING
MACHINE as TWO ATTENDANTS look on from the side of the
impressive machinery.
INT. ONCOLOGY ROOM - DAY
TWO DOCTORS, one FEMALE and one MALE, stand crowded around a
LAP TOP COMPUTER with DR. AFRAM, a man in his early fifties,
probably of MIDDLE EASTERN extract. LARGE PHOTOS are being
DISPLAYED of Vertus' DISINTEGRATING SKULL. The photos are
quite GRAPHIC and DISTURBING. There are about SEVEN photos
ranging from the oldest to the most recent one taken.
INT. MEN'S REST ROOM - MOMENTS LATER - DAY
Dr. Afram enters the men's room.
INT. MEN'S ROOM - CONTINUOUS - DAY
The male doctor RELIEVES himself at a URINAL as Dr. Afram
goes to the URINAL next to him - and begins RELIEVING
himself as well.
DR. AFRAM
I've seen conditions that were
just as bad - but the person
wasn't walking around; they were
in the morgue.
INT. HALLWAY ADJOINING IMAGING SERVICES - DAY
Dr. Afram slowing strolls with Wilbert down the busy
hallway, where SEVERAL CLINICIANS move to and fro, here and
there, to whereabouts unknown. The two come to a STOP.
DR. AFRAM
Frankly, I don't believe it's the
hole in Mr. Hardiman's head that
is the most crucial issue...
WILBERT
(taken aback)
What are you saying, Dr. Afram?
The man has a hole in his head but
that's not the most crucial issue?

9. 8.
DR. AFRAM
We've confirmed a tumor resting
dangerously close to his brain.
(dramatic pause)
I'm just going to get right to it:
there is a spot on Vertus' liver
that has us even more concerned
than the brain tumor; bad news all
the way around.
WILBERT
How bad is it?
DR. AFRAM
We consider his condition
terminal.
WILBERT
(measures that,
shaking head)
How long has he got?
DR. AFRAM
Probably less than a year.
(a beat)
There's nothing else we can do for
him, other than keep him
comfortable - a regiment of
antibiotics perhaps. It's not as
though he can be put through
radiation treatment.
(finally)
This means a drastic change for
Mr. Hardiman in terms of his
independence. I don't think he
should continue to drive...
CUT TO:
INT. WILBERT DRIVES HIS LATE MODEL CAR - DAY
Later that day, Wilbert drives up LAKE AVENUE in Pasadena
heading north -- with Vertus in the passenger SEAT. Vertus
has on his customary black beanie.
INT. /EXT. WILBERT'S CAR AT STOP LIGHT - DAY
Among the SEVERAL PEOPLE who cross on the GREEN LIGHT is
that same Hispanic boy and his mother who were in the
emergency room at the hospital; she PULLS the boy along by

10. 9.
the HAND. The boy looks up to SEE Vertus in the passenger
seat of Wilbert's car.
VERTUS
You've been pretty quiet, young
man.
(two beats)
No need to get quiet on me...
I know that I'm dying, Wilbert.
(alas)
I'm thinking of having Vincent
move in with me. You know, to help
out. What's your opinion of
Vincent?
The LIGHT CHANGES and they CONTINUE their journey during the
ensuing dialog.
WILBERT
Vincent is a very good man; an
honest man. I like him...
(beat)
I wrote policies for Vincent and
his daughter.
VERTUS
I forgot to tell you I made a bid
on that downstairs condo in my
building. I can't keep going up
and down those stairs, you know.
WILBERT
I know.
VERTUS
I'm due to close escrow in the
morning.
(beat)
This isn't the kind of thing I
want Vincent involved in.
WILBERT
What time do you need me, Vertus?
Let's cut to the chase.
Vertus smiles; so does Wilbert.
WILBERT
Do you ever have any bitterness
about what was done to you?

11. 10.
VERTUS
(to no one in
particular)
"What is Man that Thou are mindful
of him?"
WILBERT
(measures that)
Shakespeare?
VERTUS
The Holy Scriptures...
(beat)
"What is Man that Thou are mindful
of him?" The passage goes on to
ask, "And the Son of Man that You
visit Him?"
INT. WILBERT'S CAR - MINUTES LATER - DAY
Having dropped off Vertus, Wilbert drives up the HILL
towards his home. LALAH HATHAWAY sings on his amazing SOUND
SYSTEM, backed up by KIRK WAYLUM; the SONG is "BECAUSE
YOU'RE MINE."
EXT. SMITH HOME - MOMENTS LATER - DAY
Wilbert pulls his car into the circular driveway and SHUTS
DOWN the ENGINE. Now there is only SILENCE.
Soon he begins to cry, breaking down before managing to
COLLECT his EMOTIONS.
CUT TO:
EXT. EL TORITO GRILL VAN NUYS - NIGHT
To ESTABLISH it is NIGHT.
INT. /EXT. SUSAN'S CAR - CONTINUOUS - NIGHT
Susan PULLS into the parking lot of El Torito Grill, as
Wilbert sits next to her in the passenger seat his head
RESTING on the HEADREST.

12. 11.
EXT. SUSAN'S CAR - CONTINUOUS - NIGHT
Susan PARKS the car; they get out and HEAD for the ENTRANCE
to the establishment.
INT. EL TORITO GRILL - CONTINUOUS - NIGHT
ANGLE on Susan and Wilbert amid a SEA OF PATRONS waiting to
be seated, or already EATING, going in and out of RESTROOMS,
ENTERING or EXITING the establishment. They approach the
HOSTESS, a black GIRL in her late teens, standing alongside
of a SECOND HOSTESS, Hispanic, also in her late teens.
In the b.g. WE can HEAR and SEE partially that KARAOKE is
happening in the LOUNGE: some older WHITE GUY in butchering
SINATRA'S "FLY ME TO THE MOON" arrangement.
INT. DINING TABLE - MOMENTS LATER - NIGHT
The Hispanic girl LEADS Susan and Wilbert to the table where
they are SEATED and HANDED their MENUS.
CUT TO:
INT. VERTUS' BATHROOM - NIGHT
Vertus is in his bathrobe, standing at the MIRROR of the
tiny bathroom - complete with a TRAY of medical supplies and
the like - and which is also FILLED with BOXES in
anticipation of his move to the first floor condo. The door
is closed, and Vertus painstakingly CLEANSES the opening in
his HEAD with a damp square of gauze. The wound has now
grown to one centimeters wide by one centimeters long.
INT. SMALL HALLWAY UPSTAIRS CONDO - CONTINUOUS - NIGHT
The hallway too is cluttered with overflowing boxes. In the
b.g. WE observe much of the packing has been done. VINCENT,
black mid-60s, MOVES INTO FRAME from the adjoining living
room, he's got in HAND several DEPRESSION GLASSWARE PIECES.
He TAPS on the bathroom door.
VERTUS (O.S.)
Yes.
VINCENT
Does this glassware have to be
wrapped?

13. 12.
INT. VERTUS BATHROOM - CONTINUOUS - NIGHT
Vertus STOPS tending his wound, slightly annoyed.
VERTUS
(through the door)
Of course, Vincent. That's
"depression glass." Each of those
pieces is worth several hundred
dollars...
(winces as he
removes a tiny
bit of scull with
the tweezers)
Vertus LEANS his HEAD FORWARD bending to the SINK - and
CLEAR LIQUID POURS from the wound into the sink.
VINCENT (O.S.)
(through the door)
You're just moving downstairs,
Vertus...
VERTUS
(cotto)
I KNOW where I'm moving...
INT. KARAOKE LOUNGE - NIGHT
Susan and Wilbert are SEATED in the crowed lounge as they
LISTEN to VEL OMARR deliver a pitch perfect rendition of SAM
COOKE'S "A CHANGE IS GONNA COME."
CUT TO:
EXT. SMITH BALCONY - LATER - NIGHT
Wilbert, a DRINK in HAND, stands on his balcony looking out
into the loveliness of the VIEW. He CAN see DOWNTOWN LOS
ANGELES glimmering in the b.g.
WILBERT
(to no one in
particular)
"What is man that Thou are mindful
of him?"
SUSAN (O.S.)
Did you say something, Wilbert?
Wilbert DRAINS the content of his GLASS.

14. 13.
DISSOLVE:
EXT. FIRST AME CHURCH - 1986 - SEPIA COLOR TONE - NIGHT
WE FLASHBACK TO 1986.
INSERT:
PASADENA 1986 is SUPERIMPOSED on the SCREEN.
INT. CHOIR STAND - CONTINUOUS - NIGHT
The CHOIR consists of about TWENTY CHOIR MEMBERS - including
the PIANIST and the CHOIR DIRECTOR, who is an attractive
WOMAN of about 30 years old. Most of the members are black,
with a couple of white choir members sprinkled in for good
measure. We find the choir singing the gospel song, "MAKE A
JOYFUL NOISE." They rhythmically SWAY side-to-side
WE SEE a much younger Vertus standing to the left of a much
younger Wilbert. Vertus wears a very distinct black WIG;
Wilbert's hair is jet black, as is his mustache.
WE HEAR that Vertus is more than slightly off pitch, and WE
SEE that he is being challenged as far as swaying in concert
with the remainder of choir members.
CHOIR DIRECTOR
Hold it, hold it, hold it.
(beat)
Mr. Hardiman... You're falling
behind again. Try to keep up.
(playful)
Just because you're the treasurer
doesn't mean you get to do your
own thing.
The choir director CUES the pianist:
CHOIR DIRECTOR
Tenors, we are here:
(singing)
"...Make a joyful noise, to the
Lord..."
BACK TO PRESENT DAY

15. 14.
EXT. SMITH BALCONY - NIGHT
Wilbert grunts thoughtfully after confirming the contents of
his glass are indeed gone, turns and OPENS the sliding glass
door and GOES inside.
It is nearly DAY BREAK.
INT. SMITH BEDROOM - CONTINUOUS - NIGHT
WE SEE Susan has fallen off asleep as Wilbert crosses
through the room and exits into the adjoining hallway,
carefully CLOSING the bedroom door behind him.
INT. WILBERT'S HOME OFFICE - MOMENTS LATER - NIGHT
Wilbert sits at his expansive desk watching FOOTAGE on his
WIDE-SCREEN of VERTUS, footage apparently filmed several
weeks earlier. This time Vertus dons a RED beanie.
WILBERT'S POV
VERTUS (ON WIDESCREEN)
This isn't really MY story... it's
OUR story. Because it could not
have been told - without him.
(near tears)
WILBERT (ON WIDESCREEN)
I met Vertus in a church choir. He
couldn't really carry a tune...
because sometimes I would look to
him and I would sing directly into
his ear to get him on - pitch.
Wilbert FAST FORWARDS the FOOTAGE -- then HITS STOP:
WILBERT (ON WIDSCREEN)
There was something strange about
Vertus. It wasn't his height, nor
was it strange that he looked
younger than his actual age of
sixty-four. What I found most odd
had everything to do with his
hairstyle. He wore a wig that was
coal black.
Suddenly EVERYTHING GOES BLACK; the POWER is OFF!
WILBERT (V.O.)
Damn!

16. 15.
WE HEAR Wilbert fumble around in a desk drawer, then a
second drawer and finally a third drawer until he finally
comes up with a FLASHLIGHT - which he TURNS ON.
EXT. SMITH HOME - CONTINUOUS - NIGHT
WE FEATURE the CLEARLY MARKED SCE VAN parked at the curb of
the sprawling Smith home as the TECHNICIAN MOVES INTO FRAME
and gets into the truck.
INT. SMITH HOME FOYER - CONTINUOUS - NIGHT
Wilbert SCRAMBLES out of his office with lit flashlight yet
in hand, house shoes SLIDING on the MARBLE FLOORS, and to
the FRONT DOOR - which he OPENS!
WILBERT'S POV
The SCE field engineer STARTS up the van and begins slowly
DRIVING away.
WILBERT
(calling to
engineer)
HEY! HEY!
INT. SMITH HOME FOYER - CONTINUOUS - NIGHT
Susan, clad in her house robe APPROACHES Wilbert from
behind. She's got a LIT FLASHLIGHT too.
SUSAN
You forgot to pay the light bill
(again)...
A frustrated Wilbert shakes his head. There's nothing he can
say.
FADE OUT.
FADE IN:
INT. WILBERT'S INNER OFFICE - DAY
Susan slowly PACES as MR. EMMANUEL - who is white, about 40
years old - sits at the desk SIFTING through a STACK of
PAPERWORK.

17. 16.
WE SEE three EMPLOYEES diligently WORKING in the b.g.
through the inner office connecting door.
Susan PULLS OUT her CELLULAR and puts through a CALL to
Wilbert. His MESSAGING SYSTEM picks up right away. We HEAR
the BUZZ:
WILBERT (V.O.)
You're reached Wilbert Smith,
please leave me a message and I'll
get back to you before the end of
the business day. Thank you.
SUSAN
(into the phone)
Hey Honey - it's me... Call the
office as soon as you can...
MR. EMMANUEL
(looking up)
It's going to be hard keeping you
off of probation with figures such
as these, Ms. Smith.
(beat)
The auto policy numbers are way
down.
SUSAN
(measures that)
Please do the best you can, Mr.
Emmanuel. That's all I ask.
(then)
Wilbert and I have had some
personal challenges we're trying
to work through.
EXT. VERTUS' CONDO BUILDING - DAY
Wilbert's car is parked in front of the condo.
INT. VERTUS LIVING ROOM - DAY
Wilbert stands amid a PLETHORA of SEALED, and LABELED BOXES,
as Vertus MOVES INTO FRAME from the unseen BEDROOM. He's got
a HUGE RING of KEYS in hand.
WILBERT
What's with all the secrecy?

18. 17.
VERTUS
You'll see...
(moving
purposefully)
You're the only person I can trust
with this.
Vertus leads Wilbert out of the from door, exiting.
EXT. VERTUS CONDO BUILDING - CONTINUOUS - DAY
Vertus meticulously LOCKS the front door then LEADS Wilbert
down the STAIRS, CAMERA LEADING.
EXT. VERTUS CONDO PROPERTY - CONTINUOUS - DAY
Vertus leads Wilbert past a PARKED 1986 FORD MUSTANG in
pristine condition.
WILBERT
(wipes dirt from
Mustang)
You need to start her up every now
and then so the battery doesn't
run down.
VERTUS
I do.
(with a twinkle)
Been around the block a time or
two.
EXT. CONDO PROPERTY GARAGE STORAGE - CONTINUOUS - DAY
There are SEVERAL STORAGE AREAS, side by side; Vertus goes
to his designated space. At the door are TWO PADLOCKS, each
securing a separate side of the door.
Vertus SEARCHES for the entry KEY - then OPENS one padlock
then the other, before RAISING the metal door OPEN.
INT. GARAGE STORAGE - CONTINUOUS - DAY
Vertus ENTERS the storage and once inside, TURNS on a LIGHT,
Wilbert close on his heels.
Now Vertus CLOSES the sliding door behind them.

19. 18.
VERTUS AND WILBERT POV
Vertus FOCUSES his attention on a 1960s style metal file
cabinet, OPENING the top drawer, while looking around to
assure privacy.
WILBERT
(cotto)
Vertus, you're acting like you've
got money in here...
Vertus offers nothing, but LIFTS a METAL BOX from the top
drawer.
INT. VERTUS LIVING ROOM - SEVERAL MINUTES LATER - DAY
Wilbert sits next to Vertus on the couch, with several of
the metal boxes on the floor in front of them. They have
COUNTED and BUNDLED several stacks of $5000 bills of varying
denominations - and are now in the process of PUTTING each
bundle into PAPER BAGS.
WILBERT
Why aren't you keeping this in the
bank?
VERTUS
I don't trust banks. You've got to
understand that I grew up during
the Great Depression; I watched my
family lose all the money they had
dealing with so-called banks.
(alas)
It just went up into space...
CUT TO:
EXT. ALLSTATE OFFICE PARKING LOT - HOURS LATER - DAY
Wilbert DRIVES his car onto the LOT from the adjacent
boulevard.
INT. WILBERT'S ALLSTATE OFFICE - CONTINUOUS - DAY
BRANDON, mixed race in his late 20s, gets up from his DESK,
which is across from his brother BRIAN'S desk, and watches
his dad park his car in the b.g. Brian is also in his late
20s of mixed race; he also STANDS.

20. 19.
BRANDON
Mom... Dad (is here)...
(to Brian)
The "fit" is about to hit the
"shan"... Let's go get coffee.
BRIAN
No way.I wouldn't miss this for
the world, big brother.
CAMERA PULLS BACK as Susan MOVES INTO FRAME.
BACK WITH WILBERT - CONTINUOUS
He WALKS towards his office, briefcase in hand, then reaches
and OPENS the door.
WILBERT'S POV
What he SEES as he enters the office is Brandon and Brian
standing there with their mother, Susan, all looking
poker-faced.
WILBERT
What is this? The welcoming
commitee?
SUSAN
(with a push, to
Wilbert)
You couldn't return any of my
calls, huh?
WILBERT
(beat)
Let's take this off line...
(a beat)
(Do) you two have work to get
done?
BRIAN
Sure Dad...
INT. WILBERT'S INNER OFFICE - MOMENTS LATER - DAY
Wilbert ENTERS the office first FOLLOWED closely by Susan.
She closes the door behind them, while Wilbert throws his
briefcase onto desk.
WILBERT
I know what you going to say,
Susan... that, t-that---

21. 20.
SUSAN
(breaking in)
That Vertus' life has taken over
OUR lives, Wilbert.
WILBERT
(a beat)
I know... I know...
Susan moves closer to Wilbert.
SUSAN
And it's more than just the
business aspect. It's not as
though I've never forgotten to pay
a bill... Vertus has made his way
into our bedroom.
(then)
We haven't made love in months,
Wllbert...
There is nothing Wilbert can say.
SUSAN
(picking up)
You know I truly love Vertus...
He's like a member of the family.
In fact he's more than a member of
the family. But enough is enough.
We've got to get ourselves back on
track here. I can't put my life on
hold while you go through whatever
the hell it is that you're going
through.
(beat)
Mr. Emmanuel going through our
papers like he owns the place!
Wilbert goes and sits in the chair facing his desk, like a
scolded child.
WILBERT
(shakes his head)
It's not just about Vertus - it's
about me. Things locked inside for
years are coming up; coming out.
(beat)
I think after all these years, I'm
finally beginning to grieve the
loss of my father, Susan.
(with a push)
Vertus is dying, Susan. He's been
diagnosed with brain cancer; it's
(MORE)

22. 21.
WILBERT (cont'd)
metastisized.
Wilbert's last statement gets Susan's full attention, as she
measures what's just been said.
Susan slightly turns away from Wilbert.
SUSAN
My good Lord..
CUT TO:
INT. WILBERT'S HOME OFFICE - SEVERAL NIGHTS LATER - NIGHT
Wilbert sits at his desk as LIGHTING is being SET, with a
BOOM MICROPHONE hanging overhead - as a SMALL FILM CREW of
FIVE is about to begin TAPING: There is a CAMERAMAN, MAKEUP
GIRL, LIGHT MAN, SOUND MAN, CREW DIRECTOR, of varying ethnic
and racial and age designations.
The makeup girl MOPS Wilbert's brow with a towel - then
MOVES out of the pending "SHOT."
CREW DIRECTOR
And... ACTION
WILBERT
I telephoned the local bank
manager to alert him of our
bringing in approximately $300,000
in cash for deposit. During the
short trip to the bank, I was
uneasy... frightened to be more
precise...
(beat)
Amazingly, Vertus was about to
close escrow on his 28th property!
CREW DIRECTOR
(a beat)
And CUT!
The THEATRICAL LIGHTS are turned OUT by the light man and
the boom microphone is PULLED back by the boom man; others
start moving to and fro.
The crew director steps behind the desk - closing the
distance between he and Wilbert.

23. 22.
CREW DIRECTOR
(to Wilbert)
Want my professional opinion?
WILBERT
I'm certain you're going to give
it whether I want it or not.
CREW DIRECTOR
(picking up)
You're not going to be able to
completely tell this story without
going back to Lyles Station.
WILBERT
I know. I've already had my
three-dimensional epiphany - in
full living color - complete with
a theme song. You're preaching to
the choir.
(a beat)
We need more information, more
research, more details and more
footage.
(alas)
Coincidently, in case you're
wondering whether to do a drive by
the man's garage, I convinced
Vertus to find a new place to hide
his money... Saavy?
CREW DIRECTOR
(feigning
indignity)
(Are) you trying to hurt my
feelings, Dr. Smith?
WILBERT
Just sayin'.
(finally)
That goes for the light and sound
man too.
INT. SMITH STAIRWAY - SEVERAL MINUTES LATER - NIGHT
A very weary Wilbert ASCENDS the stairs on his way to the
bedroom, CAMERA FOLLOWING.

24. 23.
INT. SMITH UPSTAIRS BEDROOM - NIGHT
WE FEATURE Susan, who lies on the bed WATCHING the BIG
SCREEN TELEVISION as Wilbert enters the bedroom. He begins
to UNDRESS during the following dialog.
SUSAN
(turns off TV with
remote)
How did the filming go?
WILBERT
(a beat)
It went well.
(then)
It's just that I've gone about as
far as I can go with the project.
It's hard getting information out
of Vertus. He keeps clamming up on
me. I'm thinking, if only I could
get him to travel back to Lyles
Station with me. Back to where it
all went down.
SUSAN
Have you asked him? Why don't you
ask him?
WILBERT
You don't know Vertus.
SUSAN
I DO know Vertus... Ask him.
There are a few moments of SILENCE, then they each begin to
SPEAK at the same time.
WILBERT
(sits on side of
bed)
Go on...
SUSAN
(sighs)
I just wanted to apologize for the
things I said the other day.
WILBERT
(grunts
thoughtfully)
Susan, you don't owe me an
apology.

25. 24.
SUSAN
Yes I do. We've managed to stay
married for for 30 years because
we "have" one another's back. And
I haven't been having your back.
(closes distance
between she and
Wilbert)
You once told me that you're
compelled to tell Vertus' story...
Well I'm compelled to love you
with everything I've got.
They are now close enough that there is nothing left to do
but KISS. The kiss quickly becomes a great deal more
PASSIONATE.
CUT TO:
INT. DELTA JETLINER - TWO WEEKS LATER - DAY
Vertus RECLINES in the AISLE seat donning a ORANGE beanie -
just behind Wilbert - who RECLINES in his AISLE seat, amid a
plane full of PASSENGERS and several STEWARDESSES.
VERTUS (V.O.)
So what's got you up and running
so early his morning, Wilbert?
WILBERT (V.O.)
Vertus, how would you feel about
going back to Lyles Station? I
know you haven't gone back for a
visit in many years. I think it
would be good while you're still
healthy enough to travel. We could
arrange to visit your remaining
family members. I would love to
meet them all and get their input
on your story.
VERTUS (V.O.)
(a beat)
Our story, Wilbert... our story.
(alas)
I don't see it as a bad idea. If
it will help the project, then
I'll go. It will be good to see my
family. It's been far too long.

26. 25.
EXT. DELTA JETLINER - LATER - NIGHT
To ESTABLISH Vertus and Wilbert have been in the air for
hours.
SOUND BRIDGE - A RINGING PHONE
UNCLE GLETUS (V.O.)
Hello... yes, this is Gletus
Hardiman...
WILBERT (V.O.)
This is Dr. Wilbert Smith calling
from California... I'm following
up on the letter I sent to you and
the other survivors of the
ringworm experiment... I'm
confirming that Vertus and I will
be arriving on August 5 [or
whatever].
INT. DELTA JETLINER - CONTINUOUS - NIGHT
As stewardesses MOVE down the AISLE with their FOOD CARTS,
WE SEE and HEAR COMMOTION within the cabin pertaining to a
really FOUL ODOR that has passengers REACTING negatively.
The CAMERA ANGLES on people fanning, ad libbing comments
about the odor, etc.
Vertus is sound ASLEEP but Wilbert soon AWAKENS - becoming
aware of the prevailing commotion.
Wilbert soon RECOGNIZES the smell as coming from Vertus, and
DEDUCES it is the AIR CONTROL above Vertus' head BLOWING
FULL TILT. Wilbert RISES, STEPS to Vertus' seat behind him
and TURNS the air control to the OFF position.
The smell immediately begins to subside as Wilbert returns
to his own seat. For his part, Vertus SLEEPS right through
it all.
EXT. DELTA AIRLINER LANDING IN EVANSVILLE - NIGHT
As the Jet lands, EVANSVILLE INDIANA is SUPERIMPOSED on the
SCREEN.
DISSOLVE:

27. 26.
INT. /EXT. VAN RENTAL - SEVERAL MINUTES LATER - NIGHT
Wilbert is DRIVING with Vertus in the passenger seat, as
they LEAVE the airport; the van has two more rows of SEATS.
VERTUS (V.O.)
It was a black man who founded
Lyles Station in 1849.
(beat)
Joshua Lyles was a freed Tennessee
slave.
INT. VAN RENTAL US-41 NORTH - MINUTES LATER - NIGHT
The van moves along at a very nice clip.
WILBERT
(a couple of beats)
How (are) you holding up, Vertus?
VERTUS
I'm sick as a dog but having the
time of my life... I don't
recognize anything. It's been such
a long time.
(alas)
But I'm HOME, Wilbert. HOME...
EXT. /INT. VAN RENTAL - MINUTES LATER - NIGHT
The van is traveling on South Richland Creek Drive. The van
is seemingly the only vehicle on the road.
WILBERT / VERTUS POV
Visible up ahead is the HAMPTON INN.
Wilbert DRIVES the van onto the Hampton Inn property - and
PARKS in the designated CHECK-IN PARKING.
VERTUS
I'm scared, Wilbert. But I know in
my heart I can go through with
this.
WILBERT
(measures that)
Are you feeling up to putting in
some work tonight?

28. 27.
CAMERA HOLDS ON VERTUS.
CUT TO:
INT. HOTEL ROOM - AN HOUR LATER - NIGHT
The room has two queen-sized beds and is fairly roomy. It's
a typical hotel room.
Wilbert SITS on the bed farthest from the bathroom, looking
over his NOTES. Several pieces of LUGGAGE are visible, and a
TRIPOD and MOUNTED CAMERA face a CHAIR and TABLE.
INT. HOTEL BATHROOM - CONTINUOUS - NIGHT
WE SEE evidence that Vertus has indeed showered, and WE can
SEE he has changed clothes and began the arduous process of
cleansing and caring for the hole in his head. WE SEE him
handle the SOILED beanie worn on the plane - FOLD it and
PLACE it is a small PLASTIC CONTAINER. He has assembled the
dressing, gauze, stringent and various items used to freshen
and treat his injury are carefully placed on a TRAY.
Vertus GRABS the small pill bottle, REMOVES two tiny PILLS
which he pops into his mouth; he then takes a handfull of
water from the sink tap, throwing that into his mouth as
well -- SWALLOWING it all.
CAMERA ANGLES ON a fresh BROWN BEANIE has been placed on the
towel rack above the commode.
INT. HOTEL ROOM - MINUTES LATER - NIGHT
Wilbert, yet seated on his bed takes a look at his
wristwatch:
WILBERT
(calling towards
the bathroom)
(Are) you okay in there?
On CUE, Vertus emerges from the bathroom wearing the brown
beanie.
ON WILBERT'S REACTION
CUT TO:

29. 28.
INT. HOTEL ROOM - LATER - NIGHT
A refreshed Vertus comfortably sits in the chair at the
table, facing Wilbert, whose CAMERA has Vertus in FRAME.
VERTUS
There were ten of us... Our
parents were told there was a cure
for ringworm and we would be
afforded treatment that had only
been available to the little white
kids at the all-white schools.
(a beat)
I was only five years old, and
there was no Kindergarten in those
days.
QUICK CUT:
SEPIA COLOR TONE FOOTAGE - Circa 1927 - of VERTUS as a 5
YEAR OLD CHILD, standing there staring directly into the
CAMERA.
BACK TO THE SCENE
VERTUS
(picking up)
I used to sleep with my older
brother Melvin, and if he had the
ringworm then I had the ringworm.
(beat)
My mother's idea was to kill two
birds; I would be put on the
school bus that day to get the
same "special" treatment Melvin
was getting.
(finally)
She had no way of knowing we were
being lied to and that the
treatment would change ten little
lives forevermore.
WILBERT (O.S.)
Are you bitter, Vertus? Do you
harbor hatred for what they did to
you?
VERTUS
If my heart were filled with anger
or hatred, there would be little
room left for love; and without
love my prayers would not be
answered.
(a beat)
(MORE)

30. 29.
VERTUS (cont'd)
I've thought about it and thought
about it, and I believe the good
Lord kept me here this long
because he wanted this story to be
told...
(near tears)
He wanted it to be told. To show
the magnitude of His mercy...
(and) because it should be told.
HOLD ON VERTUS
DISSOLVE:
INT. HOTEL ROOM - THREE IN THE MORNING - NIGHT
The tripod and camera have been put away for the night, as
CAMERA SLOWLY PANS to Wilbert who is SOUND ASLEEP. But
Vertus' bed is EMPTY; the COVERS and PILLOWS are missing.
Suddenly Wilbert awakens, sitting up.
WILBERT'S POV
He SEES Vertus is not in his bed. A LOOK at the CLOCK on the
BEDSIDE table reads: 03:06 A.M.
Wilbert gets out of bed moving past Vertus' bed, CAMERA
FOLLOWING, to SEE Vertus asleep, CURLED UP on the floor
between the room ENTRY DOOR and the BATHROOM. Vertus has on
a lovely BLUE HEAD WRAP in lieu of the beanie.
EXT. HOTEL POOL AREA - THE NEXT MORNING - DAY
Wilbert SITS poolside his CELL PHONE held up to his head; he
is talking with Susan. It's still early and cold. There is
no one else in the area.
WILBERT
(into phone)
...Vertus had removed the top
sheet and blankets and was curled
up on the floor. He said his head
was on fire. The poor man goes
through this every night.
(then)
I asked about the last time he
remembered a peaceful night of
sleep without interruption, and
Vertus could not tell me... Poor
(MORE)

31. 30.
WILBERT (cont'd)
guy.
SUSAN (O.S.)
(via phone)
And you say it takes nearly an
hour and a half - twice a day - to
dress his wound?
WILBERT
(into phone)
The man takes antibiotics
continually to eliminate
unpleasant odors... And he still
nearly emptied the plane. It was
really bad, Susan.
(alas)
I had no idea this is what Vertus
has to deal with day in and day
out. I don't know what I was
thinking. It's as though I should
have brought a nurse along for the
trip. I'm seriously thinking of
cutting it short. I don't know.
INT. SMITH UPSTAIRS BEDROOM - CONTINUOUS - NIGHT
Susan lies in her bed TALKING TO Wilbert on her LAND LINE
PHONE. It's quite early West Coast time:
SUSAN
(into phone)
Vertus is the one who has to live
with it, Wilbert. If the trip is
cut short, let him be the one.
(beat)
Love you... Stay strong.
(closes out call)
CUT TO:
INT. /EXT. VAN RENTAL - LATER THAT MORNING - DAY
The van travels on HIGHWAY 64 - before coming to a SIGN that
DIRECTS a RIGHT HAND TURN - LYLES STATION 1 MILE.
Wilbert SLOWS the van and MAKES the RIGHT HAND TURN.
WILBERT
All of these years that I've known
you, I've never heard you discuss
that special lady. Was there
(MORE)

32. 31.
WILBERT (cont'd)
someone?
VERTUS
(measures that,
then)
Shoot. I suppose everyone has got
SOMEONE they're sweet on at one
time or another
(beat)
Marguerite... Marguerite Bell. I
loved that girl so.
QUICK CUT:
BLACK AND WHITE FOOTAGE of the lovely and very beautiful
MARGUERITE. She is in her early twenties and WEARS fashion
from the early 1940s. Marguerite looks into the CAMERA:
MARGUERITE
Why can't you trust me, Vertus?
BACK WITH VERTUS AND WILBERT
VERTUS
We attended the same A.M.E.
church, Wayman Chapel. I fell hard
for Marguerite. I just never truly
accepted her love and devotion
because I feared she would never
accept me - I mean, the ugliness
of what I was hiding under my wig.
WE--
DISSOLVE:
EXT. BEAUTIFUL LANDSCAPE - MINUTES LATER - DAY
The rented van drives past expansive farms that stretch as
far as the CAMERA can "SEE."
DISSOLVE:
INT. /EXT. RENTED VAN - MOMENTS LATER - DAY
Vertus looks relaxed and refreshed as he DRINKS coffee from
a Styrofoam CUP - seated next to Wilbert who DRIVES through
the beautiful countryside. In the f.g. the van passes the
DISTRESS BELL of a HOME just off the road.

33. 32.
VERTUS (V.O.)
The distress bell is an
old-fashioned field tradition that
predates the telephone. We used it
to signal those working the field
that a meal was ready... A
faster, more frantic paced ring
meant an emergency was at hand.
DISSOLVE:
EXT. WILBERT'S ALLSTATE OFFICE - DAY
Just a normal day at Wilbert's office, located in a strip
mall.
EXT. ALLSTATE OFFICE PARKING LOT - CONTINUOUS - DAY
WE FLASHBACK TWO YEARS EARLIER.
INSERT:
TWO YEARS EARLIER is SUPERIMPOSED on the SCREEN
Vertus DRIVES his 1986 Ford Mustang onto the parking area
and PARKS his car.
INT. WILBERT'S INNER OFFICE - CONTINUOUS - DAY
Wilbert leans back in his chair in business conversation on
the PHONE; there is a fancy desk CALCULATOR at his
FINGERTIPS.
WILBERT
(into the phone)
...Let me tell you what your
savings would be if you combined
mortgage, auto and life into one
policy...
(does rapid fire
calculation)
You're looking at a savings of
$59.00 a month.
INT. WILBERT'S ALLSTATE OFFICE - CONTINUOUS - DAY
Susan, Brandon, Brian and TWO more of Wilbert's EMPLOYEES
work at their respective desks - as Vertus makes ENTRY -
looking visibly distraught. He is on a BEELINE for Wilbert's

34. 33.
inner office. Vertus has got on a wide brimmed HAT with his
customary BEANIE underneath.
SUSAN
Hi Vertus, no tootsie pop?
Vertus offers NOTHING, but just keeps moving FORWARD in a
somewhat halting GAIT.
BACK WITH WILBERT
He SEES Vertus ENTER his inner office, CLOSING the
connecting door behind him. Vertus is quite emotionally
bound.
WILBERT
(into the phone)
Let me get back to you.
(closes the call,
standing)
Vertus... what's wrong? Are you
okay?
But Vertus avoids making EYE CONTACT.
Wilbert quickly MOVES around his desk and makes one of the
CHAIRS facing his desk more readily available to Vertus, who
looks EXHAUSTED from the day's heat.
Vertus SITS in the CHAIR - which is directly in front of the
large foot-by-four window; it provides a VIEW of the inner
office from the outer office and vice versa.
WE can SEE Susan and Brian LOOK into the inner office in the
b.g.
Finally Vertus looks up at Wilbert and there are TEARS
streaming down his face.
VERTUS
I miss my family in Indiana. My
parents and grandparents are gone,
and I find little reason to visit.
There is so much there I just
can't handle.
(removes his
horn-rimmed
glasses)
I have tormented myself for a long
time searching for the courage to
tell you my secret. You're the
closest thing I have to a son,
Wilbert.
(then)
(MORE)

35. 34.
VERTUS (cont'd)
My secret is why I always covered
my head and hid it all my life.
I've never told anyone my secret
until now.
(shakes head)
But I'm just tired. I'm beat to
the socks.
WILBERT
(sitting back down)
Tired of what?
Vertus begins to CRY with even more emotion, nearly losing
control.
Wilbert MOVES to the chair next to Vertus and HANDS the
older man his personal handkerchief.
VERTUS
(a bit more
composed)
When I was a boy, just five years
old, I was experimented on. I was
just a child, a little boy; I was
not some sort of animal.
WILBERT
What did they do to you?
(beat)
You say you were experimented on
as a little boy?
(then)
Take your time...
VERTUS
Yes, they experimented on us with
radiation...
CAMERA CLOSES IN
Vertus REMOVES the wide brimmed hat, followed by the beanie.
Vertus' head is heavily speckled, by the loss of skin
pigmentation, and oddly shaped. His head resembles in
symmetry, that of a cucumber - tall on the top an slender on
the side. There is no hair except a few strands near his
left ear. There is scarring across the entire width of
Vertus' forehead, just above the eyebrows. The right front
quadrant of his scalp is whitest due to loss of skin color.
Both of his ears are wafer thin and bares blemishing across
their upper edges. Atop Vertus; wound lays a sponge cover
measuring 4-by-2 inches in diameter.

36. 35.
A DIFFERENT CAMERA ANGLE
Vertus begins to meticulously TUG along the periphery of the
sponge to DETACH it. Once removed, a horrific WOUND, that
resembles raw tattered flesh containing peaks and valleys,
is EXPOSED. There is slight BLEEDING evident caused by the
sponge being dislodged and torn away from unhealed scabs.
Vertus uses Wilbert's handkerchief to calmly blot his scalp
and face.
A WIDER CAMERA ANGLE
Wilbert calmly rises, OPENS the office door, EXITING the
inner office, CAMERA FOLLOWING.
INT. WILBERT'S ALLSTATE OFFICE - CONTINUOUS - DAY
Wilbert MOVES purposely, as he heads for the WASHROOM. Susan
and the others have diligently RESUMED their working tasks,
minding their own business.
INT. ALLSTATE WASHROOM - CONTINUOUS - DAY
Wilbert ENTERS the small area and immediately begins PULLING
paper towels, WETTING a FEW in the process.
BACK WITH VERTUS
Wilbert HANDS most of the wet paper towels to the older man,
who further BLOTS at the blood that has streamed onto his
face.
Wilbert begins to BLOT out some of the blood with towels he
kept.
WILBERT
Who did this to you?
Vertus offers NOTHING but continues DABBING at the blood on
his face.
There are a few moments of SILENCE. Wilbert sits back down.
Vertus again begins to WEEP.
VERTUS
(gaining composure)
I have suffered a lot of pain and
I'm tired of carrying this burden
alone.

37. 36.
CUT TO:
EXT. CITY HALL PASADENA - LATER - DAY
Vertus, having CLEANED up - his beanie and wide brimmed hat
back in place - WALKS along slowly with Wilbert, strolling
past the very PROMINENT "HEADS" of JACKIE ROBINSON and his
BROTHER HUGH.
VERTUS
The hospital needed to know human
reaction to radiation exposure.
They experimented on ten children;
I was one of them. They told us we
were going on a field trip but we
ended up in a hospital basement.
Vertus STOPS his and Wilbert's stroll:
VERTUS
Those people viewed me and the
other children as dollar signs;
nothing more.
(finally)
My parents didn't have a clue what
would happen to me and my brother
Melvin that day.
WILBERT
(measures that)
(It was) COMPLETE and IMMORAL
obfuscation... This is almost too
much to comprehend, Vertus.
VERTUS
(beat)
Wilbert, I don't want pity. That's
the one thing I've feared my whole
life.
EXT. CITY HALL BENCH - SEVERAL MINUTES LATER - DAY
Vertus and Wilbert SIT on a bench as the early evening shade
begins to "have its way;" Pasadena City Hall is in the b.g.
There are no words to be spoken, just the opportunity to
allow "peace to be still."
CUT TO:

38. 37.
INT. SMITH UPSTAIRS BEDROOM - THAT NIGHT - NIGHT
The room is dark, and Wilbert lies in bed WIDE AWAKE next to
Susan; he can't shake the image of Vertus' head:
VERTUS (V.O.)
(with sonic
"effect")
Wilbert, I don't want pity...
SUSAN
(a beat)
Can't sleep?
WILBERT
(sighs)
If I ever complain about anything,
ever again, Susan... I want you
to... to...
(voice trails off)
WE--
CUT TO:
INT. GLETUS LIVING ROOM - BACK PRESENT DAY - DAY
CAMERA OPENS on the sincere celebratory reunion of Vertus
and his older brother MELVIN - mid-eighties - who are in
FULL EMBRACE. UNCLE GLETUS and COUSIN HORACE - also in their
eighties, await their turn to embrace the wayward traveler,
Vertus. They each ad lib comments such as "Good to see
you..." and "It's been far too long..." or "I've missed
you..." All wear HATS, all are without hair on their heads.
Wilbert, who stands IN FRAME, is all SMILES as he is
alternately HUGGED by Uncle Gletus, Cousin Horace and
finally Vertus' brother Melvin.
The home is nice, very typical for people who have worked
hard for the things they have. The FURNISHINGS are old, but
very well kept up; the PLASTIC on the DIVAN and COUCH add a
touch of old-fashioned charm.
Wilbert's camera, tripod and a couple of other pieces of
equipment SIT IN FRAME.
INT. GLETUS KITCHEN - MINUTES LATER - DAY
Gletus is in FULL COMMAND as he stands COOKING sizzling
bacon on the "old fashioned" stove. An arm's length away -

39. 38.
we SEE the COFFEE POT is PERCOLATING and he has already
prepared: EGGS, TOAST, GRITS, BISCUITS, etc.
INT. GLETUS DINNING ROOM - SEVERAL MINUTES LATER - DAY
The table has been set: POT OF COFFEE, PLATES of BACON,
EGGS, GRITS, BISCUITS, etc., along with the PLACE SETTINGS.
Vertus sits at one head of the TABLE, seated next to Wilbert
to his right and Melvin to his left. Gletus is seated at the
other head of the table, with Horace to his left.
They all HOLD HANDS, HEADS BOWED as Wilbert "gives Grace."
WILBERT
Oh Heavenly Father, God of our
lives, we give sincere thanks for
this wonderfully prepared meal and
the hands that prepared it... Also
thanking you for allowing us to
come together for the purpose of
healing old wounds and shinning a
light on old truths, Father. Lord
grant us the courage and the
strength to press ahead as you
would have us (do). Amen.
VERTUS
(a beat)
Let's eat.
No one has to be told twice as they all start to DIG in,
PASSING plates, helping themselves to ample portions, etc.
There is plenty of SOUNDS of utensils hitting plate ware,
etc.
DISSOLVE:
INT. GLETUS DINNING ROOM - MINUTES LATER - DAY
The TABLE has been CLEARED of food, plates, utensils, etc.,
save for cups of coffee and/or glasses of juice.
Presently, it is Gletus who "holds court."
UNCLE GLETUS
I have never believed in carrying
debt; can't abide it. I remember
shopping for a tractor, not too
long ago, and being ignored by the
salesman, probably because I did
(MORE)

40. 39.
UNCLE GLETUS (cont'd)
not look the part of one of the
big shot farmers. Shoot. I asked
for the manager. He saw how
unhappy I was and offered me a ten
per cent discount. Shoot, ten per
cent discount? I ordered TWO
tractors...
(alas)
Pulled out my checkbook and paid
the full amount. That manager
nearly swallowed his 'uppers!'
Hearty LAUGHTER abounds!
VERTUS
That's what has made Uncle Gletus
a living legend in these parts. I
want to be just like him when I
grow up!
There is more laughter.
QUICK CUT:
SEPIA COLOR TONE FOOTAGE of Vertus as a 5 year old, MELVIN
and GLETUS as 7 year olds and HORACE and MELVIN "FUZZ" - all
STANDING staring blankly into the CAMERA. They all have on
the FLIP HATS so popular back in the late 1920 time frame.
BACK TO THE SCENE
COUSIN HORACE
(to Wilbert)
How long have you been Vertus'
doctor?
VERTUS
Oh no, Dr. Wilbert isn't my
MEDICAL doctor, he's a Ph.D.
WILBERT
(breaking in)
Yeah, piled high and deep - as the
saying goes.
VERTUS
(picking up)
Wilbert is writing a book about my
life and producing a documentary
that includes all of us.

41. 40.
WILBERT
(a beat)
Gentlemen, please don't look at me
as some hot shot Hollywood movie
producer type. Vertus and I go
back twenty years, and he's shared
with me the family tree and your
Lyles Station history.
(a beat)
I hope you see me as a humble
person who believes your
incredible story needs... no, make
that DEMANDS, to be told.
UNCLE GLETUS
(laughing)
All I know is that's some pretty
tall talkin'.
Horace and Melvin also laugh quite heartily.
MELVIN
Just tell us what you want us to
do, Dr. Wilbert.
(beat)
I grow'd up thinking nobody cared
a lick what happened to us.
Wilbert stands and moves a few feet from the table where the
others are seated.
PULL FOCUS ON WILBERT
EXT. GLETUS FARM HOUSE - CONTINUOUS - DAY
There are a SERIES of CAMERA SHOTS that show the beauty of
the countryside:
1. The front of Gletus' place; a very nice homey place. The
rented van is parked out front;
2. The surrounding farmland to the east;
3. The surrounding farmland to the west.
INT. GLETUS LIVING ROOM - LATER - DAY
Wilbert is on his feet, his CAMERA mounted on the TRIPOD. We
SEE Vertus, seated on the couch, REMOVE his beanie.

42. 41.
Wilbert's TAPE is RUNNING as Melvin, Horace and Gletus all
MOVE CLOSER for a LOOK-SEE.
Now Melvin, still on his feet, REMOVES his hat and wig.
MELVIN
This is the first time I have ever
taken my wig off in front of other
people; I have always worn a
toupee.
Gletus sits on the couch next to Vertus and REMOVES his hat.
MELVIN
(picking up)
My son is fifty-eight years old
and he has only seen my head a
couple of times. Right now I feel
naked...
Finally, Horace REMOVES his hat.
Each man PRESENTS a speckled scalp, badly spotted amidst
large pockets of lost skin color. Each man's skin is dry and
scaly, microscopically thin in texture.
But it is clearly Vertus who is the worse off.
COUSIN HORACE
(to Vertus)
Did your head every resemble mine
then advance to this stage?
VERTUS
My head never looked like yours...
I've always had terrible lesions
and burning. Doctors tell me I
received more radiation than any
case they ever witnessed.
A DIFFERENT CAMERA ANGLE
Gletus STANDS and approaches Wilbert, his back turned on the
others:
UNCLE GLETUS
(cotto)
Could Vertus' condition
eventually, well, you know...
(then)
Could he die from this?

43. 42.
HOLD ON GLETUS
DISSOLVE:
EXT. SAND HILL CEMETERY - MINUTES LATER - DAY
CAMERA REVEALS a WIDE ANGLE LONG SHOT of the parked van - in
the well kept graveyard, with Vertus, Wilbert, Horace,
Melvin and Gletus standing in the b.g. at the grave-site of
JOSEPH A. LUCAS. (All of the older men have on their hats,
etc.)
UNCLE GLETUS (V.O.)
Uncle Joe, as he was known, was
married to my sister Florence. He
was the only Principal the school
ever had... We're talkn' some 30
odd years or so, rest his Soul.
VERTUS (V.O.)
He knew the limited opportunities
his Negro students had, but he
challenged us to advance beyond
our harsh realities.
WILBERT (V.O.)
(a beat)
Is it true nearly every grave
belongs to a relative of yours?
VERTUS (V.O.)
Nothing but Hardimans planted out
here...
(with a twinkle)
You may quote me.
WE--
DISSOLVE:
EXT. OLD LYLES STATION ROAD - DAY
IT'S 1927 AGAIN and THE FOLLOWING SCENES are in SEPIA COLOR
TONE. An old DODGE, with a STOP sign positioned just outside
the driver-side window, serves as a school BUS. It PUTTS
along - with MR. CLIFT - 45 - the DRIVER. There are several
SCHOOL CHILDREN already on board, seated three children per
seat. The are as quiet and orderly as one could expect.
The young boys wear flat caps, winter jackets and overcoats.

44. 43.
Ankle length dresses, sweaters and coats adorn the young
females. The ages run from 6 to about 12.
EXT. VERTUS CHILDHOOD HOME - DAY
The LONG SHOT FEATURES a pond about 50 yards from the MAIN
HOUSE, where CATTLE graze and wade.
INT. VERTUS CHILDHOOD HOME - CONTINUOUS - DAY
The condition of the house is not bad; it's a couple of
years before the Great Depression.
IRENE, very pretty, late twenties [note to real-life WILBERT
- RHONDA MORMAN would be a good casting choice], HELPS
7-year old Melvin on with his OVERCOAT. During the following
dialog she STUFFS a PERMISSION SLIP into the young lad's
coat POCKET.
IRENE
(calling off scene)
Hurry Vertus... You don't want to
be late your first day of
school...
5 year-old Vertus MOVES INTO FRAME stuffing his SHIRT, as
best he can with his COAT in one of his HANDS, into his
PANTS.
IRENE
Melvin, I'm depending on you to
take good care of your little
brother.
YOUNG MELVIN
...yes mam...
Now Irene HELPS him on with his coat.
IRENE
(to Vertus)
I want you to be a good boy and do
what they tell you.
YOUNG VERTUS
Okay mommy.

45. 44.
EXT. VERTUS CHILDHOOD HOME - CONTINUOUS - DAY
Irene gently PUSHES Melvin and Vertus out onto the veranda,
just as the old Dodge PULLS up in front of the house, on
cue.
EXT. /INT. OLD DODGE - CONTINUOUSLY - DAY
Mr. Clift STOPS the old bus in front of Vertus' childhood
home. Vertus mother KISSES both Melvin and Vertus, who WALK
down the stairs toward the bus and away from their mother.
Melvin and Vertus don't wear hats and the ringworm they
suffer from is clearly evident with a CLOSER CAMERA ANGLE.
IRENE
(calling out)
Morning Mr. Clift...
MR. CLIFT
(calling back)
Morning, mam...
(cotto)
With your good lookin' well put
together self.
INT. OLD DODGE - CONTINUOUSLY - DAY
Young Melvin and young Vertus MOUNT the bus STAIRS, Vertus
CLINGING to his older brother's coat with BOTH HANDS.
MR. CLIFT
Do you have the permission slip,
Melvin?
YOUNG MELVIN
Yes sir...
Young Melvin REACHES INTO his coat POCKET and REMOVES the
permission slip which he HANDS to Mr. Cliff.
Mr. Clift FOLDS the slip with the other permission slips as
the Hardiman boys make their way down the bus AISLE.
MR. CLIFT
You boys go to the back with your
cousins.

46. 45.
A DIFFERENT CAMERA ANGLE
As the boys PASS one LITTLE GIRL on an aisle seat, who LEANS
away:
LITTLE GIRL
Yuck, coody...
A few of the other girls GIGGLE; Melvin SHOWS her his LEFT
BALLED UP FIST.
MR. CLIFT
All right now... we're having none
of that.
The young Melvin and young Vertus take their seat at the
back of the bus with:
YOUNG GLETIS, YOUNG FUZZ, YOUNG HORACE, ALAN, GARWOOD, ELLA
MAE, LLOYD and MILBURN. None of them wear hats and all have
VISIBLE SIGNS of RINGWORM.
EXT. VERTUS CHILDHOOD HOME- CONTINUOUS - DAY
Irene stands on the veranda and WAVES as she WATCHES the
DOOR CLOSE and the old Dodge DRIVE AWAY.
EXT. LYLES CONSOLIDATED SCHOOL - DAY
SCHOOL CHILDREN play in the huge FRONT YARD: GIRLS on one
side of the LONG WALKWAY (leading from the main road to the
school's FRONT DOOR), and BOYS on the other side.
EXT. OLD DODGE - MINUTES LATER - DAY
The old, rickety vehicle PULLS up in front of the school and
STOPS.
YOUNG VERTUS POV
He can see the children FROLICKING on the school's acre of
GRASS, while still CLINGING to Melvin.
EXT. LYLES CONSOLIDATED SCHOOL - CONTINUOUS - DAY
UNCLE JOE - 50 years old and very no non-sense STEPS out
onto the PORCH. He PULLS out his POCKET WATCH and "notes"
the old Dodge is right on time.

47. 46.
EXT. /INT. OLD DODGE - CONTINUOUS - DAY
The children in the FRONT of the bus START OUT the DOOR the
moment it OPENS, single file, and quite orderly - not unlike
little soldiers.
CAMERA TRUCKS WITH Uncle Joe as he MAKES HIS WAY to the bus.
A DIFFERENT ANGLE
The children in the back MOVE FORWARD but are STOPPED from
leaving the bus by Mr. Clift, just as Uncle Joe reaches the
door, STEPPING UP on the bus.
UNCLE JOE
Good morng Mr. Clift...
MR. CLIFT
Good morning Principal Lucas.
Mr. Clift HANDS over the STACK of PERMISSION SLIPS to Uncle
Joe. He briefly EXAMINES them then HANDS them back to Mr.
Clift:
UNCLE JOE
(to Mr. Clift)
This is the FIRST time they're
doing for the Negro children what
the white students are getting,
without a bunch of kicking and
screaming.
MR. CLIFT
You can knock me over with a
feather... Next you'll be telling
me one day we'll have a colored
President.
UNCLE JOE
(beat)
Good morning children...
MOST OF THE TEN
Good morning Principal Lucas.
UNCLE JOE
(a beat)
Well, Vertus... I believe this is
your first day at school, isn't
it?
Young Melvin HUNCHES young Vertus:

48. 47.
YOUNG VERTUS
(a beat)
Yes sir...
UNCLE JOE
You aren't afraid are you?
YOUNG VERTUS
Y-Yes sir...
UNCLE JOE
(smiles)
There's nothing to be afraid of.
(kneeling down to
their level)
You children are to go with Mr.
Clift to the Hospital to get a
special new treatment for your
ringworm.
(beat)
I want you to follow Mr. Clift's
directions and we'll see you back
here in a little while. We have a
candy treat for you when you get
back...
(alas)
Ella Mae you're just as pretty as
a picture... And you good looking
fellows make me yearn to be young
again.
CAMERA CLOSES for a CLOSE UP of Uncle Joe. He cannot hide a
look of concern.
END SEPIA COLOR TONE HERE.
DISSOLVE:
EXT. SAND HILL CEMETERY - PRESENT DAY - DAY
Vertus, Gletus, Horace and Melvin, all surround Wilbert, who
KNEELS DOWN on the ground to get a better angle on the
HEADSTONE of JOSEPH A. LUCAS - with his Canon Mark I.
Wilbert SNAPS TWO PICTURES, complete with FLASH, then
STANDS.
ALL FIVE
May the LORD keep watch between me
and thee while we are absent, one
from another... Amen.
(then SINGING - on
cue)
Praise God from whom all blessings
(MORE)

49. 48.
ALL FIVE (cont'd)
flow... Praise Him all creatures
below... Praise Him above thee
Heavenly Hosts... Praise Father,
Son and Holy Ghost...
They start the WALK back to the van, which is NOT IN FRAME.
CUT TO:
INT. /EXT. RENTED VAN - MINUTES LATER - DAY
Wilbert DRIVES the van along - with Vertus in the front
passenger seat, Gletus and Melvin in the middle passenger
seat and Horace on the back passenger seat.
The van pulls from a COUNTRY ROAD onto the parking lot of a
NURSING HOME. Wilbert PARKS the van and turns off the motor.
He now REMOVES his CANON MARK I from the center console.
UNCLE GLETUS
I'm gonna stay here. (I) don't
like seein' Fuzz this way.
EXT. NURSING HOME FRONT DOOR - CONTINUOUS - DAY
Vertus, Wilbert, Horace and Melvin step up to the door.
There is a WINDOW to the left of the door, and Wilbert CUPS
his HANDS and PEERS in, his camera slung over his right
shoulder.
Vertus RINGS the DOORBELL.
WILBERT'S POV
WE SEE a HALLWAY LINED with rooms on either side -- with
FUZZ, 86 years-old, SEATED in a WHEELCHAIR just a few feet
inside of the window. Fuzz has all of the Hardiman features
and WEARS a baseball CAP.
INT. NURSING HOME - CONTINUE - DAY
WE HEAR the door ELECTRONICALLY RELEASED, and Vertus,
Wilbert, Horace and Melvin ENTER the facility.
Vertus is first to Fuzz, taking him by the hand. Fuzz
doesn't seem to be fully aware of what is going on, showing
very little interest:

50. 49.
VERTUS
Cousin Fuzz... it's me, Vertus...
Horace, Melvin and Wilbert gather around. WE SEE SEVERAL
nursing home EMPLOYEES in the b.g.
Horace moves in and KISSES Fuzz on the CHEEK.
Wilbert REACHES for the wheelchair brake, which he releases,
and begins PUSHING Fuzz away from the door, just as one of
the BLACK CAREGIVERS MOVES INTO FRAME.
COUSIN HORACE
(to caregiver)
This Dr. Smith from California.
He's writing a book on what
happened to us when we were little
boys. He came to see my brother's
head.
Wilbert does his best not to react.
CAMERA ANGLES ON WILBERT'S CANON
CAREGIVER
(beat)
Oh, no.
The caregiver STOPS Wilbert in his tracks, REMOVES the
wheelchair from his GRASP and proceeds to WHEEL Fuzz in a
direct line to the SUPERVISOR [played by KEN DAVIS' COUSIN,
PATRICE LAKEY], who MOVES INTO FRAME; she too is black, in
her mid-thirties.
The caregiver WHISPERS several WORDS we can't HEAR to her
supervisor.
SUPERVISOR
(stepping forward
to Wilbert)
Dr. Smith, (is it)? I shouldn't
have to recite policies as they
pertain to the right of privacy,
should I?
WILBERT
(slightly
embarrassed)
Certainly not. I'm sorry...
(alas)
This IS a bit awkward.

51. 50.
SUPERVISOR
(continuing)
You thought you could just come in
here and start snapping pictures
to your heart's content?
WILBERT
No, m-mam...
SUPERVISOR
The only person authorized to give
permission is Mr. Hardiman, who's
obviously in no position to do so,
or Miss Alberta Hardiman, the
client's sister.
VERTUS
(to Horace)
Call Alberta...
Horace PULLS out his cutting-edge CELL PHONE, and begins
fastidiously SCROLLING for sister Alberta's phone number,
when Fuzz begins to slowly NOD HIS HEAD.
Vertus LEANS closer: Fuzz NODS again, ever so slightly.
VERTUS
(to supervisor)
Look.
The supervisor LEANS closer; once more, Fuzz NODS, barely.
WILBERT
My Lord God...
INT. FUZZ' ROOM - MINUTES LATER - DAY
Fuzz has been wheeled into his room, which contains a BED,
and the normal things you'd expect to find in a convalesce
room. Vertus, Horace and Wilbert, who has removed his camera
from around his shoulder, surround the old guy.
The supervisor STEPS BACK INTO FRAME.
SUPERVISOR
I'm going to close the door for 30
minutes... 30 minutes is all you
have.
The supervisor EXITS, CLOSING the door behind her.
Simultaneously, Horace MOVES to Fuzz and begins to gently
REMOVE the wheelchair bound man's baseball cap.

52. 51.
DISSOLVE:
INT. FUZZ' ROOM - MINUTES LATER - DAY
WE SEE Wilbert carefully beginning the process of REAPPLYING
BANDAGES to Fuzz' head, which like the others, PRESENTS the
crusting of the upper portions of his ears, complete with
the scaling and so forth. His head has not deteriorated
nearly as much as Vertus' head. Fuzz is unaffected by it
all.
INT. NURSING HOME HALLWAY - CONTINUOUS - DAY
CAMERA TRUCKS ALONG with the supervisor - as she STEPS to
the door of Fuzz' room and OPENS the DOOR to SEE:
Horace PLACING Fuzz' cap back on his head.
CUT TO:
INT. HOTEL ROOM - THAT NIGHT - NIGHT
Vertus and Wilbert RECLINE in their respective beds; the
LIGHT on the table which separates the two beds is still on.
Wilbert is PROPPED up on extra pillows as he LOOKS at PHOTOS
taken earlier that day on the Canon REVIEWER.
Vertus has his hands CLASPED behind his head, evening WRAP
in place, STARING up at the ceiling.
WILBERT'S POV
He looks intently at a PHOTO of Vertus and Gletus as they
POSE TOGETHER. The photo features the back of their heads.
BACK TO THE SCENE
WILBERT
We now have photographs of all of
the survivors (from that dreadful
day).
Vertus measures what's just been said.
VERTUS
Wilbert, I never thought I would
get back here for this kind of
fellowship. There is no better way
to come back home.
(then)
(MORE)

53. 52.
VERTUS (cont'd)
The Good Lord has certainly
blessed us to live into our golden
years.
WILBERT
(beat)
How are you feeling about
tomorrow? Returning to the
hospital?
Vertus doesn't offer anything, but just CLOSES HIS EYES.
PULL FOCUS ON VERTUS
DISSOLVE:
INT. WILBERT'S ALLSTATE OFFICE - TWO YEARS EARLIER - DAY
WE again FLASHBACK TWO YEARS. SOUND BRIDE: A RINGING PHONE.
WE FEATURE Susan, who is not alone in the office. She
ANSWERS the phone:
SUSAN
(into the phone)
Hello...
(pausing)
Hey Vertus...
(beat)
Sure, he's here. How are you
doing, young man?
Wilbert STEPS INTO FRAME and Susan HANDS the phone to him.
INT. VERTUS' LIVING ROOM - CONTINUOUS - DAY
Vertus PACES in his living room - his ear ATTACHED to his
land-line BLACK ROTARY phone. He's got on a BLUE beanie.
WILBERT (O.S.)
(via phone)
Vertus, thanks for returning my
call. I was wondering whether you
are free for lunch? I have
something very important I'd like
to talk over with you.

54. 53.
INT. PASADENA CAFE - LATER THAT DAY - DAY
Vertus sits across the table from Wilbert in the small
facility, diligently CUTTING and EATING his chicken salad.
Wilbert's got a chicken salad too that he has barely
touched. There are a FEW other CUSTOMERS eating lunch.
WILBERT
I'm telling you, I haven't been
able to think about anything else
since you shared your secret with
me, Vertus. I can't work, I can't
sleep... I believe you have a
special ministry that needs to be
shared with the world...
(finally)
We sang in that choir side by side
for twenty years; this is God's
move... This is something I've
been in deep prayer about: I want
to write a book about your life.
Vertus PUSHES his plate away.
WILBERT
Mind you, I don't expect an answer
right away. And mind you, I'm no
professional writer per se, but
I've had articles published; I'm a
Ph.D. for Heaven sake.
(then)
Think about it.
VERTUS
(a beat)
I've spent my life trying to
FORGET this...
(shakes his head)
I trusted you, (Wilbert).
Vertus is visibly shaken. He gets up and walks out of the
cafe.
Wilbert STANDS, REMOVES a couple of $10 bills from his
wallet which he PLACES on the table, then TAKES OUT after
Vertus.
EXT. FAIR OAKS - FEATURING WILBERT - CONTINUOUS - DAY
He begins to HALF JOG towards Vertus who is up ahead, past
FOOT TRAFFIC, which is considerable for such a lovely day in
Pasadena.

55. 54.
When he reaches Vertus, Wilbert doesn't say anything - but
instead begins to WALK with him.
EXT. GREEN STREET OLD TOWN PASADENA - LATER - DAY
Vertus and Wilbert walk side by side down the street, amid a
CROWD of PEOPLE going here and there.
WILBERT
I'm sorry if I upset you... This
thing you live with everyday is
haunting me... I feel like I need
to DO something. I want to take a
giant microphone and scream to the
world - "Look what was done to
this human being!"
(beat)
I'm a "fix it" kind of guy; it's
who I am. You KNOW that Vertus...
It's in my DNA. Let me take your
story to the world.
Vertus STOPS WALKING and places a gentle hand on Wilbert's
ARM:
VERTUS
Please, Wilbert... Everything is
not fixable... You don't
understand what it does to me
every time I look in a mirror.
(shaking head)
Leave it alone, my friend. Leave
it alone...
EXT. CITY HALL BENCH - SEVERAL MINUTES LATER - DAY
Wilbert and Vertus sit on the SAME bench where they seem to
find peace and solace. This time it's Wilbert who is
emotionally bound.
WILBERT
(resigned)
I've been in the insurance game so
long sometimes I don't even
recognize when I'm in sell mode. I
don't know what makes me think you
want to share your story with the
world when you've spent 80 years
doing the opposite (thing)...

56. 55.
Vertus just listens, letting Wilbert do the talking.
WILBERT
(picking up)
Susan says I'm not being haunted
by what they did to you, that I'm
still grieving the loss of my
father... (and) that he and I
never got things settled between
us... Hell, I've said THAT to HER.
But really... HEARING her say it
(back to me)... HEARING her speak
the words...
(voice trails off)
Vertus, you MUST know me as a man
who cares deeply for the things
important to me... I cried like a
baby when I learned your condition
was terminal.
VERTUS
I know...
Wilbert shifts on the bench; he is very uncomfortable.
WILBERT
I've been a man not known to share
my emotions easily. It's just who
I am.
(a beat)
I haven't shed one solitary tear
for my father. Not one.
(then)
He walked out on my mom, he walked
out on our family.
(another beat)
It was up to ME as the oldest to
be the man of the house.
Wilbert's SMART PHONE begins to ALERT; he takes it out and
TURNS if OFF.
WILBERT
6000 years of human history
WITHOUT these things.
(beat)
Yeah, I'm the oldest all right...
In the end, I was the one the
doctors consulted about pulling
the plug...
TEARS begin to WELL UP in Wilbert's eyes. He SHAKES his
HEAD.

57. 56.
WILBERT
I can't believe that dude actually
died on me...
CUT TO:
INT. SMITH FAMILY ROOM - SEVERAL DAYS LATER - DAY
CAMERA FEATURES Wilbert and Susan relaxing on a very plush
white leather SECTIONAL looking at a leading-edge FLAT
SCREEN TELEVISION. An EPISODE of the SIMPSONS is on, and
they LAUGH as BLEEDING GUMS MURPHY does an elongated version
of the STAR SPANGLED BANNER.
INSERT SOUND BRIDGE: RINGING DOORBELL
Wilbert HANDS the REMOTE CONTROL to Susan and goes to the
FRONT DOOR, CAMERA LEADING.
EXT. SMITH HOME - CONTINUOUS - DAY
Vertus stands at the FRONT DOOR; WE HEAR the running ENGINE
of his MUSTANG:
Wilbert OPENS the FRONT DOOR:
VERTUS
If you wrote some sort of book,
how often would we have to meet?
FADE OUT.
FADE IN:
EXT. HAMPTON INN - DAY
To ESTABLISH it is the PRESENT DAY.
INT. /EXT. VAN RENTAL - DAY
Wilbert DRIVES to the front of the hotel, just as Vertus
EXITS the building and GETS IN the van. He's got TWO CUPS of
COFFEE in HAND.
The van PEELS AWAY and they drive off into the day.

58. 57.
EXT. RESTORED LYLES CONSOLIDATED SCHOOL - DAY
Vertus and Wilbert, who has set up his tripod and Canon,
STAND IN FRAME facing the "LYLES CONSOLIDATED SCHOOL" sign;
the restored school building is in the b.g.
Wilbert begins to DISASSEMBLE the tripod and camera.
WILBERT
I've got some pretty good shots
even if I say so myself.
VERTUS
(a beat)
Smell that air, Wilbert. It's the
secret to living so long, the
Lyles Station air... It's such a
lovely day...
(walks closer to
building)
Uncle Joe's office was on the
second floor. Naturally he could
see EVERYTHING (from there)... If
you did something wrong, Uncle Joe
knew about it. I can almost see my
schoolmates playing... boys on ONE
side of the walkway, girls on the
other...
WILBERT
(takes look at
wristwatch)
We'd better get a move on... (Are)
you ready?
(then)
(I hope you) remember what I said:
you don't have to do this... It's
not necessary to get the book
done. I'm telling you straight up,
Vertus. It's your call,
completely. I drove by and got
pictures of the old hospital while
you were napping yesterday.
Vertus does not say anything but grunts thoughtfully, then
TURNS and heads for the van [which is not VISIBLE in this
SHOT].
DISSOLVE:

59. 58.
INT. /EXT. VAN RENTAL - SEVERAL MINUTES LATER - DAY
Wilbert DRIVES the van up in front of GIBSON COUNTY
SANITARIUM (as it is now known) and PARKS leaving the ENGINE
RUNNING; there is a CAR PARKED out front, but other than
that the building looks ABANDONED.
INT. VAN RENTAL - FEATURING VERTUS - CONTINUOUS - DAY
He STARES intently at the one time hospital. CAMERA IS TIGHT
on Vertus, who is in SEPIA COLOR TONE.
WILBERT (O.S.)
I'll pull around to the back.
OUT OF FRAME, Wilbert STARTS the van and DRIVES to the back
of the present day sanitarium, and PARKS, TURNING off the
MOTOR.
CUT TO:
EXT. GIBSON GENERAL HOSPITAL - DAY
To ESTABLISH we're BACK in 1927 again, this time in FULL
LIVING COLOR.
INT. OLD DODGE - FEATURING YOUNG VERTUS - DAY
He still CLINGS to young Melvin, as Mr. Clift DRIVES the
Dodge to the REAR of the BUILDING.
EXT. REAR OF HOSPITAL - FEATURING PRESENT DAY VERTUS - DAY
Present day Vertus - still in SEPIA COLOR TONE - STANDS a
few feet away, WATCHING/HEARING the old Dodge engine WHEEZE
to a SHUT DOWN, the entire vehicle "shivering."
EXT. HOSPITAL BACK ENTRANCE - CONTINUOUS - DAY
The old Dodge DOOR OPENS and Mr. Clift STEPS OUT - followed
by the CHILDREN, one by one. He leads them towards the BACK
ENTRANCE; there isn't one child who isn't TREMBLING.
Young Vertus continues to BRING UP THE REAR, staying close
to his brother.

60. 59.
MR. CLIFT
(looking back)
Children, try to stay in single
file...
PULL FOCUS
INT. HOSPITAL FLIGHT OF STAIRS - CONTINUOUS - DAY
Mr. Clift LEADS the ten children down a short flight of
STAIRS into the BASEMENT.
VERTUS (V.O.)
I remember EVERYTHING about that
day. EVERYTHING; even though it
was eighty years ago... We were
led into a DUNGEON within a
hospital...
INT. BASEMENT HALLWAY - CONTINUOUS - DAY
Mr. Clift is FEATURED as he LEADS the children through the
brief hallway; at the end of the path STANDS DR. ELLIS -
white, about 60 years old. He wears a knee-length white
coat.
VERTUS (V.O.)
We were in a strange land where
cruel and unusual punishment was
our destiny.
Dr. Ellis STEPS FORWARD offering no greeting.
VERTUS (V.O.)
Dr. Ellis, a very tall man, seemed
to tower over us. In a cruel
irony, he was the attending
physician who signed my birth
certificate.
Mr. Clift HANDS the PERMISSION SLIPS to Dr. Ellis, then
BECKONS the children FORWARD, like a "mother hen" and her
chicks.
CAMERA FEATURES young Vertus - who begins to CRY. Young
Melvin tries to COMFORT his sibling.
VERTUS (V.O.)
I remember it being uncomfortably
chilling. I'll never forget the
smell of that place.

61. 60.
Dr. Ellis EXAMINES each and every permission slip to ensure
they are properly signed.
DR. ELLIS
(matter-of-fact)
Mr. Clift, this may take a while
longer than we initially
thought... it may be best to wait
outside...
When Mr. Clift HESITATES, Dr. Ellis gives him a LOOK.
MR. CLIFT
Y-Yes sir... yes sir...
Mr. Clift KNEELS down to the children:
MR. CLIFT
(cotto)
These nice people are going to
make those awful ringworms go
away. It won't hurt.
THE TEN'S POV
Mr. Clift TURNS and heads back to the stairs.
BACK TO THE SCENE
Dr. Ellis LEADS the ten into a SMALL ROOM which adjoins the
hallway.
INT. BASEMENT HOLDING ROOM - DAY
Dr. Ellis USHERS the ten inside a room barely the size of a
prison cell.
VERTUS (O.S.)
We were ushered into a room no
larger than a typical prison
cell...
(then)
Did I say I'll never forget the
smell of that place?
THREE TECHNICIANS - all white, two female and one male,
mid-twenties - quickly ENTER the small room, which is
nothing more than a closet of sorts.
One of the technicians, we'll call her MANDY - the more
attractive of the two women - immediately begins to pay

62. 61.
close attention to young Vertus. He is clearly the youngest
and continually WIPES TEARS from his large EYES.
EXT. REAR OF HOSPITAL - MR. CLIFT - CONTINUOUS - DAY
WE can SEE Mr. Clift through the OPEN DOOR: He SITS in the
old Dodge, looking somewhat perplexed; he TAKES out his
POCKET WATCH and notes the time.
INT. ASSESSMENT ROOM - CONTINUOUS - DAY
This space, which also ADJOINS the small hallway, contains
several PIECES of sophisticated MACHINERY [for that day in
time]. Dr. Ellis and the male technician MOVE INTO FRAME,
taking their SEATS behind a DESK which contains a bunch of
GRAPHS, HAND WRITTEN NOTES and other PAPERWORK.
INT. BASEMENT HALLWAY - MANDY - CONTINUOUS - DAY
Mandy and the third technician USHER the ten into the tiny
corridor, with Melvin and Vertus bringing up the rear.
Meanwhile, the third technician PEELS OFF and WALKS down the
hallway toward the TREATMENT ROOM, at the very end.
MANDY
Sit against the wall and cross
your legs.
(gives Ella Mae a
helping hand)
The ten do as told, SITTING on the dirty floor their backs
against the WALL; young Gletus is at the FRONT of the row of
children.
INT. TREATMENT ROOM - THIRD TECHNICIAN - CONTINUOUS - DAY
CAMERA FEATURES the third technician as she steps to the
WOODEN HIGH-BACK CHAIR - which she WIPES DOWN with ALCOHOL
POURED onto a LARGE TOWEL. Then TURNING - the technician
GRABS SEVERAL LARGE BOOKS which are PLACED upon the SEAT of
the chair.
The CAMERA CLOSES IN as she begins to WIPE DOWN the
RESTRAINTS, attached to the ARMS of the chair, and the
HAT-LIKE DEVICE, which is WHITE in color with purple
striping - and ELECTRICAL WIRING that connects to a nearby
LARGE MACHINE.
The technician works PURPOSEFULLY as she quickly CHECKS and

63. 62.
RECHECKS the wire connection extending from the "hat" to the
ungodly machine.
A DIFFERENT ANGLE
Turning to a LARGE RADIO, the technician TURNS the radio on,
increasing the VOLUME to muffle any potential noise the
children can hear in the hallway.
PIVOTING, the technician turns and PULLS a LARGE LEAD
PARTITION between the CHAIR and the MACHINE. It MAKES an
UNHOLY RACKET which ECHOES into the hallway.
BACK WITH YOUNG VERTUS
He PUTS his HANDS to his EARS as the MUSIC from the radio
and the NOISE of the PARTITION begin DRAGGED across a
CONCRETE FLOOR continues.
VERTUS (V.O.)
It was a sound that HAUNTS me to
this day...
CAMERA WIDENS TO REVEAL:
Mandy LEADING the young terrified Gletus into the room,
where he is HANDED OFF to the female technician, who HELPS
the lad CLIMB UP onto the chair.
INT. BASEMENT HALLWAY - CONTINUOUS - DAY
Mandy MOVES INTO FRAME and immediately SCOOTS the children
down to FILL THE VOID left by Gletus - closer to the
treatment room door.
BACK WITH YOUNG GLETUS
The technician STRAPS the AD HOC restraints to his ARMS
-securely FASTENING them to the chair arm - then she PLACES
the over-sized hat, obviously meant for an adult, onto his
head.
The head covering rests just above the eyebrows and covers
the top portion of the ears.
THIRD TECNICIAN
(firmly)
Don't move.