Hole 12 06-2011

HOLE IN THE HEAD: A LIFE REVEALED

by

Wilbert Smith & Ken Davis

Screenplay Adaptation of theBook "Hole in the Head: A LifeRevealed" by Wilbert SmithPh.D.

HOLE IN THE HEAD: A LIFE REVEALED

FADE IN:

EXT. SMITH HOME - NIGHT

CAMERA OPENS on a TWO LEVEL sprawling house with a CIRCULARdriveway - on which are PARKED TWO late model CARS. On theright 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 moderncreature 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. ADIFFERENT CAMERA ANGLE reveals a RADIO CLOCK which indicatesthe TIME.

Wilbert's SMART PHONE begins a familiar and distinctive RINGTONE -- which startles Wilbert and Susan from their sleep:

Wilbert ANSWERS his PHONE.

WILBERTVertus, what's wrong?

INT. /EXT. WILBERT DRIVES HIS LATE MODEL CAR - NIGHT

There is a look of concern on his face as Wilbert SPEEDSalong in PASADENA on near empty streets.

EXT. VERTUS CONDO BUILDING - NIGHT

Wilbert PARKS his car with some sense of urgency, gets outof the car, then BOUNDS up the STAIRS to VERTUS' SECONDFLOOR condo.

INT. VERTUS' BATHROOM - NIGHT

Wilbert towers over VERTUS, a black man in his mid-80s,whostands at the BASIN. The older gentleman stares into theWALL MIRROR, while using a PAIR of TWEEZERS as a pointingdevice to indicate a HOLE in his (Vertus) skull about theLENGTH and WIDTH of a TOOTHPICK. The protrusion is in theright frontal portion of Vertus' scalp.

2.

VERTUS(agitated)

A piece of my skull has cracked. Ihave a hole in my head. My skullis 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 emergencycare, 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 ofsome sort at the foot of Vertus, who wears a BLACK BEANIE.The boy's HISPANIC MOTHER pays as little attention to herson as possible. Vertus gives the child a WARM SMILErealizing the kid is paying particular ATTENTION to him.

Vertus REACHES into his coat pocket and comes out with aTOOTSIE POP. As the young boy's eyes go PING - Vertus looksto the boy's mother who NODS her approval; he HANDS thetootsie pop to the young boy, who quickly UNWRAPS thetootsie 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 STACKSof PAPERWORK. She is middle-aged and white. A COUPLE ofother STAFF are visible in the b.g. busying themselves withvarious and sundry tasks.

ADMISSION NURSEVertus Hardiman...

ADMISSION NURSE POV

She SEES Wilbert RISE on cue and COME to the counter.

ADMISSION NURSEWhat's going on, Mister Hardiman?

3.

WILBERTActually, I'm not Mr. Hardiman,he's sitting over there... Crazyas this may sound, his skull isbreaking apart.

The admission nurse does not even bat an eye; evidentlyshe's seen and heard it all.

ADMISSION NURSE(writing on a CHART)

Was there a fall? Was he attacked?How did it happen?

WILBERTBelieve me, it's a very longstory.

(beat)Is there anyway he can see adoctor right away?

ADMISSION NURSEIs his injury life threatening?

WILBERTHe's not about to kill over, ifthat's what you mean.

ADMISSION NURSE(a beat)

He'll have to wait his turn justlike everyone else who hasn't gota life threatening condition...

Wilbert is left standing alone at the counter as theadmission nurse steps behind a PARTITION to her right andOUT 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 nowlargely empty. The small boy and his mother are long gone.Vertus REACHES into his pocket and comes out with anothertootsie pop, which he offers to Wilbert, who SHAKES it off.

The WALL CLOCK reads: 4:30 a.m.

4.

INT. ER ADMISSION COUNTER - NIGHT

Wilbert STANDS at the counter just as the admission nurseSTEPS BACK INTO FRAME from behind the partition - a largeCLIP BOARD in HAND:

ADMISSION NURSEBring your father on back.

WILBERT(cotto)

He's not my father, just a closefamily friend.

ADMISSION NURSEWhatever.

Wilbert beckons to Vertus, who is immediately on his feetand APPROACHING the admission desk counter.

The admission nurse BUZZES them inside through a DOOR justleft of the counter. Vertus and Wilbert DISAPPEAR inside.

INT. ER EVALUATION ROOM - NIGHT

Vertus sits on the EXAMINATION TABLE, looking somewhatfrail.

Wilbert stands a few feet away in the small room.

WILBERTAre you feeling any discomfort?

VERTUSI'm not feeling any pain... Butseems like every time my heartbeats I can hear a cracking soundin the top of my head.

(a beat)Wilbert, I'm sorry to get you outof bed so late.

WILBERTDon't worry about me, I'm cool,straight. Let's just worry aboutgetting you fixed.

The DOOR OPENS and DR. TROY enters the ROOM. He is a youngpreppy looking white guy in his early thirties.

DR. TROYHi, I'm Dr. Troy...

5.

Dr. Troy and Wilbert exchange a hand shake.

Dr. Troy moves to the small SINK a mere swivel away andWASHES 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 verygentle 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 plushDESK leaning back catching a POWER NAP. He's got on the samecasual attire he had on to take Vertus to emergency.

The CONNECTING DOOR OPENS and Susan STEPS inside. The motionis just enough to AWAKEN Wilbert; he SITS UP TALL.

SUSAN(shakes head)

Honey, how long do you think youcan keep this up?

WILBERT(beat)

I'm okay... really.

Susan CLOSES the connecting door and comes closer toWilbert.

SUSAN(with a push)

The Regional Office is threateningto put us on probation if thingsdon't pick up around here. They'revery serious this time, Wilbert.

6.

WILBERTTheir bark is worse than theirbite. We're still outperforming70% of the other offices in thisstate. They've been trying to getthis business away from us foryears by putting target numbers sofar out of reach. They'd likenothing better than to pay usthirty cents on the dollar andhave 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 isprominently DISPLAYED on the desk.

SUSANOh, Mr. Smith... What will yourwife say?

Susan gently KISSES her husband:

WILBERTEverything will be fine. I don'twant you worrying...

(finally)What I am doing for Vertus I feelcompelled to do... Someone has totell his story.

Wilbert's PHONE begins to RING. It's Vertus' RING TONE yetagain.

CUT TO:

EXT. USC COUNTY GENERAL - SEVERAL WEEKS LATER - DAY

Wilbert DRIVES his CAR into the CROWDED PARKING AREA, withVertus in the passenger seat:

VERTUS (O.S.)Big General. I spent 40 years ofmy life here; never missed a dayof work. And I can prove that.

INT. HALLWAY ADJOINING IMAGING SERVICES - DAY

The SIGN on the DOOR reads IMAGING SERVICES.

7.

INT. IMAGING SERVICES ROOM - DAY

Vertus, who lays PRONE, is being ENGULFED by the IMAGINGMACHINE as TWO ATTENDANTS look on from the side of theimpressive machinery.

INT. ONCOLOGY ROOM - DAY

TWO DOCTORS, one FEMALE and one MALE, stand crowded around aLAP TOP COMPUTER with DR. AFRAM, a man in his early fifties,probably of MIDDLE EASTERN extract. LARGE PHOTOS are beingDISPLAYED of Vertus' DISINTEGRATING SKULL. The photos arequite GRAPHIC and DISTURBING. There are about SEVEN photosranging 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. Aframgoes to the URINAL next to him - and begins RELIEVINGhimself as well.

DR. AFRAMI've seen conditions that werejust as bad - but the personwasn't walking around; they werein the morgue.

INT. HALLWAY ADJOINING IMAGING SERVICES - DAY

Dr. Afram slowing strolls with Wilbert down the busyhallway, where SEVERAL CLINICIANS move to and fro, here andthere, to whereabouts unknown. The two come to a STOP.

DR. AFRAMFrankly, I don't believe it's thehole in Mr. Hardiman's head thatis the most crucial issue...

WILBERT(taken aback)

What are you saying, Dr. Afram?The man has a hole in his head butthat's not the most crucial issue?

8.

DR. AFRAMWe've confirmed a tumor restingdangerously close to his brain.

(dramatic pause)I'm just going to get right to it:there is a spot on Vertus' liverthat has us even more concernedthan the brain tumor; bad news allthe way around.

WILBERTHow bad is it?

DR. AFRAMWe consider his conditionterminal.

WILBERT(measures that, shaking head)

How long has he got?

DR. AFRAMProbably less than a year.

(a beat)There's nothing else we can do forhim, other than keep himcomfortable - a regiment ofantibiotics perhaps. It's not asthough he can be put throughradiation treatment.

(finally)This means a drastic change forMr. Hardiman in terms of hisindependence. I don't think heshould continue to drive...

CUT TO:

INT. WILBERT DRIVES HIS LATE MODEL CAR - DAY

Later that day, Wilbert drives up LAKE AVENUE in Pasadenaheading north -- with Vertus in the passenger SEAT. Vertushas on his customary black beanie.

INT. /EXT. WILBERT'S CAR AT STOP LIGHT - DAY

Among the SEVERAL PEOPLE who cross on the GREEN LIGHT isthat same Hispanic boy and his mother who were in theemergency room at the hospital; she PULLS the boy along by

9.

the HAND. The boy looks up to SEE Vertus in the passengerseat of Wilbert's car.

VERTUSYou've been pretty quiet, youngman.

(two beats)No need to get quiet on me...I know that I'm dying, Wilbert.

(alas)I'm thinking of having Vincentmove in with me. You know, to helpout. What's your opinion ofVincent?

The LIGHT CHANGES and they CONTINUE their journey during theensuing dialog.

WILBERTVincent is a very good man; anhonest man. I like him...

(beat)I wrote policies for Vincent andhis daughter.

VERTUSI forgot to tell you I made a bidon that downstairs condo in mybuilding. I can't keep going upand down those stairs, you know.

WILBERTI know.

VERTUSI'm due to close escrow in themorning.

(beat)This isn't the kind of thing Iwant Vincent involved in.

WILBERTWhat time do you need me, Vertus?Let's cut to the chase.

Vertus smiles; so does Wilbert.

WILBERTDo you ever have any bitternessabout what was done to you?

10.

VERTUS(to no one in particular)

"What is Man that Thou are mindfulof him?"

WILBERT(measures that)

Shakespeare?

VERTUSThe Holy Scriptures...

(beat)"What is Man that Thou are mindfulof him?" The passage goes on toask, "And the Son of Man that Youvisit Him?"

INT. WILBERT'S CAR - MINUTES LATER - DAY

Having dropped off Vertus, Wilbert drives up the HILLtowards his home. LALAH HATHAWAY sings on his amazing SOUNDSYSTEM, backed up by KIRK WAYLUM; the SONG is "BECAUSEYOU'RE MINE."

EXT. SMITH HOME - MOMENTS LATER - DAY

Wilbert pulls his car into the circular driveway and SHUTSDOWN the ENGINE. Now there is only SILENCE.

Soon he begins to cry, breaking down before managing toCOLLECT 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, asWilbert sits next to her in the passenger seat his headRESTING on the HEADREST.

11.

EXT. SUSAN'S CAR - CONTINUOUS - NIGHT

Susan PARKS the car; they get out and HEAD for the ENTRANCEto the establishment.

INT. EL TORITO GRILL - CONTINUOUS - NIGHT

ANGLE on Susan and Wilbert amid a SEA OF PATRONS waiting tobe seated, or already EATING, going in and out of RESTROOMS,ENTERING or EXITING the establishment. They approach theHOSTESS, a black GIRL in her late teens, standing alongsideof a SECOND HOSTESS, Hispanic, also in her late teens.

In the b.g. WE can HEAR and SEE partially that KARAOKE ishappening in the LOUNGE: some older WHITE GUY in butcheringSINATRA'S "FLY ME TO THE MOON" arrangement.

INT. DINING TABLE - MOMENTS LATER - NIGHT

The Hispanic girl LEADS Susan and Wilbert to the table wherethey are SEATED and HANDED their MENUS.

CUT TO:

INT. VERTUS' BATHROOM - NIGHT

Vertus is in his bathrobe, standing at the MIRROR of thetiny bathroom - complete with a TRAY of medical supplies andthe like - and which is also FILLED with BOXES inanticipation of his move to the first floor condo. The dooris closed, and Vertus painstakingly CLEANSES the opening inhis HEAD with a damp square of gauze. The wound has nowgrown to one centimeters wide by one centimeters long.

INT. SMALL HALLWAY UPSTAIRS CONDO - CONTINUOUS - NIGHT

The hallway too is cluttered with overflowing boxes. In theb.g. WE observe much of the packing has been done. VINCENT,black mid-60s, MOVES INTO FRAME from the adjoining livingroom, he's got in HAND several DEPRESSION GLASSWARE PIECES.He TAPS on the bathroom door.

VERTUS (O.S.)Yes.

VINCENTDoes this glassware have to bewrapped?

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 thosepieces is worth several hundreddollars...

(winces as he removes a tiny bit of scull with the tweezers)

Vertus LEANS his HEAD FORWARD bending to the SINK - andCLEAR 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 theyLISTEN to VEL OMARR deliver a pitch perfect rendition of SAMCOOKE'S "A CHANGE IS GONNA COME."

CUT TO:

EXT. SMITH BALCONY - LATER - NIGHT

Wilbert, a DRINK in HAND, stands on his balcony looking outinto the loveliness of the VIEW. He CAN see DOWNTOWN LOSANGELES glimmering in the b.g.

WILBERT(to no one in particular)

"What is man that Thou are mindfulof him?"

SUSAN (O.S.)Did you say something, Wilbert?

Wilbert DRAINS the content of his GLASS.

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 - includingthe PIANIST and the CHOIR DIRECTOR, who is an attractiveWOMAN of about 30 years old. Most of the members are black,with a couple of white choir members sprinkled in for goodmeasure. We find the choir singing the gospel song, "MAKE AJOYFUL NOISE." They rhythmically SWAY side-to-side

WE SEE a much younger Vertus standing to the left of a muchyounger 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 WESEE that he is being challenged as far as swaying in concertwith the remainder of choir members.

CHOIR DIRECTORHold it, hold it, hold it.

(beat)Mr. Hardiman... You're fallingbehind again. Try to keep up.

(playful)Just because you're the treasurerdoesn't mean you get to do yourown thing.

The choir director CUES the pianist:

CHOIR DIRECTORTenors, we are here:

(singing)"...Make a joyful noise, to theLord..."

BACK TO PRESENT DAY

14.

EXT. SMITH BALCONY - NIGHT

Wilbert grunts thoughtfully after confirming the contents ofhis glass are indeed gone, turns and OPENS the sliding glassdoor and GOES inside.

It is nearly DAY BREAK.

INT. SMITH BEDROOM - CONTINUOUS - NIGHT

WE SEE Susan has fallen off asleep as Wilbert crossesthrough 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 hisWIDE-SCREEN of VERTUS, footage apparently filmed severalweeks earlier. This time Vertus dons a RED beanie.

WILBERT'S POV

VERTUS (ON WIDESCREEN)This isn't really MY story... it'sOUR story. Because it could nothave been told - without him.

(near tears)

WILBERT (ON WIDESCREEN)I met Vertus in a church choir. Hecouldn't really carry a tune...because sometimes I would look tohim and I would sing directly intohis ear to get him on - pitch.

Wilbert FAST FORWARDS the FOOTAGE -- then HITS STOP:

WILBERT (ON WIDSCREEN)There was something strange aboutVertus. It wasn't his height, norwas it strange that he lookedyounger than his actual age ofsixty-four. What I found most oddhad everything to do with hishairstyle. He wore a wig that wascoal black.

Suddenly EVERYTHING GOES BLACK; the POWER is OFF!

WILBERT (V.O.)Damn!

15.

WE HEAR Wilbert fumble around in a desk drawer, then asecond drawer and finally a third drawer until he finallycomes up with a FLASHLIGHT - which he TURNS ON.

EXT. SMITH HOME - CONTINUOUS - NIGHT

WE FEATURE the CLEARLY MARKED SCE VAN parked at the curb ofthe sprawling Smith home as the TECHNICIAN MOVES INTO FRAMEand gets into the truck.

INT. SMITH HOME FOYER - CONTINUOUS - NIGHT

Wilbert SCRAMBLES out of his office with lit flashlight yetin hand, house shoes SLIDING on the MARBLE FLOORS, and tothe FRONT DOOR - which he OPENS!

WILBERT'S POV

The SCE field engineer STARTS up the van and begins slowlyDRIVING away.

WILBERT(calling to engineer)

HEY! HEY!

INT. SMITH HOME FOYER - CONTINUOUS - NIGHT

Susan, clad in her house robe APPROACHES Wilbert frombehind. She's got a LIT FLASHLIGHT too.

SUSANYou forgot to pay the light bill(again)...

A frustrated Wilbert shakes his head. There's nothing he cansay.

FADE OUT.

FADE IN:

INT. WILBERT'S INNER OFFICE - DAY

Susan slowly PACES as MR. EMMANUEL - who is white, about 40years old - sits at the desk SIFTING through a STACK ofPAPERWORK.

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 toWilbert. His MESSAGING SYSTEM picks up right away. We HEARthe BUZZ:

WILBERT (V.O.)You're reached Wilbert Smith,please leave me a message and I'llget back to you before the end ofthe business day. Thank you.

SUSAN(into the phone)

Hey Honey - it's me... Call theoffice as soon as you can...

MR. EMMANUEL(looking up)

It's going to be hard keeping youoff of probation with figures suchas these, Ms. Smith.

(beat)The auto policy numbers are waydown.

SUSAN(measures that)

Please do the best you can, Mr.Emmanuel. That's all I ask.

(then)Wilbert and I have had somepersonal challenges we're tryingto 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 gota HUGE RING of KEYS in hand.

WILBERTWhat's with all the secrecy?

17.

VERTUSYou'll see...

(moving purposefully)

You're the only person I can trustwith this.

Vertus leads Wilbert out of the from door, exiting.

EXT. VERTUS CONDO BUILDING - CONTINUOUS - DAY

Vertus meticulously LOCKS the front door then LEADS Wilbertdown the STAIRS, CAMERA LEADING.

EXT. VERTUS CONDO PROPERTY - CONTINUOUS - DAY

Vertus leads Wilbert past a PARKED 1986 FORD MUSTANG inpristine condition.

WILBERT(wipes dirt from Mustang)

You need to start her up every nowand then so the battery doesn'trun down.

VERTUSI do.

(with a twinkle)Been around the block a time ortwo.

EXT. CONDO PROPERTY GARAGE STORAGE - CONTINUOUS - DAY

There are SEVERAL STORAGE AREAS, side by side; Vertus goesto his designated space. At the door are TWO PADLOCKS, eachsecuring a separate side of the door.

Vertus SEARCHES for the entry KEY - then OPENS one padlockthen 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.

18.

VERTUS AND WILBERT POV

Vertus FOCUSES his attention on a 1960s style metal filecabinet, OPENING the top drawer, while looking around toassure privacy.

WILBERT(cotto)

Vertus, you're acting like you'vegot money in here...

Vertus offers nothing, but LIFTS a METAL BOX from the topdrawer.

INT. VERTUS LIVING ROOM - SEVERAL MINUTES LATER - DAY

Wilbert sits next to Vertus on the couch, with several ofthe metal boxes on the floor in front of them. They haveCOUNTED and BUNDLED several stacks of $5000 bills of varyingdenominations - and are now in the process of PUTTING eachbundle into PAPER BAGS.

WILBERTWhy aren't you keeping this in thebank?

VERTUSI don't trust banks. You've got tounderstand that I grew up duringthe Great Depression; I watched myfamily lose all the money they haddealing 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 adjacentboulevard.

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 watcheshis dad park his car in the b.g. Brian is also in his late20s of mixed race; he also STANDS.

19.

BRANDONMom... Dad (is here)...

(to Brian)The "fit" is about to hit the"shan"... Let's go get coffee.

BRIANNo way.I wouldn't miss this forthe world, big brother.

CAMERA PULLS BACK as Susan MOVES INTO FRAME.

BACK WITH WILBERT - CONTINUOUS

He WALKS towards his office, briefcase in hand, then reachesand OPENS the door.

WILBERT'S POV

What he SEES as he enters the office is Brandon and Brianstanding there with their mother, Susan, all lookingpoker-faced.

WILBERTWhat is this? The welcomingcommitee?

SUSAN(with a push, to Wilbert)

You couldn't return any of mycalls, huh?

WILBERT(beat)

Let's take this off line...(a beat)

(Do) you two have work to getdone?

BRIANSure 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 hisbriefcase onto desk.

WILBERTI know what you going to say,Susan... that, t-that---

20.

SUSAN(breaking in)

That Vertus' life has taken overOUR lives, Wilbert.

WILBERT(a beat)

I know... I know...

Susan moves closer to Wilbert.

SUSANAnd it's more than just thebusiness aspect. It's not asthough I've never forgotten to paya bill... Vertus has made his wayinto 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 ofthe family. But enough is enough.We've got to get ourselves back ontrack here. I can't put my life onhold while you go through whateverthe hell it is that you're goingthrough.

(beat)Mr. Emmanuel going through ourpapers like he owns the place!

Wilbert goes and sits in the chair facing his desk, like ascolded child.

WILBERT(shakes his head)

It's not just about Vertus - it'sabout me. Things locked inside foryears are coming up; coming out.

(beat)I think after all these years, I'mfinally beginning to grieve theloss of my father, Susan.

(with a push)Vertus is dying, Susan. He's beendiagnosed with brain cancer; it's

(MORE)

21.

WILBERT (cont'd)metastisized.

Wilbert's last statement gets Susan's full attention, as shemeasures what's just been said.

Susan slightly turns away from Wilbert.

SUSANMy good Lord..

CUT TO:

INT. WILBERT'S HOME OFFICE - SEVERAL NIGHTS LATER - NIGHT

Wilbert sits at his desk as LIGHTING is being SET, with aBOOM MICROPHONE hanging overhead - as a SMALL FILM CREW ofFIVE is about to begin TAPING: There is a CAMERAMAN, MAKEUPGIRL, LIGHT MAN, SOUND MAN, CREW DIRECTOR, of varying ethnicand racial and age designations.

The makeup girl MOPS Wilbert's brow with a towel - thenMOVES out of the pending "SHOT."

CREW DIRECTORAnd... ACTION

WILBERTI telephoned the local bankmanager to alert him of ourbringing in approximately $300,000in cash for deposit. During theshort trip to the bank, I wasuneasy... frightened to be moreprecise...

(beat)Amazingly, Vertus was about toclose escrow on his 28th property!

CREW DIRECTOR(a beat)

And CUT!

The THEATRICAL LIGHTS are turned OUT by the light man andthe boom microphone is PULLED back by the boom man; othersstart moving to and fro.

The crew director steps behind the desk - closing thedistance between he and Wilbert.

22.

CREW DIRECTOR(to Wilbert)

Want my professional opinion?

WILBERTI'm certain you're going to giveit whether I want it or not.

CREW DIRECTOR(picking up)

You're not going to be able tocompletely tell this story withoutgoing back to Lyles Station.

WILBERTI know. I've already had mythree-dimensional epiphany - infull living color - complete witha theme song. You're preaching tothe choir.

(a beat)We need more information, moreresearch, more details and morefootage.

(alas)Coincidently, in case you'rewondering whether to do a drive bythe man's garage, I convincedVertus to find a new place to hidehis money... Saavy?

CREW DIRECTOR(feigning indignity)

(Are) you trying to hurt myfeelings, Dr. Smith?

WILBERTJust sayin'.

(finally)That goes for the light and soundman too.

INT. SMITH STAIRWAY - SEVERAL MINUTES LATER - NIGHT

A very weary Wilbert ASCENDS the stairs on his way to thebedroom, CAMERA FOLLOWING.

23.

INT. SMITH UPSTAIRS BEDROOM - NIGHT

WE FEATURE Susan, who lies on the bed WATCHING the BIGSCREEN TELEVISION as Wilbert enters the bedroom. He beginsto 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 asfar as I can go with the project.It's hard getting information outof Vertus. He keeps clamming up onme. I'm thinking, if only I couldget him to travel back to LylesStation with me. Back to where itall went down.

SUSANHave you asked him? Why don't youask him?

WILBERTYou don't know Vertus.

SUSANI DO know Vertus... Ask him.

There are a few moments of SILENCE, then they each begin toSPEAK at the same time.

WILBERT(sits on side of bed)

Go on...

SUSAN(sighs)

I just wanted to apologize for thethings I said the other day.

WILBERT(grunts thoughtfully)

Susan, you don't owe me anapology.

24.

SUSANYes I do. We've managed to staymarried for for 30 years becausewe "have" one another's back. AndI haven't been having your back.

(closes distance between she and Wilbert)

You once told me that you'recompelled to tell Vertus' story...Well I'm compelled to love youwith everything I've got.

They are now close enough that there is nothing left to dobut KISS. The kiss quickly becomes a great deal morePASSIONATE.

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 aplane full of PASSENGERS and several STEWARDESSES.

VERTUS (V.O.)So what's got you up and runningso early his morning, Wilbert?

WILBERT (V.O.)Vertus, how would you feel aboutgoing back to Lyles Station? Iknow you haven't gone back for avisit in many years. I think itwould be good while you're stillhealthy enough to travel. We couldarrange to visit your remainingfamily members. I would love tomeet them all and get their inputon your story.

VERTUS (V.O.)(a beat)

Our story, Wilbert... our story.(alas)

I don't see it as a bad idea. Ifit will help the project, thenI'll go. It will be good to see myfamily. It's been far too long.

25.

EXT. DELTA JETLINER - LATER - NIGHT

To ESTABLISH Vertus and Wilbert have been in the air forhours.

SOUND BRIDGE - A RINGING PHONE

UNCLE GLETUS (V.O.)Hello... yes, this is GletusHardiman...

WILBERT (V.O.)This is Dr. Wilbert Smith callingfrom California... I'm followingup on the letter I sent to you andthe other survivors of theringworm experiment... I'mconfirming that Vertus and I willbe arriving on August 5 [orwhatever].

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 areally FOUL ODOR that has passengers REACTING negatively.

The CAMERA ANGLES on people fanning, ad libbing commentsabout the odor, etc.

Vertus is sound ASLEEP but Wilbert soon AWAKENS - becomingaware of the prevailing commotion.

Wilbert soon RECOGNIZES the smell as coming from Vertus, andDEDUCES it is the AIR CONTROL above Vertus' head BLOWINGFULL TILT. Wilbert RISES, STEPS to Vertus' seat behind himand TURNS the air control to the OFF position.

The smell immediately begins to subside as Wilbert returnsto his own seat. For his part, Vertus SLEEPS right throughit all.

EXT. DELTA AIRLINER LANDING IN EVANSVILLE - NIGHT

As the Jet lands, EVANSVILLE INDIANA is SUPERIMPOSED on theSCREEN.

DISSOLVE:

26.

INT. /EXT. VAN RENTAL - SEVERAL MINUTES LATER - NIGHT

Wilbert is DRIVING with Vertus in the passenger seat, asthey LEAVE the airport; the van has two more rows of SEATS.

VERTUS (V.O.)It was a black man who foundedLyles Station in 1849.

(beat)Joshua Lyles was a freed Tennesseeslave.

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?

VERTUSI'm sick as a dog but having thetime of my life... I don'trecognize anything. It's been sucha 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 vanis 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 - andPARKS in the designated CHECK-IN PARKING.

VERTUSI'm scared, Wilbert. But I know inmy heart I can go through withthis.


Are you feeling up to putting insome work tonight?

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'sa typical hotel room.

Wilbert SITS on the bed farthest from the bathroom, lookingover his NOTES. Several pieces of LUGGAGE are visible, and aTRIPOD and MOUNTED CAMERA face a CHAIR and TABLE.

INT. HOTEL BATHROOM - CONTINUOUS - NIGHT

WE SEE evidence that Vertus has indeed showered, and WE canSEE he has changed clothes and began the arduous process ofcleansing and caring for the hole in his head. WE SEE himhandle the SOILED beanie worn on the plane - FOLD it andPLACE it is a small PLASTIC CONTAINER. He has assembled thedressing, gauze, stringent and various items used to freshenand treat his injury are carefully placed on a TRAY.

Vertus GRABS the small pill bottle, REMOVES two tiny PILLSwhich he pops into his mouth; he then takes a handfull ofwater from the sink tap, throwing that into his mouth aswell -- SWALLOWING it all.

CAMERA ANGLES ON a fresh BROWN BEANIE has been placed on thetowel rack above the commode.

INT. HOTEL ROOM - MINUTES LATER - NIGHT

Wilbert, yet seated on his bed takes a look at hiswristwatch:

WILBERT(calling towards the bathroom)

(Are) you okay in there?

On CUE, Vertus emerges from the bathroom wearing the brownbeanie.

ON WILBERT'S REACTION

CUT TO:

28.

INT. HOTEL ROOM - LATER - NIGHT

A refreshed Vertus comfortably sits in the chair at thetable, facing Wilbert, whose CAMERA has Vertus in FRAME.

VERTUSThere were ten of us... Ourparents were told there was a curefor ringworm and we would beafforded treatment that had onlybeen available to the little whitekids at the all-white schools.

(a beat)I was only five years old, andthere was no Kindergarten in thosedays.

QUICK CUT:

SEPIA COLOR TONE FOOTAGE - Circa 1927 - of VERTUS as a 5YEAR OLD CHILD, standing there staring directly into theCAMERA.

BACK TO THE SCENE

VERTUS(picking up)

I used to sleep with my olderbrother Melvin, and if he had theringworm then I had the ringworm.

(beat)My mother's idea was to kill twobirds; I would be put on theschool bus that day to get thesame "special" treatment Melvinwas getting.

(finally)She had no way of knowing we werebeing lied to and that thetreatment would change ten littlelives forevermore.

WILBERT (O.S.)Are you bitter, Vertus? Do youharbor hatred for what they did toyou?

VERTUSIf my heart were filled with angeror hatred, there would be littleroom left for love; and withoutlove my prayers would not beanswered.

(a beat)(MORE)

29.

VERTUS (cont'd)I've thought about it and thoughtabout it, and I believe the goodLord kept me here this longbecause he wanted this story to betold...

(near tears)He wanted it to be told. To showthe 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, asCAMERA SLOWLY PANS to Wilbert who is SOUND ASLEEP. ButVertus' 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 theBEDSIDE table reads: 03:06 A.M.

Wilbert gets out of bed moving past Vertus' bed, CAMERAFOLLOWING, to SEE Vertus asleep, CURLED UP on the floorbetween the room ENTRY DOOR and the BATHROOM. Vertus has ona 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; heis talking with Susan. It's still early and cold. There isno one else in the area.

WILBERT(into phone)

...Vertus had removed the topsheet and blankets and was curledup on the floor. He said his headwas on fire. The poor man goesthrough this every night.

(then)I asked about the last time heremembered a peaceful night ofsleep without interruption, andVertus could not tell me... Poor

(MORE)

30.

WILBERT (cont'd)guy.

SUSAN (O.S.)(via phone)

And you say it takes nearly anhour and a half - twice a day - todress his wound?

WILBERT(into phone)

The man takes antibioticscontinually to eliminateunpleasant odors... And he stillnearly emptied the plane. It wasreally bad, Susan.

(alas)I had no idea this is what Vertushas to deal with day in and dayout. I don't know what I wasthinking. It's as though I shouldhave brought a nurse along for thetrip. I'm seriously thinking ofcutting it short. I don't know.

INT. SMITH UPSTAIRS BEDROOM - CONTINUOUS - NIGHT

Susan lies in her bed TALKING TO Wilbert on her LAND LINEPHONE. It's quite early West Coast time:

SUSAN(into phone)

Vertus is the one who has to livewith it, Wilbert. If the trip iscut 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 thatDIRECTS a RIGHT HAND TURN - LYLES STATION 1 MILE.

Wilbert SLOWS the van and MAKES the RIGHT HAND TURN.

WILBERTAll of these years that I've knownyou, I've never heard you discussthat special lady. Was there

(MORE)

31.

WILBERT (cont'd)someone?

VERTUS(measures that, then)

Shoot. I suppose everyone has gotSOMEONE they're sweet on at onetime or another

(beat)Marguerite... Marguerite Bell. Iloved that girl so.

QUICK CUT:

BLACK AND WHITE FOOTAGE of the lovely and very beautifulMARGUERITE. She is in her early twenties and WEARS fashionfrom the early 1940s. Marguerite looks into the CAMERA:

MARGUERITEWhy can't you trust me, Vertus?

BACK WITH VERTUS AND WILBERT

VERTUSWe attended the same A.M.E.church, Wayman Chapel. I fell hardfor Marguerite. I just never trulyaccepted her love and devotionbecause I feared she would neveraccept me - I mean, the uglinessof what I was hiding under my wig.

WE--

DISSOLVE:

EXT. BEAUTIFUL LANDSCAPE - MINUTES LATER - DAY

The rented van drives past expansive farms that stretch asfar as the CAMERA can "SEE."

DISSOLVE:

INT. /EXT. RENTED VAN - MOMENTS LATER - DAY

Vertus looks relaxed and refreshed as he DRINKS coffee froma Styrofoam CUP - seated next to Wilbert who DRIVES throughthe beautiful countryside. In the f.g. the van passes theDISTRESS BELL of a HOME just off the road.

32.

VERTUS (V.O.)The distress bell is anold-fashioned field tradition thatpredates the telephone. We used itto signal those working the fieldthat a meal was ready... Afaster, more frantic paced ringmeant an emergency was at hand.

DISSOLVE:

EXT. WILBERT'S ALLSTATE OFFICE - DAY

Just a normal day at Wilbert's office, located in a stripmall.

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 areaand PARKS his car.

INT. WILBERT'S INNER OFFICE - CONTINUOUS - DAY

Wilbert leans back in his chair in business conversation onthe PHONE; there is a fancy desk CALCULATOR at hisFINGERTIPS.

WILBERT(into the phone)

...Let me tell you what yoursavings would be if you combinedmortgage, auto and life into onepolicy...

(does rapid fire calculation)

You're looking at a savings of$59.00 a month.


Susan, Brandon, Brian and TWO more of Wilbert's EMPLOYEESwork at their respective desks - as Vertus makes ENTRY -looking visibly distraught. He is on a BEELINE for Wilbert's

33.

inner office. Vertus has got on a wide brimmed HAT with hiscustomary BEANIE underneath.

SUSANHi Vertus, no tootsie pop?

Vertus offers NOTHING, but just keeps moving FORWARD in asomewhat halting GAIT.

BACK WITH WILBERT

He SEES Vertus ENTER his inner office, CLOSING theconnecting door behind him. Vertus is quite emotionallybound.

WILBERT(into the phone)

Let me get back to you.(closes the call, standing)

Vertus... what's wrong? Are youokay?

But Vertus avoids making EYE CONTACT.

Wilbert quickly MOVES around his desk and makes one of theCHAIRS facing his desk more readily available to Vertus, wholooks EXHAUSTED from the day's heat.

Vertus SITS in the CHAIR - which is directly in front of thelarge foot-by-four window; it provides a VIEW of the inneroffice from the outer office and vice versa.

WE can SEE Susan and Brian LOOK into the inner office in theb.g.

Finally Vertus looks up at Wilbert and there are TEARSstreaming down his face.

VERTUSI miss my family in Indiana. Myparents and grandparents are gone,and I find little reason to visit.There is so much there I justcan't handle.

(removes his horn-rimmed glasses)

I have tormented myself for a longtime searching for the courage totell you my secret. You're theclosest thing I have to a son,Wilbert.

(then)(MORE)

34.

VERTUS (cont'd)My secret is why I always coveredmy head and hid it all my life.I've never told anyone my secretuntil now.

(shakes head)But I'm just tired. I'm beat tothe socks.

WILBERT(sitting back down)

Tired of what?

Vertus begins to CRY with even more emotion, nearly losingcontrol.

Wilbert MOVES to the chair next to Vertus and HANDS theolder man his personal handkerchief.

VERTUS(a bit more composed)

When I was a boy, just five yearsold, I was experimented on. I wasjust a child, a little boy; I wasnot some sort of animal.

WILBERTWhat did they do to you?

(beat)You say you were experimented onas a little boy?

(then)Take your time...

VERTUSYes, they experimented on us withradiation...

CAMERA CLOSES IN

Vertus REMOVES the wide brimmed hat, followed by the beanie.

Vertus' head is heavily speckled, by the loss of skinpigmentation, and oddly shaped. His head resembles insymmetry, that of a cucumber - tall on the top an slender onthe side. There is no hair except a few strands near hisleft ear. There is scarring across the entire width ofVertus' forehead, just above the eyebrows. The right frontquadrant of his scalp is whitest due to loss of skin color.Both of his ears are wafer thin and bares blemishing acrosstheir upper edges. Atop Vertus; wound lays a sponge covermeasuring 4-by-2 inches in diameter.

35.

A DIFFERENT CAMERA ANGLE

Vertus begins to meticulously TUG along the periphery of thesponge to DETACH it. Once removed, a horrific WOUND, thatresembles raw tattered flesh containing peaks and valleys,is EXPOSED. There is slight BLEEDING evident caused by thesponge being dislodged and torn away from unhealed scabs.

Vertus uses Wilbert's handkerchief to calmly blot his scalpand face.

A WIDER CAMERA ANGLE

Wilbert calmly rises, OPENS the office door, EXITING theinner office, CAMERA FOLLOWING.


Wilbert MOVES purposely, as he heads for the WASHROOM. Susanand 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 PULLINGpaper 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 hisface.

Wilbert begins to BLOT out some of the blood with towels hekept.

WILBERTWho did this to you?

Vertus offers NOTHING but continues DABBING at the blood onhis 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 andI'm tired of carrying this burdenalone.

36.

CUT TO:

EXT. CITY HALL PASADENA - LATER - DAY

Vertus, having CLEANED up - his beanie and wide brimmed hatback in place - WALKS along slowly with Wilbert, strollingpast the very PROMINENT "HEADS" of JACKIE ROBINSON and hisBROTHER HUGH.

VERTUSThe hospital needed to know humanreaction to radiation exposure.They experimented on ten children;I was one of them. They told us wewere going on a field trip but weended up in a hospital basement.

Vertus STOPS his and Wilbert's stroll:

VERTUSThose people viewed me and theother children as dollar signs;nothing more.

(finally)My parents didn't have a clue whatwould happen to me and my brotherMelvin that day.


(It was) COMPLETE and IMMORALobfuscation... This is almost toomuch to comprehend, Vertus.

VERTUS(beat)

Wilbert, I don't want pity. That'sthe one thing I've feared my wholelife.

EXT. CITY HALL BENCH - SEVERAL MINUTES LATER - DAY

Vertus and Wilbert SIT on a bench as the early evening shadebegins to "have its way;" Pasadena City Hall is in the b.g.

There are no words to be spoken, just the opportunity toallow "peace to be still."

CUT TO:

37.

INT. SMITH UPSTAIRS BEDROOM - THAT NIGHT - NIGHT

The room is dark, and Wilbert lies in bed WIDE AWAKE next toSusan; 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 youto... to...

(voice trails off)

WE--

CUT TO:

INT. GLETUS LIVING ROOM - BACK PRESENT DAY - DAY

CAMERA OPENS on the sincere celebratory reunion of Vertusand his older brother MELVIN - mid-eighties - who are inFULL EMBRACE. UNCLE GLETUS and COUSIN HORACE - also in theireighties, await their turn to embrace the wayward traveler,Vertus. They each ad lib comments such as "Good to seeyou..." and "It's been far too long..." or "I've missedyou..." All wear HATS, all are without hair on their heads.

Wilbert, who stands IN FRAME, is all SMILES as he isalternately HUGGED by Uncle Gletus, Cousin Horace andfinally Vertus' brother Melvin.

The home is nice, very typical for people who have workedhard for the things they have. The FURNISHINGS are old, butvery well kept up; the PLASTIC on the DIVAN and COUCH add atouch of old-fashioned charm.

Wilbert's camera, tripod and a couple of other pieces ofequipment SIT IN FRAME.

INT. GLETUS KITCHEN - MINUTES LATER - DAY

Gletus is in FULL COMMAND as he stands COOKING sizzlingbacon on the "old fashioned" stove. An arm's length away -

38.

we SEE the COFFEE POT is PERCOLATING and he has alreadyprepared: 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 Wilbertto his right and Melvin to his left. Gletus is seated at theother head of the table, with Horace to his left.

They all HOLD HANDS, HEADS BOWED as Wilbert "gives Grace."

WILBERTOh Heavenly Father, God of ourlives, we give sincere thanks forthis wonderfully prepared meal andthe hands that prepared it... Alsothanking you for allowing us tocome together for the purpose ofhealing old wounds and shinning alight on old truths, Father. Lordgrant us the courage and thestrength to press ahead as youwould 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 GLETUSI have never believed in carryingdebt; can't abide it. I remembershopping for a tractor, not toolong ago, and being ignored by thesalesman, probably because I did

(MORE)

39.

UNCLE GLETUS (cont'd)not look the part of one of thebig shot farmers. Shoot. I askedfor the manager. He saw howunhappy I was and offered me a tenper cent discount. Shoot, ten percent discount? I ordered TWOtractors...

(alas)Pulled out my checkbook and paidthe full amount. That managernearly swallowed his 'uppers!'

Hearty LAUGHTER abounds!

VERTUSThat's what has made Uncle Gletusa living legend in these parts. Iwant to be just like him when Igrow up!

There is more laughter.

QUICK CUT:

SEPIA COLOR TONE FOOTAGE of Vertus as a 5 year old, MELVINand GLETUS as 7 year olds and HORACE and MELVIN "FUZZ" - allSTANDING staring blankly into the CAMERA. They all have onthe 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?

VERTUSOh no, Dr. Wilbert isn't myMEDICAL doctor, he's a Ph.D.

WILBERT(breaking in)

Yeah, piled high and deep - as thesaying goes.

VERTUS(picking up)

Wilbert is writing a book about mylife and producing a documentarythat includes all of us.

40.

WILBERT(a beat)

Gentlemen, please don't look at meas some hot shot Hollywood movieproducer type. Vertus and I goback twenty years, and he's sharedwith me the family tree and yourLyles Station history.

(a beat)I hope you see me as a humbleperson who believes yourincredible story needs... no, makethat DEMANDS, to be told.

UNCLE GLETUS(laughing)

All I know is that's some prettytall talkin'.

Horace and Melvin also laugh quite heartily.

MELVINJust tell us what you want us todo, Dr. Wilbert.

(beat)I grow'd up thinking nobody careda lick what happened to us.

Wilbert stands and moves a few feet from the table where theothers are seated.

PULL FOCUS ON WILBERT

EXT. GLETUS FARM HOUSE - CONTINUOUS - DAY

There are a SERIES of CAMERA SHOTS that show the beauty ofthe countryside:

1. The front of Gletus' place; a very nice homey place. Therented 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. WeSEE Vertus, seated on the couch, REMOVE his beanie.

41.

Wilbert's TAPE is RUNNING as Melvin, Horace and Gletus allMOVE CLOSER for a LOOK-SEE.

Now Melvin, still on his feet, REMOVES his hat and wig.

MELVINThis is the first time I have evertaken my wig off in front of otherpeople; I have always worn atoupee.

Gletus sits on the couch next to Vertus and REMOVES his hat.

MELVIN(picking up)

My son is fifty-eight years oldand he has only seen my head acouple of times. Right now I feelnaked...

Finally, Horace REMOVES his hat.

Each man PRESENTS a speckled scalp, badly spotted amidstlarge pockets of lost skin color. Each man's skin is dry andscaly, microscopically thin in texture.

But it is clearly Vertus who is the worse off.

COUSIN HORACE(to Vertus)

Did your head every resemble minethen advance to this stage?

VERTUSMy head never looked like yours...I've always had terrible lesionsand burning. Doctors tell me Ireceived more radiation than anycase they ever witnessed.


Gletus STANDS and approaches Wilbert, his back turned on theothers:

UNCLE GLETUS(cotto)

Could Vertus' conditioneventually, well, you know...

(then)Could he die from this?

42.

HOLD ON GLETUS

DISSOLVE:

EXT. SAND HILL CEMETERY - MINUTES LATER - DAY

CAMERA REVEALS a WIDE ANGLE LONG SHOT of the parked van - inthe well kept graveyard, with Vertus, Wilbert, Horace,Melvin and Gletus standing in the b.g. at the grave-site ofJOSEPH A. LUCAS. (All of the older men have on their hats,etc.)

UNCLE GLETUS (V.O.)Uncle Joe, as he was known, wasmarried to my sister Florence. Hewas the only Principal the schoolever had... We're talkn' some 30odd years or so, rest his Soul.

VERTUS (V.O.)He knew the limited opportunitieshis Negro students had, but hechallenged us to advance beyondour harsh realities.

WILBERT (V.O.)(a beat)

Is it true nearly every gravebelongs to a relative of yours?

VERTUS (V.O.)Nothing but Hardimans planted outhere...

(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 COLORTONE. An old DODGE, with a STOP sign positioned just outsidethe driver-side window, serves as a school BUS. It PUTTSalong - with MR. CLIFT - 45 - the DRIVER. There are severalSCHOOL CHILDREN already on board, seated three children perseat. The are as quiet and orderly as one could expect.

The young boys wear flat caps, winter jackets and overcoats.

43.

Ankle length dresses, sweaters and coats adorn the youngfemales. The ages run from 6 to about 12.

EXT. VERTUS CHILDHOOD HOME - DAY

The LONG SHOT FEATURES a pond about 50 yards from the MAINHOUSE, where CATTLE graze and wade.

INT. VERTUS CHILDHOOD HOME - CONTINUOUS - DAY

The condition of the house is not bad; it's a couple ofyears before the Great Depression.

IRENE, very pretty, late twenties [note to real-life WILBERT- RHONDA MORMAN would be a good casting choice], HELPS7-year old Melvin on with his OVERCOAT. During the followingdialog she STUFFS a PERMISSION SLIP into the young lad'scoat POCKET.

IRENE(calling off scene)

Hurry Vertus... You don't want tobe late your first day ofschool...

5 year-old Vertus MOVES INTO FRAME stuffing his SHIRT, asbest he can with his COAT in one of his HANDS, into hisPANTS.

IRENEMelvin, I'm depending on you totake good care of your littlebrother.

YOUNG MELVIN...yes mam...

Now Irene HELPS him on with his coat.

IRENE(to Vertus)

I want you to be a good boy and dowhat they tell you.

YOUNG VERTUSOkay mommy.

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, oncue.

EXT. /INT. OLD DODGE - CONTINUOUSLY - DAY

Mr. Clift STOPS the old bus in front of Vertus' childhoodhome. Vertus mother KISSES both Melvin and Vertus, who WALKdown the stairs toward the bus and away from their mother.

Melvin and Vertus don't wear hats and the ringworm theysuffer 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 puttogether self.

INT. OLD DODGE - CONTINUOUSLY - DAY

Young Melvin and young Vertus MOUNT the bus STAIRS, VertusCLINGING to his older brother's coat with BOTH HANDS.

MR. CLIFTDo you have the permission slip,Melvin?

YOUNG MELVINYes sir...

Young Melvin REACHES INTO his coat POCKET and REMOVES thepermission slip which he HANDS to Mr. Cliff.

Mr. Clift FOLDS the slip with the other permission slips asthe Hardiman boys make their way down the bus AISLE.

MR. CLIFTYou boys go to the back with yourcousins.

45.


As the boys PASS one LITTLE GIRL on an aisle seat, who LEANSaway:

LITTLE GIRLYuck, coody...

A few of the other girls GIGGLE; Melvin SHOWS her his LEFTBALLED UP FIST.

MR. CLIFTAll right now... we're having noneof that.

The young Melvin and young Vertus take their seat at theback of the bus with:

YOUNG GLETIS, YOUNG FUZZ, YOUNG HORACE, ALAN, GARWOOD, ELLAMAE, LLOYD and MILBURN. None of them wear hats and all haveVISIBLE SIGNS of RINGWORM.

EXT. VERTUS CHILDHOOD HOME- CONTINUOUS - DAY

Irene stands on the veranda and WAVES as she WATCHES theDOOR CLOSE and the old Dodge DRIVE AWAY.

EXT. LYLES CONSOLIDATED SCHOOL - DAY

SCHOOL CHILDREN play in the huge FRONT YARD: GIRLS on oneside of the LONG WALKWAY (leading from the main road to theschool'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 andSTOPS.

YOUNG VERTUS POV

He can see the children FROLICKING on the school's acre ofGRASS, while still CLINGING to Melvin.

EXT. LYLES CONSOLIDATED SCHOOL - CONTINUOUS - DAY

UNCLE JOE - 50 years old and very no non-sense STEPS outonto the PORCH. He PULLS out his POCKET WATCH and "notes"the old Dodge is right on time.

46.

EXT. /INT. OLD DODGE - CONTINUOUS - DAY

The children in the FRONT of the bus START OUT the DOOR themoment it OPENS, single file, and quite orderly - not unlikelittle 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 fromleaving the bus by Mr. Clift, just as Uncle Joe reaches thedoor, STEPPING UP on the bus.

UNCLE JOEGood morng Mr. Clift...

MR. CLIFTGood morning Principal Lucas.

Mr. Clift HANDS over the STACK of PERMISSION SLIPS to UncleJoe. He briefly EXAMINES them then HANDS them back to Mr.Clift:

UNCLE JOE(to Mr. Clift)

This is the FIRST time they'redoing for the Negro children whatthe white students are getting,without a bunch of kicking andscreaming.

MR. CLIFTYou can knock me over with afeather... Next you'll be tellingme one day we'll have a coloredPresident.

UNCLE JOE(beat)

Good morning children...

MOST OF THE TENGood morning Principal Lucas.

UNCLE JOE(a beat)

Well, Vertus... I believe this isyour first day at school, isn'tit?

Young Melvin HUNCHES young Vertus:

47.

YOUNG VERTUS(a beat)

Yes sir...

UNCLE JOEYou aren't afraid are you?

YOUNG VERTUSY-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 aspecial new treatment for yourringworm.

(beat)I want you to follow Mr. Clift'sdirections and we'll see you backhere in a little while. We have acandy treat for you when you getback...

(alas)Ella Mae you're just as pretty asa picture... And you good lookingfellows make me yearn to be youngagain.

CAMERA CLOSES for a CLOSE UP of Uncle Joe. He cannot hide alook of concern.

END SEPIA COLOR TONE HERE.

DISSOLVE:

EXT. SAND HILL CEMETERY - PRESENT DAY - DAY

Vertus, Gletus, Horace and Melvin, all surround Wilbert, whoKNEELS DOWN on the ground to get a better angle on theHEADSTONE of JOSEPH A. LUCAS - with his Canon Mark I.Wilbert SNAPS TWO PICTURES, complete with FLASH, thenSTANDS.

ALL FIVEMay the LORD keep watch between meand thee while we are absent, onefrom another... Amen.

(then SINGING - on cue)

Praise God from whom all blessings(MORE)

48.

ALL FIVE (cont'd)flow... Praise Him all creaturesbelow... Praise Him above theeHeavenly 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 frontpassenger seat, Gletus and Melvin in the middle passengerseat and Horace on the back passenger seat.

The van pulls from a COUNTRY ROAD onto the parking lot of aNURSING HOME. Wilbert PARKS the van and turns off the motor.He now REMOVES his CANON MARK I from the center console.

UNCLE GLETUSI'm gonna stay here. (I) don'tlike 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 CUPShis HANDS and PEERS in, his camera slung over his rightshoulder.

Vertus RINGS the DOORBELL.

WILBERT'S POV

WE SEE a HALLWAY LINED with rooms on either side -- withFUZZ, 86 years-old, SEATED in a WHEELCHAIR just a few feetinside of the window. Fuzz has all of the Hardiman featuresand 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. Fuzzdoesn't seem to be fully aware of what is going on, showingvery little interest:

49.

VERTUSCousin Fuzz... it's me, Vertus...

Horace, Melvin and Wilbert gather around. WE SEE SEVERALnursing 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 ofthe BLACK CAREGIVERS MOVES INTO FRAME.

COUSIN HORACE(to caregiver)

This Dr. Smith from California.He's writing a book on whathappened to us when we were littleboys. He came to see my brother'shead.

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 thewheelchair from his GRASP and proceeds to WHEEL Fuzz in adirect line to the SUPERVISOR [played by KEN DAVIS' COUSIN,PATRICE LAKEY], who MOVES INTO FRAME; she too is black, inher mid-thirties.

The caregiver WHISPERS several WORDS we can't HEAR to hersupervisor.

SUPERVISOR(stepping forward to Wilbert)

Dr. Smith, (is it)? I shouldn'thave to recite policies as theypertain to the right of privacy,should I?

WILBERT(slightly embarrassed)

Certainly not. I'm sorry...(alas)

This IS a bit awkward.

50.

SUPERVISOR(continuing)

You thought you could just come inhere and start snapping picturesto your heart's content?

WILBERTNo, m-mam...

SUPERVISORThe only person authorized to givepermission is Mr. Hardiman, who'sobviously in no position to do so,or Miss Alberta Hardiman, theclient's sister.

VERTUS(to Horace)

Call Alberta...

Horace PULLS out his cutting-edge CELL PHONE, and beginsfastidiously 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.

WILBERTMy 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 convalesceroom. Vertus, Horace and Wilbert, who has removed his camerafrom around his shoulder, surround the old guy.

The supervisor STEPS BACK INTO FRAME.

SUPERVISORI'm going to close the door for 30minutes... 30 minutes is all youhave.

The supervisor EXITS, CLOSING the door behind her.Simultaneously, Horace MOVES to Fuzz and begins to gentlyREMOVE the wheelchair bound man's baseball cap.

51.

DISSOLVE:

INT. FUZZ' ROOM - MINUTES LATER - DAY

WE SEE Wilbert carefully beginning the process of REAPPLYINGBANDAGES to Fuzz' head, which like the others, PRESENTS thecrusting of the upper portions of his ears, complete withthe scaling and so forth. His head has not deterioratednearly as much as Vertus' head. Fuzz is unaffected by itall.

INT. NURSING HOME HALLWAY - CONTINUOUS - DAY

CAMERA TRUCKS ALONG with the supervisor - as she STEPS tothe 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; theLIGHT on the table which separates the two beds is still on.

Wilbert is PROPPED up on extra pillows as he LOOKS at PHOTOStaken earlier that day on the Canon REVIEWER.

Vertus has his hands CLASPED behind his head, evening WRAPin place, STARING up at the ceiling.

WILBERT'S POV

He looks intently at a PHOTO of Vertus and Gletus as theyPOSE TOGETHER. The photo features the back of their heads.

BACK TO THE SCENE

WILBERTWe now have photographs of all ofthe survivors (from that dreadfulday).

Vertus measures what's just been said.

VERTUSWilbert, I never thought I wouldget back here for this kind offellowship. There is no better wayto come back home.

(then)(MORE)

52.

VERTUS (cont'd)The Good Lord has certainlyblessed us to live into our goldenyears.

WILBERT(beat)

How are you feeling abouttomorrow? Returning to thehospital?

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. SheANSWERS the phone:

SUSAN(into the phone)

Hello...(pausing)

Hey Vertus...(beat)

Sure, he's here. How are youdoing, 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 hisland-line BLACK ROTARY phone. He's got on a BLUE beanie.

WILBERT (O.S.)(via phone)

Vertus, thanks for returning mycall. I was wondering whether youare free for lunch? I havesomething very important I'd liketo talk over with you.

53.

INT. PASADENA CAFE - LATER THAT DAY - DAY

Vertus sits across the table from Wilbert in the smallfacility, diligently CUTTING and EATING his chicken salad.Wilbert's got a chicken salad too that he has barelytouched. There are a FEW other CUSTOMERS eating lunch.

WILBERTI'm telling you, I haven't beenable to think about anything elsesince you shared your secret withme, Vertus. I can't work, I can'tsleep... I believe you have aspecial ministry that needs to beshared with the world...

(finally)We sang in that choir side by sidefor twenty years; this is God'smove... This is something I'vebeen in deep prayer about: I wantto write a book about your life.

Vertus PUSHES his plate away.

WILBERTMind you, I don't expect an answerright away. And mind you, I'm noprofessional writer per se, butI've had articles published; I'm aPh.D. for Heaven sake.

(then)Think about it.

VERTUS(a beat)

I've spent my life trying toFORGET this...

(shakes his head)I trusted you, (Wilbert).

Vertus is visibly shaken. He gets up and walks out of thecafe.

Wilbert STANDS, REMOVES a couple of $10 bills from hiswallet which he PLACES on the table, then TAKES OUT afterVertus.

EXT. FAIR OAKS - FEATURING WILBERT - CONTINUOUS - DAY

He begins to HALF JOG towards Vertus who is up ahead, pastFOOT TRAFFIC, which is considerable for such a lovely day inPasadena.

54.

When he reaches Vertus, Wilbert doesn't say anything - butinstead begins to WALK with him.

EXT. GREEN STREET OLD TOWN PASADENA - LATER - DAY

Vertus and Wilbert walk side by side down the street, amid aCROWD of PEOPLE going here and there.

WILBERTI'm sorry if I upset you... Thisthing you live with everyday ishaunting me... I feel like I needto DO something. I want to take agiant microphone and scream to theworld - "Look what was done tothis human being!"

(beat)I'm a "fix it" kind of guy; it'swho I am. You KNOW that Vertus...It's in my DNA. Let me take yourstory to the world.

Vertus STOPS WALKING and places a gentle hand on Wilbert'sARM:

VERTUSPlease, Wilbert... Everything isnot fixable... You don'tunderstand what it does to meevery time I look in a mirror.

(shaking head)Leave it alone, my friend. Leaveit alone...

EXT. CITY HALL BENCH - SEVERAL MINUTES LATER - DAY

Wilbert and Vertus sit on the SAME bench where they seem tofind peace and solace. This time it's Wilbert who isemotionally bound.

WILBERT(resigned)

I've been in the insurance game solong sometimes I don't evenrecognize when I'm in sell mode. Idon't know what makes me think youwant to share your story with theworld when you've spent 80 yearsdoing the opposite (thing)...

55.

Vertus just listens, letting Wilbert do the talking.

WILBERT(picking up)

Susan says I'm not being hauntedby what they did to you, that I'mstill grieving the loss of myfather... (and) that he and Inever got things settled betweenus... Hell, I've said THAT to HER.But really... HEARING her say it(back to me)... HEARING her speakthe words...

(voice trails off)Vertus, you MUST know me as a manwho cares deeply for the thingsimportant to me... I cried like ababy when I learned your conditionwas terminal.

VERTUSI know...

Wilbert shifts on the bench; he is very uncomfortable.

WILBERTI've been a man not known to sharemy emotions easily. It's just whoI am.

(a beat)I haven't shed one solitary tearfor my father. Not one.

(then)He walked out on my mom, he walkedout on our family.

(another beat)It was up to ME as the oldest tobe the man of the house.

Wilbert's SMART PHONE begins to ALERT; he takes it out andTURNS if OFF.

WILBERT6000 years of human historyWITHOUT these things.

(beat)Yeah, I'm the oldest all right...In the end, I was the one thedoctors consulted about pullingthe plug...

TEARS begin to WELL UP in Wilbert's eyes. He SHAKES hisHEAD.

56.

WILBERTI can't believe that dude actuallydied on me...

CUT TO:

INT. SMITH FAMILY ROOM - SEVERAL DAYS LATER - DAY

CAMERA FEATURES Wilbert and Susan relaxing on a very plushwhite leather SECTIONAL looking at a leading-edge FLATSCREEN TELEVISION. An EPISODE of the SIMPSONS is on, andthey LAUGH as BLEEDING GUMS MURPHY does an elongated versionof the STAR SPANGLED BANNER.

INSERT SOUND BRIDGE: RINGING DOORBELL

Wilbert HANDS the REMOTE CONTROL to Susan and goes to theFRONT DOOR, CAMERA LEADING.

EXT. SMITH HOME - CONTINUOUS - DAY

Vertus stands at the FRONT DOOR; WE HEAR the running ENGINEof his MUSTANG:

Wilbert OPENS the FRONT DOOR:

VERTUSIf 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 VertusEXITS the building and GETS IN the van. He's got TWO CUPS ofCOFFEE in HAND.

The van PEELS AWAY and they drive off into the day.

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.

WILBERTI've got some pretty good shotseven if I say so myself.

VERTUS(a beat)

Smell that air, Wilbert. It's thesecret to living so long, theLyles Station air... It's such alovely day...

(walks closer to building)

Uncle Joe's office was on thesecond floor. Naturally he couldsee EVERYTHING (from there)... Ifyou did something wrong, Uncle Joeknew about it. I can almost see myschoolmates playing... boys on ONEside of the walkway, girls on theother...

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'snot necessary to get the bookdone. I'm telling you straight up,Vertus. It's your call,completely. I drove by and gotpictures of the old hospital whileyou were napping yesterday.

Vertus does not say anything but grunts thoughtfully, thenTURNS and heads for the van [which is not VISIBLE in thisSHOT].

DISSOLVE:

58.

INT. /EXT. VAN RENTAL - SEVERAL MINUTES LATER - DAY

Wilbert DRIVES the van up in front of GIBSON COUNTYSANITARIUM (as it is now known) and PARKS leaving the ENGINERUNNING; there is a CAR PARKED out front, but other thanthat the building looks ABANDONED.

INT. VAN RENTAL - FEATURING VERTUS - CONTINUOUS - DAY

He STARES intently at the one time hospital. CAMERA IS TIGHTon 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 backof the present day sanitarium, and PARKS, TURNING off theMOTOR.

CUT TO:

EXT. GIBSON GENERAL HOSPITAL - DAY

To ESTABLISH we're BACK in 1927 again, this time in FULLLIVING COLOR.

INT. OLD DODGE - FEATURING YOUNG VERTUS - DAY

He still CLINGS to young Melvin, as Mr. Clift DRIVES theDodge to the REAR of the BUILDING.

EXT. REAR OF HOSPITAL - FEATURING PRESENT DAY VERTUS - DAY

Present day Vertus - still in SEPIA COLOR TONE - STANDS afew feet away, WATCHING/HEARING the old Dodge engine WHEEZEto a SHUT DOWN, the entire vehicle "shivering."

EXT. HOSPITAL BACK ENTRANCE - CONTINUOUS - DAY

The old Dodge DOOR OPENS and Mr. Clift STEPS OUT - followedby the CHILDREN, one by one. He leads them towards the BACKENTRANCE; there isn't one child who isn't TREMBLING.

Young Vertus continues to BRING UP THE REAR, staying closeto his brother.

59.

MR. CLIFT(looking back)

Children, try to stay in singlefile...

PULL FOCUS

INT. HOSPITAL FLIGHT OF STAIRS - CONTINUOUS - DAY

Mr. Clift LEADS the ten children down a short flight ofSTAIRS into the BASEMENT.

VERTUS (V.O.)I remember EVERYTHING about thatday. EVERYTHING; even though itwas eighty years ago... We wereled into a DUNGEON within ahospital...

INT. BASEMENT HALLWAY - CONTINUOUS - DAY

Mr. Clift is FEATURED as he LEADS the children through thebrief hallway; at the end of the path STANDS DR. ELLIS -white, about 60 years old. He wears a knee-length whitecoat.

VERTUS (V.O.)We were in a strange land wherecruel and unusual punishment wasour destiny.

Dr. Ellis STEPS FORWARD offering no greeting.

VERTUS (V.O.)Dr. Ellis, a very tall man, seemedto tower over us. In a cruelirony, he was the attendingphysician who signed my birthcertificate.

Mr. Clift HANDS the PERMISSION SLIPS to Dr. Ellis, thenBECKONS the children FORWARD, like a "mother hen" and herchicks.

CAMERA FEATURES young Vertus - who begins to CRY. YoungMelvin tries to COMFORT his sibling.

VERTUS (V.O.)I remember it being uncomfortablychilling. I'll never forget thesmell of that place.

60.

Dr. Ellis EXAMINES each and every permission slip to ensurethey are properly signed.

DR. ELLIS(matter-of-fact)

Mr. Clift, this may take a whilelonger than we initiallythought... it may be best to waitoutside...

When Mr. Clift HESITATES, Dr. Ellis gives him a LOOK.

MR. CLIFTY-Yes sir... yes sir...

Mr. Clift KNEELS down to the children:

MR. CLIFT(cotto)

These nice people are going tomake those awful ringworms goaway. 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 thehallway.

INT. BASEMENT HOLDING ROOM - DAY

Dr. Ellis USHERS the ten inside a room barely the size of aprison cell.

VERTUS (O.S.)We were ushered into a room nolarger than a typical prisoncell...

(then)Did I say I'll never forget thesmell of that place?

THREE TECHNICIANS - all white, two female and one male,mid-twenties - quickly ENTER the small room, which isnothing more than a closet of sorts.

One of the technicians, we'll call her MANDY - the moreattractive of the two women - immediately begins to pay

61.

close attention to young Vertus. He is clearly the youngestand 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 theold Dodge, looking somewhat perplexed; he TAKES out hisPOCKET WATCH and notes the time.

INT. ASSESSMENT ROOM - CONTINUOUS - DAY

This space, which also ADJOINS the small hallway, containsseveral PIECES of sophisticated MACHINERY [for that day intime]. Dr. Ellis and the male technician MOVE INTO FRAME,taking their SEATS behind a DESK which contains a bunch ofGRAPHS, HAND WRITTEN NOTES and other PAPERWORK.

INT. BASEMENT HALLWAY - MANDY - CONTINUOUS - DAY

Mandy and the third technician USHER the ten into the tinycorridor, with Melvin and Vertus bringing up the rear.Meanwhile, the third technician PEELS OFF and WALKS down thehallway toward the TREATMENT ROOM, at the very end.

MANDYSit against the wall and crossyour legs.

(gives Ella Mae a helping hand)

The ten do as told, SITTING on the dirty floor their backsagainst the WALL; young Gletus is at the FRONT of the row ofchildren.

INT. TREATMENT ROOM - THIRD TECHNICIAN - CONTINUOUS - DAY

CAMERA FEATURES the third technician as she steps to theWOODEN HIGH-BACK CHAIR - which she WIPES DOWN with ALCOHOLPOURED onto a LARGE TOWEL. Then TURNING - the technicianGRABS SEVERAL LARGE BOOKS which are PLACED upon the SEAT ofthe chair.

The CAMERA CLOSES IN as she begins to WIPE DOWN theRESTRAINTS, attached to the ARMS of the chair, and theHAT-LIKE DEVICE, which is WHITE in color with purplestriping - and ELECTRICAL WIRING that connects to a nearbyLARGE MACHINE.

The technician works PURPOSEFULLY as she quickly CHECKS and

62.

RECHECKS the wire connection extending from the "hat" to theungodly machine.

A DIFFERENT ANGLE

Turning to a LARGE RADIO, the technician TURNS the radio on,increasing the VOLUME to muffle any potential noise thechildren can hear in the hallway.

PIVOTING, the technician turns and PULLS a LARGE LEADPARTITION between the CHAIR and the MACHINE. It MAKES anUNHOLY RACKET which ECHOES into the hallway.

BACK WITH YOUNG VERTUS

He PUTS his HANDS to his EARS as the MUSIC from the radioand the NOISE of the PARTITION begin DRAGGED across aCONCRETE FLOOR continues.

VERTUS (V.O.)It was a sound that HAUNTS me tothis day...

CAMERA WIDENS TO REVEAL:

Mandy LEADING the young terrified Gletus into the room,where he is HANDED OFF to the female technician, who HELPSthe lad CLIMB UP onto the chair.


Mandy MOVES INTO FRAME and immediately SCOOTS the childrendown to FILL THE VOID left by Gletus - closer to thetreatment 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 PLACESthe over-sized hat, obviously meant for an adult, onto hishead.

The head covering rests just above the eyebrows and coversthe top portion of the ears.

THIRD TECNICIAN(firmly)

Don't move.

63.

INT. ASSESSMENT ROOM - CONTINUOUS - DAY

Young Gletus is LED into FRAME whimpering like a small PUP,TEARS streaming down his round face.

He is HANDED OFF to the male technician, who EXAMINES thechild's scull for SIGNS of SCALP BURNS - which there are,HAIR LOSS, etc.

Dr. Ellis MOVES IN - clipboard in HAND, JOTTING DOWN NOTES.

YOUNG GLETUSMy HEAD is on FIRE!

DR. ELLISYou'll be fine... Try and relax.

YOUNG GLETUS(crying)

It HURTS!

VERTUS (V.O)Dr. Ellis was not interested incuring ringworm; his only concernwas our reaction to theradiation...

(alas)And the dollars being generatedfor a hospital that was goingunder financially.

INT. TREATMENT ROOM - FEATURING ELLA MAE - CONTINUOUS - DAY

She has already been STRAPPED to the chair with the hat uponher head, and SITS there whimpering.

THIRD TECNICIANSIT STILL.

A DIFFERENT ANGLE

The technician STEPS behind the partition to the machine,but first INCREASES the radio VOLUME, next she CHECKS herNOTES. Finally the technician TURNS the DIAL CLOCKWISE,which INCREASES the amount of RADIATION being dispensed -then THROWS the SWITCH ON.

BACK WITH ELLA MAE

WE SEE A FLASH - and the child SCREAMS OUT IN PAIN! SheWRITHES in the chair KICKING HER LEGS.

64.


The eight children still seated on the floor REACT to theHYSTERICAL Ella Mae - who is LED by the female technicianout of the treatment room and down the hallway to theassessment area.

TWO KIDS get to their feet - notably Melvin and youngHorace. Mandy does her best to QUIET the children - tolittle avail, and she is forced to RESTRAIN the two standingboys!

INT. OLD DODGE - REAR OF HOSPITAL - DAY

Mr. Clift, seated in the parked vehicle, has DOZED OFF -when something in his SPIRIT JOLTS him from his SLEEP. HeSHAKES OFF the drowsiness, sitting tall, then taking anotherLOOK at his pocket watch.


Horace is FORCIBLY handed to the female technician by Mandy,OUT OF TURN! The young child BATTLES all the way inside thetreatment room. [SLOW MOTION EFFECT would be good here.]

Now only THREE children remain: young Fuzz, young Melvin andVertus. Mandy tries to calm them as best she can, and Melvinhas completely WRAPPED his ARMS around his brother. They areall on their feet.

CAMERA CLOSES IN ON MANDY

She WIPES the SWEAT from her brow with the SLEEVE of her nowBLEMISHED lab coat; it is no longer pristine but SOILED withblood, dirt and the other human excretions, such as VOMIT.

Mandy's EYES ENLARGE as she HEARS Horace's BLOOD CURLINGSCREAM emanate from the treatment room.

INT. ASSESSMENT ROOM - FEATURING MALE TECHNICIAN - DAY

He has completely abandoned the scientific aspect of theexperiment, and GATHERED the SEVEN crying, hystericalchildren into a small HUDDLE of sorts; the technician's labcoat has been badly soiled.

Dr. Ellis, his lab coat an absolute MESS - MOVES INTO FRAMEwith a couple of WET TOWELS, one of which he HANDS to thetechnician and together they attempt to TEND THE WOUNDS leftby the radiation treatment.

65.

During the ensuing dialog, an hysterical Horace is broughtinto the room by the female technician, kicking andscreaming.

VERTUS (V.O.)I make it a point of reading theHippocratic Oath as often as Iread John three and sixteen, "ForGod so loved the world..."

(beat)"I will prescribe regimens for thegood of my patients according tomy ability and my judgment... andnever do harm to anyone." Closequote...

(with emphasis)And NEVER do HARM... And NEVER doHARM...

(alas)This was the behavior ofDOCTORS... DOCTORS... God help us.

INT. BASEMENT HALLWAY - FEATURING YOUNG VERTUS - DAY

Suddenly - THERE IS NO SOUND - as he WATCHES in horror asyoung Fuzz is taken from the treatment room by the femaletechnician, barely able to WALK UNDER HIS OWN POWER, andMelvin is TAKEN into the treatment room by Mandy, thusseparating the two brothers for the first time.

INT. GIBSON GENERAL HOSPITAL - CONTINUOUS - DAY

It is a NORMAL day in the LOBBY (1927) as PATIENTS andMEDICAL PERSONNEL - ALL WHITE - step through their normaldaily paces, which flies in the face of the insane HORRORtaking place in "real time" downstairs.

INT. TREATMENT ROOM - CONTINUOUS - DAY

The female technical BODILY LIFTS Vertus and sits him onchair. The child is surprisingly subdued, as his little ARMSare STRAPPED down and the hat placed on his small head.Vertus has apparently accepted his fate. Or could it be hehas cried so many tears he has none left?

It is Mandy who TURNS the radio to its peak in terms ofVOLUME.

Vertus STRETCHES his short LEGS as far out as possible:

66.

VERTUS (V.O.)As I anticipated the PAIN sure tocome - I stretched my legs as farforward as I possibly could, as ifby some small miracle I couldreach the floor. And if I couldreach the floor, I could surelyrun away.

(beat)Or is this something I've dreameda million times as I relive thatday?

INT. ASSESSMENT ROOM - FEATURING MELVIN - DAY

The male technician is having a very hard time trying tocontrol and corral the badly WOUNDED Melvin, who is givingeverything he's got to break away!

YOUNG MELVIN(jumping up and down)

My brother... my brother... mybrother...

A DIFFERENT ANGLE

As Mandy is FEATURED giving "comfort" to Ella Mae - whonearly LIES PRONE on the filthy floor.

The CAMERA ANGLE WIDENS to reveal Dr. Ellis giving AID toHorace, trying to get the wounded child to DRINK from a CUPOF WATER. Amazingly, also giving COMFORT to several of theothers - is Gletus - who received the least amount ofradiation.

BACK WITH MELVIN

He breaks away - heading for the STAIRS!

INT. HOSPITAL FLIGHT OF STAIRS - FEATURING MELVIN - DAY

Melvin BOUNDS up the stairs two at a time!

EXT. HOSPITAL BACK ENTRANCE - CONTINUOUS - DAY

The DOOR comes OPEN and Melvin comes FLYING out!

67.

EXT. REAR OF HOSPITAL - OLD DODGE - CONTINUOUS - DAY

Melvin REACHES the old Dodge as he is in the midst ofHEAVING UNCONTROLLABLE VOMIT - slipping to one KNEE fromexhaustion!

A DIFFERENT ANGLE

Mr. Clift is quick to REACT:

MR. CLIFT(upon SEEING Melvin)

MY GOD!(then)

Wait on the bus, son!

Mr. Clift LIFTS Melvin up and PUTS him on the bus!

INT. TREATMENT ROOM - THIRD TECHNICIAN - CONTINUOUS - DAY

She STANDS behind the partition at the machine and INCREASESthe amount of radiation to be dispensed, one last time.

CAMERA PANS AROUND the partition to Vertus, who SITS QUIETLYon the books awaiting fate's judgment for him.

WE SEE THE FLASH - that seems to go on for a short"eternity" and WATCH the poor child SCREAM OUT from theincredibly INTENSE PAIN!

Finally the TORTURE ends, and Vertus GOES LIMP, having lostCONSCIOUSNESS.

A CLOSER ANGLE

As the technician COMES AROUND the partition to the LIMPchild and REMOVES the hat: Vertus' SCALP looks like it hasMELTED. There is a defined LINE that CIRCLES thecircumference of his head just above the eyebrows.

THIRD TECNICIANOh my God, I've given him toomuch.

Dr. Ellis MOVES double time into the treatment room! Vertusbegins to come around to HEAR:

68.

THIRD TECNICIAN(white as sheet)

I've given him too much.(beat)

My God - I've given him too much.

The technician can only SHAKE HER HEAD as Dr. Ellis beginsto RELEASE the RESTRAINTS from young Vertus' ARMS, just asMr. Clift MOVES INTO FRAME:

MR. CLIFTWhat have you people done to thesechildren?

Mr.Clift MOVES and SCOOPS young Vertus up in his ARMS all inone MOTION, brushing Dr. Ellis aside.

EXT. REAR OF HOSPITAL - OLD DODGE - CONTINUOUS - DAY

The male technician and Mandy have already HELPED fivechildren ON-BOARD - and PRESENTLY they assist TWO others, asyoung Gletus WAITS his turn under his own power!

They are soon JOINED by Mr. Clift - Vertus yet in his ARMS.Mr. Clift boards the vehicle and LAYS Vertus on one theEMPTY SEATS.

INT. /EXT. OLD DODGE - CONTINUOUS - DAY

With all of the children on the rickety old Dodge, Mr. CliftSTARTS the ENGINE and DRIVES AWAY, nearly RUNNING OVER Mandyand the male technician - who can only stand there indismay, almost DAZED as they SEE the Dodge DISAPPEAR FROMVIEW.

WE HEAR the FRANTIC RINGING of the DISTRESS BELL!

FADE OUT.

FADE IN:

EXT. ELLIOTT HOME - SEVERAL WEEKS LATER - NIGHT

To ESTABLISH it is still 1927.

The place is a very "upper middle class" - three storycountry home with a veranda to die for, and of course, theproverbial WHITE PICKET FENCE.

69.

VERTUS (V.O.)Several weeks later there werestill only a few people outside ofthe colored community who knewsomething horrible had taken placein the Gibson Hospital basement.

INT. ELLIOTT DINNING ROOM - CONTINUOUS - NIGHT

It is dinner time in the Elliott household, as TRUMAN -white, 60, his wife G'ANNE, also white and 60 years old, andMandy are in the midst of EATING their meal. But Mandy hasbarely touched her food - as RUTHY - Negro about 50, themaid, COMES into the dinning room from the kitchen. Shewears an apron.

RUTHYIs ever' thing okay, Miss Mandy?

MANDY(beat)

It's fine Ruthy, I just haven'thad much of an appetite(lately)...

RUTHYWould you like for me to save itfo' ya? For later, Mam?

MANDYPlease do...

As Ruthy MOVES to take Mandy's PLATE away:

G'ANNE(breaking in)

Hold it, Ruthy... you need to eatsomething, Mandy... you'restarting to look like a starvedbird.

TRUMANG'Anne... If she doesn't want toeat--

G'ANNEStay out of this Truman...

(then)I don't know what's going on withyou, but if you want to be treatedlike a child, I'll treat you likea child.

(finally)(MORE)

70.

G'ANNE (cont'd)You're not leaving this tableuntil you finish your dinner. I'vehad enough of your mopping abouthere.

Suddenly, Mandy becomes OVERWROUGHT with EMOTION - RISESfrom the table, WHIRLS and DASHES UPSTAIRS, in truecinematic fashion!

TRUMANWhat was THAT all about?

G'Anne THROWS her napkin on the table and PUSHES her chairout, STANDING.

G'ANNEI'm getting to the bottom of this(right now)...

G'Anne MOVES around the table to the STAIRS, which sheASCENDS. Ruthy and Truman are left to ponder what has takenplace.

TRUMAN(a beat)

Well... so much for dinner..(makes eye contact with Ruthy)

Any idea what this is about?

Ruthy MOVES to begin CLEARING THE TABLE.

TRUMAN...Ruthy?

RUTHYM-Mister Truman, I do my work andI mind my OWN business...

TRUMANI happen to know that girl tellsyou ever'thing; you been 'roundhere since she was crawlin' 'roundon all fours...

Ruthy STOPS her "busy" work and in exasperation, SITS at theTABLE.

RUTHY(with a push)

Mandy DID say somethin' 'bout thehospital doin' some experiments orsomethin' on some colored children

(MORE)

71.

RUTHY (cont'd)from Lyles Station. That's allthat I know.

(then)She said the top of thosechildren's heads were pret(ty)near burned off.

ON TRUMAN'S REACTION

CUT TO:

INT. MANDY'S UPSTAIRS BEDROOM - CONTINUOUS - DAY

The room reflects a decidedly nice decor of 1927 farmliving. Mandy SITS on the side of the bed, prettydespondent; G'Anne STANDS over Mandy, ARMS FOLDED:

MANDYDr. Ellis said that the radiationwas to treat ringworm... but itwas clear after the very firsttreatment that wasn't true... Itjust wasn't right, mama. It justwasn't right what was done to thethose children.

A very concerned Truman ENTERS the ROOM.

MANDY(continuing)

And I helped it happen, mama... Ihelped it happen.

(finally)I'll never step foot in that placeagain...

G'Anne and Truman exchange glances.

DISSOLVE:

EXT. VERTUS CHILDHOOD HOME - LATER THAT NIGHT - NIGHT

A BRAND NEW 1927 FORD sits out front of the Hardiman home.

VERTUS (V.O.)I have no memory of white peopleever stepping foot in our home,but it's a story my mother Irenewould tell from time to time asthe years rolled on by...

(a beat)(MORE)

72.

VERTUS (cont'd)I do know the Klan was active inthat part of the country (at thattime) - and the Elliotts weretaking a personal risk...

INT. VERTUS CHILDHOOD HOME - CONTINUOUS - NIGHT

Truman STANDS near the FRONT DOOR, nervously PEAKING OUTinto nightfall through the CURTAINS - as G'Anne, Mandy andRuthy, without her APRON, are seated on the DIVAN - a fewfeet from CLAUDE, 35, tall and black as the night. Hismuscular ARMS are folded and we can tell he is notcompletely comfortable with the unfolding scene, as IreneUSHERS her sons Melvin and Vertus into the room.

Both BOYS wear flat caps - which Irene REMOVES - as they arein essence, PRESENTED to G'Anne and Mandy.

VERTUS (V.O.)Although my dad was neveroutwardly hostile to white people,he wasn't exactly trustful of themeither... The events at GibsonGeneral Hospital did not help...

A CLOSER ANGLE

G'Anne SITS on the edge of the divan as see PUTS ON HERSPECTACLES to take a close up LOOK-SEE at the HAIRLESS RAWSCALP condition of each boy. Mandy GETS UP and dramaticallyMOVES AWAY as she BEHOLDS the spectacle of the damage theradiation hath wrought.

VERTUS (V.O.)But it was Mrs. G'Anne Elliott -who was solely responsible forbringing a lawsuit against GibsonGeneral Hospital, on behalf of theLyles Station Ringworm Children...

And as G'Anne LAYS HANDS ON to examine the UNSIGHTLY WOUNDS,first Melvin's , then Vertus', who is much worse off, sheREMOVES her HANDKERCHIEF from her PURSE to WIPE TEARS FROMHER EYES. For her part, Ruthy STANDS and MOVES to Mandyoffering a comforting EMBRACE.

VERTUS (V.O.)Even though the lawsuit waseventually thrown out of court -after all, there were thoseso-called permission slips... Dr.Ellis was forced to leave the

(MORE)

73.

VERTUS (cont'd)hospital - and his practice as aphysician was never the same...

DISSOLVE:

EXT. REAR OF HOSPITAL - PRESENT DAY - DAY

We're back in the PRESENT DAY - as Vertus STANDS facing therear entrance door - as though in a STUPOR. Wilbert gets outof the van, which is PARKED several feet from Vertus, MOVINGUP along side the olden man.

Vertus POINTS to the TOP of the basement WINDOWS, which areVISIBLE from their vantage point:

VERTUSThe experiments happened downthere.

Wilbert NODS.

WIDER CAMERA ANGLE

BRUCE BYERS, white, about 40 and slightly overweight - comesfrom the FRONT of the building - APPROACHING Vertus andWilbert.

BRUCEHi... May I help you? I'm theowner, Bruce Byers... Are you hereto pick up an order?

WILBERT(a beat)

Oh, we're sorry. We thought theproperty was abandoned.

(then)I'm Wilbert Smith... I'm a writer-producer from California, and thisis Vertus Hardiman...

Bruce SHAKES HANDS first with Vertus then Wilbert.

BRUCE(to Wilbert)

You know, you look just like theguy who does those Allstatecommercials...

74.

WILBERTI get that a lot...

(picking up)Actually, we're here because I'mwriting a book about Vertus andnine other children who weretreated for ringworm in 1927 withradiation...

BRUCE1927? Radiation? Are you serious?This was a hospital for heavensake.

(a beat)You want to come inside? Come on.

WILBERTReally? It's okay?

Bruce USHERS Wilbert and Vertus around the SIDE of thebuilding and OUT OF FRAME.

EXT. GIBSON GENERAL HOSPITAL - CONTINUOUS - DAY

CAMERA PICKS UP Bruce LEADING Wilbert, with Vertus bringingup the REAR. As they ASCEND the STAIRS - Vertus is suddenlyGASPING for AIR - close to FAINTING. Wilbert provides aHELPFUL HAND, as Bruce OPENS the DOOR:

WILBERT(to Vertus)

I got this.(alas)

You've come a long way...

Vertus NODS that he has.


Bruce, Wilbert and Vertus MAKE ENTRY into the large room,FILLED with rows of BOXES and BOXES of COPY PAPER, XEROXMACHINES and the like, and FIVE working EMPLOYEES - 3 whitemales, early 20s; one white female and one black female,early 20s. They pay little or NO ATTENTION to Bruce and hisguests.

A hallway leading off the main room leads down an aisle pastrooms once used for hospital patients.

75.

Vertus has seemingly AGED dramatically in the few seconds hehas stood in what was once the foyer of Gibson GeneralHospital; this fact is not LOST on Bruce:

BRUCE(to Wilbert)

Is he all right?

Wilbert USHERS Vertus to a nearby CHAIR, in which theelderly man SITS. Wilbert EYES a WATER COOLER to hisimmediate left:

WILBERT(begins to FAN Vertus)

Some water, please...

Bruce MOVES to the cooler and POURS a CUP OF WATER - whichhe PIVOTS and HANDS to Wilbert.

A CLOSER ANGLE

Vertus is ASHEN and close to passing out. Wilbert HELPSVertus DRINK a few swallows of the water.

WILBERT(cotto; to Bruce)

He hasn't set foot in thisbuilding in eighty years; notsince the day of the experiment...

VERTUS(with a push)

I'm okay.

WILBERT(to Bruce)

Our plan was to get some footageof the outside of the building, Ihad no idea we would actually beallowed inside...

BRUCE(a beat)

Well?

WILBERTWell, what?

BRUCEWhere's your camera?

CUT TO:

76.

INT. GIBSON GENERAL HOSPITAL - MOMENTS LATER - DAY

Bruce stands at the DOOR leading to the BASEMENT, which heUNLOCKS with a KEY on its own KEY CHAIN; Wilbert STANDSbehind him, CAMCORDER in HAND [film rolling] with Vertusbringing up the rear, as usual.

WILBERTHow often do you go down to thebasement?

BRUCEOnly when necessary... usually formaintenance related issues.

Bruce PROCEEDS to YANK the over-sized door across the floor,which causes a very loud SCRUBBING NOISE.

BRUCE(PULLS out FLASHLIGHT)

It's been at least a year since Iwas last down there...

The THREE STEP inside PAST the door.

INT. BASEMENT FRONT STAIRS - CONTINUOUS - DAY

BRUCENo light...

Bruce SWITCHES on the flashlight, as correspondingly,Wilbert SWITCHES ON the camcorder LIGHT.

BRUCEWatch your step, please.

The STAIRWAY is really SPOOKY, dark and FILLED with drapedSPIDER WEBS - which Bruce SWEEPS AWAY with an OLD BROOM,which conveniently leaned against the aging wall, as theyproceed DOWNWARD.

INT. BASEMENT HALLWAY - FAVORING BRUCE - DAY

He carefully NAVIGATES what is an OBSTACLE COURSE of DEADPIGEON CARCASSES, RAIN GUTTERS, ANTIQUE FILE CABINETS, anOLD TELEPHONE SWITCHBOARD and PLUMBING PARTS.

BRUCEYou've REALLY got to watch yourstep...

77.

A DIFFERENT ANGLE

It is time for Vertus to face his "demons" eye to eye - asWE SEE him summon RESOLVE from somewhere deep within WILLthat can't be quantified. Amazingly he MOVES PAST Wilbert toBruce - TAKING the FLASHLIGHT and stepping ahead:

VERTUS(referencing a specific SPACE along the WALL)

Here. This is where I was sittingwhen my brother Melvin was tornaway from me.

(beat)One of the women... I'll neverforget her face, held me tightlyto her, but she couldn't save me.

(another beat)This is the spot. I'll neverforget it.

Now Vertus turns to face what was once his "torturechamber." He is deliberate as he STEPS into the onetimetreatment room that adjoins the hallway:

INT. TREATMENT ROOM - VERTUS - CONTINUOUS - DAY

Now, separated from the other two men, Vertus TURNS theflashlight to ILLUMINATE the area where the dreadfulradiation machine once stood.

CAMERA CLOSES

Vertus STEPS INSIDE the treatment room, moving to the verySPOT where the wooden chair once sat.

VERTUSThank you Father God for giving methe strength...

Vertus begins to WEEP; but not tears of fear or sorrow...but TEARS OF JOY from having overcome.

A WIDER CAMERA ANGLE

Wilbert STEPS to Vertus' side:

VERTUS(dries his eyes)

Those demons have finally releasedme, Wilbert. Now I can replacethem with a flock of doves to

(MORE)

78.

VERTUS (cont'd)guide me home...

CAMERA HOLDS ON VERTUS

CUT TO:

INT. BASEMENT HALLWAY - FAVORING VERTUS - DAY

It is Vertus who LEADS THE WAY out of this dungeon of sorts,followed by Bruce and Wilbert. He OPENS the connection doorand all three DISAPPEAR into the building foyer.


CAMERA FEATURES Bruce - who HANDS the basement KEY toVertus. It's obvious that Bruce "gets it." He knows on acellular-level what this has meant to the older man. Brucegives Vertus a warm SMILE.

A DIFFERENT ANGLE

Vertus triumphantly CLOSES the basement DOOR, and LOCKS IT.

VERTUS(hands KEYS to Bruce)

Well Bruce, I want to thank youfor taking the time to show usaround. I wish you could know whatthis has done for me.

Vertus graciously SHAKES Bruce's hand; Wilbert follows SUITafter TURNING OFF the camcorder.

DISSOLVE:

INSERT - DOCUMENTARY FOOTAGE

The REAL VERTUS HARDIMAN gives the doxology, so to speak,out in FRONT of the Gibson General Hospital. He gives THANKSfor God's faithfulness, in essence.

DISSOLVE:

EXT. THE BYERS HOME - LATER THAT DAY - DAY

Bruce PULLS his average car up into the driveway of hisaverage home, TURNS off the engine - gets out of the car andgoes up on the PORCH and inside the house.

79.

INT. THE BYERS HOME - CONTINUOUS - DAY

Bruce walks into the modestly FURNISHED living room to beMET by his wife, SHANNON, white, mid-thirties. She GIVES hima quick PECK on the LIPS.

BRUCEHey you.

SHANNONHow was your day?

EXT. DELTA JETLINER TAKING OFF - DAY

The jet TAXIS RIGHT to LEFT - then there is LIFT OFF. Vertusand Wilbert are heading home.

EXT. SMITH HOME - MONTHS LATER - DAY

The Smith home HAS BEEN "dressed to beat the band" -complete with a RED CARPET, KLIEG LIGHT, the "full Monty",the WORKS, for the BOMB GALA of the year: VERTUS' BIRTHDAYCELEBRATION; in fact WE SEE a SIGN that says just that.Dozens of EXPENSIVE CARS populate the circular driveway,including SEVERAL LIMOUSINES, that have literally taken overthe neighborhood. There are even a few MEDIA TRUCKS VISIBLE,most notably, KTTV TELEVISION. In the b.g. we SEE severalGUESTS who have already arrived - SCALING the red carpet tomake ENTRY into the Smith household.

EXT. SMITH HOME BACK YARD - DAY

WE SEE WORKERS, male and female - DRESSED in black and white- PUTTING the finishing touches on the SLEW of CHAIRS andTABLES which populate the f.g. - a SEA of RED is thepredominate decoration choice.

INT. SMITH UPSTAIRS BEDROOM BATHROOM - DAY

Susan, dressed elegantly in an after-five gown whichfeatures a red sash, is WORKING at retying the Wilbert'sred bow tie; he is smartly dressed in a black tuxedo.

WILBERTI've never heard Vertus useprofanity but he just may when hesees all of this.

(then)It's SO UN-VERTUS. He spent alifetime buying his clothes from

(MORE)

80.

WILBERT (cont'd)Goodwill.

SUSAN(a beat)

Well I think it's wonderful. It'sa once in a lifetime eventhonoring a once in a lifetimeperson... It's a very loving wayto say to someone, "your lifetruly matters..."

(alas)The sad thing is, Vertus is a rockstar for reasons no one outside ofa select few know about. He'staught me more about the act offorgiveness than anyone I know.

WILBERT(a twinkle)

Including me?

SUSANESPECIALLY you... You've neverbeen known as a shrinkingviolet...

(beat)But I must say I've seen a changein you the past couple of years...

WILBERTSo may I quote you?

SUSANAbout what?

WILBERTAbout Vertus being a rock star...I was wondering what I was goingto say when I toast him tonight.

SUSAN(a beat)

Let's get a move on. We've gotguests.

INT. VERTUS FIRST FLOOR CONDO - DAY

CAMERA OPENS ON Vertus SEATED in the middle of what is avery neat and orderly living room, with a barber's TARPthrown about his SHOULDERS [as though he's in a barber'schair]. Underneath the tarp, Vertus wears a tuxedo complete

81.

with a fire-engine red SHIRT and a black western stylechoker. At the moment he is LESS his customary beanie or anyother head covering.

A CLOSER ANGLE

EXT. VERTUS CONDO BUILDING - MOMENTS LATER - DAY

A LONG BLACK LIMOUSINE slowly pulls up in front of theproperty, then the LIMO DRIVER gets out of the driver'sdoor, TRUCKS around the vehicle to the passenger DOOR whichhe opens.

EXT. VERTUS GROUND FLOOR CONDO - CONTINUOUS - DAY

The front door SWINGS OPEN and Vertus walks out with minimumASSISTANCE from Vincent. He has on a very nice HEAD WRAP - ablack nylon fabric or "wave cap" - but WE CAN SEE thatVertus' physical condition has definitely WORSENED since histrip back to Indiana.

A CLOSER ANGLE

Vertus' head WOUND has now grown to four centimeters by fourcentimeters.

Vincent MOVES INTO FRAME with a SPONGE COVERING to DRESS theinjury, which he begins to PUT INTO PLACE with sure,experienced fingers. He WEARS latex gloves to preventcausing infection. Vincent too is DRESSED to "beat theband."

DISSOLVE:

INT. VERTUS LIMOUSINE - MOMENTS LATER - DAY

We FEATURE Vertus and Vincent SEATED in the plush interior.

VERTUSI wish I felt better. My head iskilling me.

VINCENT(beat)

Just do the best you can...

Vertus NODS that he will.

82.

EXT. SMITH HOME - MINUTES LATER - VERTUS LIMOUSINE - DAY

We FEATURE an AERIAL VIEW as the large vehicle pulls intothe driveway, and GAIL ANDERSON, playing herself withMICROPHONE in HAND, approaches; KTTV CAMERA LADY is also INFRAME.

A FEMALE GREETER OPENS THE limousine door and Vertus andVincent get out and START OUT towards the front door:

GAIL ANDERSON (V.O.)Vertus Hardiman, tell us how youfeel... Today is YOUR day.

FADE OUT.

Hole 12 06-2011

Technology

Transcript of Hole 12 06-2011