[Edward Gadrix]

A 12-year-old African American girl’s rocky relationship with her father leads her to find solace through rehabilitating an injured greyhound further complicating the daughter/father world in a family journey that will end in the destruction or rehabilitation itself of the relationship.

During the 12 years of her life, Quennie Goody’s relationship with her father is much like his insurance agency – all business. Quennie isn’t aware that Champ Goody struggled during his own boyhood to support himself and worked full-time employment to gain a college education. He is hell-bent on seeing Queenie doesn’t have to live through that. He has created a successful business, but his relationship with Queenie suffers. She, deep down, wants to be closer to her daddy.

When she was fondled by a youth minister at church, her father was busy at the office. Queenie blames “Daddy” for not being there to protect her. Those feelings are exacerbated by the little girl’s mother who had her own deteriorating times with Champ that led to divorce.

Although strained, Champ ‘s visitation with Queenie is something he looks forward to, but she eschews it. On one of those weekends in Florida, Queenie learns of the closing of a greyhound racetrack and the race dogs being sold. Her kind heart leads her to want to adopt an injured racer, scheduled to be “put down.” She persuades her father to get her the dog -– Sweet Thang.

Upon their return home, Queenie’s mother refuses to allow her to have the dog, so Champ is saddled with keeping it. But it serves as the avenue toward a better relationship with Queenie as she spends more time with her father to see and rehabilitate the hip injury of the dog.

The B story enters when Cherry Mahoney meets Champ and Queenie in an incident involving Sweet Thang and Cherry’s cat. Cherry has her own problems – financial – as she is a starving artist who survives on her measly income as a coffee shop waitress. The need to rehab Sweet Thang becomes the “glue” that draws the threesome closer together. The rehab process consists of swimming (to aid the hip injury) and leads them into forming a team in dog dock diving, one of the fastest growing sports in America.

Sweet Thang is a natural for the sport, but her progress runs into major obstacles when the owner of the national championship in the sport sabotages the chances for the dog to succeed.

The “Goody Team” overcomes a myriad of conflicts and struggles, but it binds them as a team in life as well as the sport. Champ realizes the father/daughter’s need for Queenie and sells his business to spend more time with the team. Cherry marries Champ and opens her art gallery. Queenie and Sweet Thang goes on to win the National Championship in dock diving. The rehab story of the greyhound through dock diving attracts a national pet store chain that becomes the economic engine that allows Champ, Queenie, Cherry, and Sweet Thang to find happiness together.

[Edward Gadrix]

I am Edward Gadrix from Atlanta GA. I have written one feature, one 1-hour TV pilot, one short, one adaptation of a novel, and one adaptation of a stage play. The stage adaptation was filmed in 2001 and now streams on Amazon Prime and Apple Plus. My feature is now being considered by a well-known production company for an option; my fingers are crossed. I obtained My master’s degree with a concentration in screenwriting from Kennesaw State University.

I’m taking this course to broaden my knowledge of marketability of my scripts. I have found the previous courses by Screenwriting U to be professionally presented and look forward to the course.

• This reply was modified 1 year, 10 months ago by  Edward Gadrix.

[Edward Gadrix]

I agree to the release form.

Edward Gadrix

[Edward Gadrix]

I learned from this assignment how to make more clear my thoughts on the journey I want my protagonist to take. I’m still not there yet, but I can see the road becoming more clear.

Present your Concept.

· A. Engaging and highly proactive hero…

Cheryl Sylvan has a love of horses she developed as a child with her father who was a thoroughbred trainer at a small racetrack In Ohio. She witnessed her father’s murder by organized mafia types involved in the horse racing industry. The mafia types control betting, simulcasting, and offshore rebate shops and they have their hands in who wins and who loses. Moreover, the drug industry in the racing business is controlled by the same organized crime, and they let no one stand in their way to keep business as usual..

B. …up against a
major conflict…
Sylvan is up
against the most intimidating organization in America that has huge financial
and political ramifications.

C. …goes on a unique transformational journey…
Sylvan goes on a
journey to clean up the industry.

D. …Into an
intriguing world.
The world of thoroughbred
racing is little known to the public. What they see are a few big races,
like the Kentucky Derby, Preakness, Belmont Stakes, and the Breeders’ Cup,
and that’s about the extent. What they don’t see is the intriguing world of
the rich and famous who have major galas and balls, the sophisticated multimillion-dollar auctions where thoroughbred yearlings are sold for millions of dollars, and where private jets ferry Arabs in to visit their investments in breeding
and training facilities as well as the top races in America, to where major
political figures mix with the monied owners who run the industry, to the
world of crime underneath it all that controls off track betting around
the world through simulcasting and rebate shops, and the drug culture for
the equine athletes that rule the day.

2. Tell us the World of this show.

Unique
Sub-World:
What they don’t
see is the sub-world world of the backside of the tracks, where there is a
community rarely visited by outsiders. It’s a world from the bottom of
society -, the hotwalkers, the illegal Latin’s who clean the stalls and
horses, the trainers, and staff, up to the top of society, the owners. It includes
the closed to the public restaurants for backside folks only. The backside
folks even their own churches, movies, and places for some to live.

Previously
unexplored:

I know of no other series like “The Backside.” The world of thoroughbred racing has never been explored, and it is fascinating. I was a part of that industry for several years and hope to bring to the series firsthand experience that clears up both misconceptions and the good and wonderful parts of the business.

The unknown:

The Backside ventures into the mysteries of who wins and who loses in many races, and who lives and who dies based on how he or she relates to the business.

The unseen:

The secrets of the billions of dollars mostly unseen by the public will be illumated in the series that will by eye-opening to most.

Unheard of
Dangers:

There are dangers out there for those who venture astray from the way business is conducted.

Reason to
explore it:

There are few major industries and businesses in American that have been isolated and kept to themselves. The series will be not only intriguing but educational to the viewers of the series.

[Edward Gadrix]

American Beach

LOGLINE

A black, eccentric granddaughter of the founder of the American Beach community relates the story and fight against greedy “For Whites Only” resort developers “to preserve the culture and heritage of the only beach in the South for African Americans prior to the civil rights movement.

STATEMENT

MaVYNEE BETSCH, abandons her career as a European opera singer to return to her roots in the Jacksonville, Florida. The African American singer is the granddaughter of Abraham Lincoln Lewis, the president of the black-owned Afro-American Life Insurance Company a successful enterprise that allows him to purchase and develop American Beach just north of the city and the only beach in the South for blacks.

MaVynee fills the need to succeed her grandfather after his death in the late 1940s as real estate developers are licking their financial chops to get their shovels and end loaders on the beach property for an upscale resort development for whites. The site has been set aside as the only beach for African Americans in the South.

The foundation for the fictional story begins with a flashback told by MaVynee that sets the scene at a time just before the Civil War. A slave ship carrying human cargo is spotted offshore by a federal ship. While slavery is still legal, the importation of them has been banned, and breaking the law means death to the captain of the slave ship.

To avoid the gallows, the captain of the ship orders all the slaves to be thrown overboard. The bodies washed up on the beach – American Beach. That story survives as inspiration for future developer, A.L. Lewis, to make it the beach for blacks.

The eccentric MaVynee is seen for the first-time lecturing students of the 1960s about the history of the beach. The beauty of the beach is seen including Nana, the tallest sand dune in the State of Florida. Her love and dedication to the preservation of the community earn her the name “Beach Lady.”

More fictional history is revealed by MaVynee through the introduction of the protagonist, GAYLORD “GAY” RALSTON (25) white. The time is 1943, He is a U.S. Coast Guard Lieutenant who volunteered for military service and was stationed in Jacksonville during WW II. He is from a prominent family from Buckhead Atlanta, the fingerbowl section of the southern city. Gay spent his earlier years trying to please his arrogant father, Bo Ralston (55) white, who is a real estate mogul. The father has always favored Gay’s brother, Vincent, an Ivy League grad over Gay. Everything Gay does, Vincent can do better in the eyes of Bo Ralston. Gay’s goal in life is to please his father and gain equal admiration.

Gay is involved with a sea rescue off the shore of Jacksonville after a German submarine sinks an American merchant vessel exiting the Florida port city. The rescue introduces the Coast Guard officer to WILLIE CLAUDE HOLMES, (26) a black dock worker who assists in the saving of sailors on the sinking ship. Willie Claude in slightly injured. When Gay sees the emergency medical staff refusing to take the black man to the hospital – such services and hospitals reserved for whites – Gay takes him home. That home is at American Beach.

Gay is mesmerized in seeing the beach brimming with black bathers, something he’s never seen. He’s also mesmerized by Willie Claude’s sister, HATTIE (19), a beautiful black girl.

Gay learns more of what the beach community is all about, including its history. Moreover, he strikes up a friendship that seems to be long-lasting.

Gay reveals his discovery of the beautiful beach property to his father. The wheels start whirling in Bo’s head that the location of this site would be ideal for a Ritz Carlton type of development. The thought is set aside, however, until the war ends.

Bo Ralston has contacts in California who want to do a “Cali” type development in Florida. He enlists Gay to take advantage of the friendship with the owners and encourage them to sell to his father’s business interest. Gay senses the opportunity to gain the recognition and admiration of his father. He also thinks he’ll be doing the residents a favor by buying them out.

Through his friendship with Willie Claude and Hattie, he meets the founder and head honcho, Abraham Lincoln Lewis, the president of Afro-American Life. The wizened president is opposed to the buyout but leaves it to the owners to determine whether to sell. The consensus is to stay as a black community.

During the time Gay is spending getting to know the residents and their community values, he is learns about the lifestyle at the beach. It includes the nightlife and regular visits of major celebrities like Duke Ellington, Cab Calloway, Joe Louis, and more.

Also, during this time, Gay and Hattie develop a romantic relationship, unheard of in the South at the time.

During his stay in the area, he meets some of the small business owners, who would love to see the blacks uprooted and moved out. An inadvertent unholy alliance arises between Gay and some of the business owners who, sub rosa, are KKK members. They use off-duty terroristic tactics to “encourage” the owners to sell. Gay, unaware of the tactics, is surprised when he sees the change in position of the black owner who now agrees to sell. Some of these miscreant characters have been receiving indirect funding from – Bo Ralston. While Bo wants the property, he is not aware the bad guys are using terror to accomplish his goal.

Gay is successful in getting most of the properties under an option to purchase,

When he learns of the prodding source, he encounters them and his father. The KKK characters are incarcerated when discovered.

Gay transforms his views from wanting to satisfy his father’s greed to realizing the property is too important to the black community. With certain legal proceedings taking place, Gay allows the options to expire, and the residents realize the salvation of their property.

When Bo Ralston understands what Gay has gone through and the decision made, it reveals to Bo the character of Gay which the father has been missing all these years. A bridge for the future with both seems a possibility.

Now back to MaVynee in the 1960s times. She, too, is visited by other resort developers who by now are developing all around American Beach. One such developer is, indeed, Ritz Carlton. Another is one of Florida’s swankiest – Amelia Island Plantation.

SERIES OF SHOTS

1) MaVynne survey the beauty of Nana

2) She walks along the beach

3) She is seen talking to two suits.

4) She is in the courtroom arguing before a judge

5) She conducts a meeting of community residents

6) She visits the grave of A.L Lewis

7) She stands on the beach looking out to sea.

She encounters them in a court proceedings to require them to leave trees and foliage in their own development.

[Edward Gadrix]

I agree to the terms and conditions of this release form.

Edward Gadrix

[Edward Gadrix]

Eddie Gadrix

3 scripts completed (one 1-hour TV pilot, 1 feature, and 1 short

1 adaptation from a stage play filmed and produced in 2021.

2 projects are currently underway.

I hope this course will take my writing to greater heights. Moreover, notwithstanding this course seem more toward action, suspense, and drama, I’d like to consider a comedy or (feel good) serialized project. I’ve had an idea for some time now that would fit for a TV series, and this course might be the inspiration and foundation to launch it. We’ll see.

I’m a musician (jazz trombone) as well as a writer. Resident, Metro Hotlanta, GA (Hollywood South)

[Edward Gadrix]

Subject: The sample page of my (Edward Gadrix) genre, historical/fiction:

Statement:

The genre is historical/fiction. While the standard conventions of drama, comedy, and action are blended into the script, the focus is on identifying and illuminating the history of American Beach, the sole seashore for African Americans in the South prior to the civil rights movement.

The first introductory pages lay the historical foundation of the beach as told by MaVynne Betsch, an eccentric heir to the founder of the beach, black businessman Abraham Lincoln Lewis in 1935. Betsch’s dedication to saving the beach from modern-day resort developers branded her with the name “Beach Lady.” Her fight not only draws attention to the geographic location North of Jacksonville, but the racial prejudices of yesteryear as subtly juxtaposed with those of today.

FADE IN

EXT. OCEAN – NIGHT

A 19th-century seafaring, Guineamen slave ship rocks and rolls among tempestuous swells revved up from an angry Atlantic Ocean.

SUPERIMPOSE:

“OFF THE EAST COAST OF NORTH FLORIDA, 1851”

EXT. SHIP’S MAIN DECK – CONTINUOUS

Rain beads and peppers the deck devoid of sea-soured seamen, save one white HELMSMAN, a withered and weathered 40-year-old. His best efforts only give a semblance of steering the bobbing and weaving vessel.

Half unfurled sails slap and flap, serving-up sound and sight of a slashing, whetted knife. Loose lanyards stream straight-out as wondering and WHISTLING winds whirl-through the maze of riotous rigging.

The lone and haggard Helmsman — tied to the deck’s steering wheel — battles the storm in a futile attempt to stay the rudder amidships.

With his forearm, he swipes rainwater from his distorted face – to no avail – then fondles for a bottle from under his foul weather clothing. Upon successful retrieval, he admires it, then gulps a major swig of the container’s contents. Another admiration; another swig. He thankfully returns the bottle to its safeguard under his foul weather clothing.

Broken-free deck gear scurries by just a few paces in front of him, only to return in the opposite direction. He watches as the ritual repeats itself. He CURSES its freedom — to no avail.

He reaches underneath his foul-weather clothing and searches for the safeguard.

INT. SLAVE’S DECK – CONTINUOUS

Stacks of SLAVES, all chained, all black, sweat with fear in individual berthing slots. Separate stacks apportion males from females. Only inches divide any of them from one another, up and below, side to side.

They’re partially clothed in partial darkness, some awake, some eyes and faces forcibly clinched.

An oil lantern BANGS the battered bulkhead causing tension one senses if a spillage, then possible fire.

Buckets holding urine and excrement sway with the ship’s roll; some slosh over on the deck.

One shirtless MALE SLAVE 1, 25, is seen lying in his bunk, eyes wide open. He distantly thinks to himself.

A HEAVING SOUND from MALE SLAVE 2 is heard above him, then vomit cascades from above. Male Slave 1 wipes smatterings of it from his face with his unshackled hand.

Aftermath GROANS are heard coming from Male Slave 2.

A pregnant FEMALE SLAVE 1 (18), is seen in her bunk. She’s partially naked. She tears and rubs her protruding stomach in a motherly attempt to soothe the unborn.

CLOSEUP on Female Slave 1’s wrist.

Under the chain on her wrist blood oozes. The same wrist garnishes a decorative, BEADED BRACELET distinctly festooned with varying and colorful stones. One large black rock is centered. It blends with her skin but contrasts with her red blood.

BACK TO SCENE

She turns her head to the side where her eyes fixate on a young, MALE SLAVE 3 (20) laying the same level in a stack of slaves in the next row.

SERIES OF SHOTS

The unspoken communication goes back and forth between Female Slave 1 and Male Slave 3.

Their eye contact is unmistakably that of soulmates — and future parents.

They silently communicate their past, present… and uncertainty.

There is pantomimed lip movement from both.

He forces an assuring smile; she returns an appreciative, but forced one, as well.

BACK TO SCENE

A HAIRY CHESTED SAILOR, 40, white, shiny with sweat, enters escorting MALE SLAVE 4 (30) wearing a ragged skirt covering his lower half. They stop at an empty SLOP BUCKET on the deck.

Male Slave 4 pulls up the skirt. He sits on the slop bucket and starts his shit.

Hairy Chested Sailor sands over him. He’s angered.

CLOSEUP ON MALE SLAVE 4’S FACE

There is resourceful satisfaction in his gloom and misery. He looks up at Hairy Chested Sailor with thankful eyes.

BACK TO SCENE

Male Slave 4’s appreciation is not accepted by Hairy Chested Sailor. He’s angered.

A rolling deck causes Hairy Chested Sailor to stumble. Male Slave 4 falls off the slop bucket which overturns on the deck.

HAIRY CHESTED SAILOR

(with anger)

YOU GOD DAMN BLASTED APE, YOU SHIT, GET GOD DAMN SHIT CLEANED UP.

Male Slave 4 picks himself off the deck and hand scoops his shit back into the slob bucket. He then re-sits on the bucket. He spreads his legs further apart to avoid another topple.

Hairy Chested Sailor watches him resume his shit. He then steps a few paces to the pregnant Female Slave 1 and looks over her body. He rubs her breast. He then moves his hand under her skirt towards her crotch.

She grimaces upon the insertion of his finger.

She looks over to the Male Slave 3 in an appeal for help. No help comes. Female Slave 1 and Male Slave 3’s eyes share the physical and emotional pain together with the frustration of helplessness.

Male Slave 4 stands. His skirt unfolds. Hairy Chested Sailor sees and points to the slop bucket with an index finger, then his thumb motion “come on.” Male Slave obeys the hand gestures. The two exit the scene.

EXT. SHIP’S MAIN DECK – SAME TIME

Helmsman continues his attempts to steer. His eyes fixate on the horizon to starboard. He squints and holds a hand over his right eye which must be partially blind.

HELMSMAN’S POV

The dark horizon on the ocean reveals a dim light miles away. The light bobs on the silhouette of another ship can be faintly seen.

BACK TO SCENE

Helmsman thinks. He wedges a wooden plank into the spokes of the wheel and a deck cleat to keep steady the steering wheel, then steps a pace to a pipe that penetrates down through the deck. He starts to mouth a message to those below.

HELMSMAN

(shouting into the pipe)

ALERT THE CAPTAIN, ALERT THE CAPTAIN. A CUTTER’S LIGHT TO STARBOARD,

INT. CAPTAIN’S QUARTERS – CONTINUOUS

A TABLE sits in the middle of the captain’s quarters. On the table is a navigation chart.

There is a bed next to the cabin’s bulkhead. In it is seen the white, hairy butt of CAPTAIN, 50. He’s on his knees crouched over and performing oral sex on a black slave, who can only be seen by the two black legs spread apart.

We hear Captain’s SLURPING of sex. There are GROANS emanating from the black partner pinned to the bed, and there is enjoyment from both participants.

There are three KNOCKS on the cabin’s door. The captain stops his love feast but keeps his head buried between the slave’s legs.

CAPTAIN

(angrily)

What?

MAN’S VOICE (O.S.)

Captain, there’s a cutter to starboard – closing.

CAPTAIN

(face still buried)

Too far to see her colors?

MAN’S VOICE (O.S.)

Looks fed, to me.

The captain now disengages from the slave; he sits up in the bed. His dark beard and mouth glisten with moisture.

CABIN BOY, (20) black and extremely attractive male, the subject matter of Captain’s target dining, sits up, as well.

CAPTAIN

(to voice outside)

Get the first mate.

MAN’S VOICE (O.S.)

He’s topside.

CAPTAIN

(to voice outside)

Down here, god damn-it.

Captain stands, picks up a shirt and pants laying on the floor, and tosses it to Cabin Boy.

EXT. SHIP’S MAIN DECK – MOMENTS LATER

FIRST OFFICER FALSTAF, 35, a tall, lean, white officer peers through his snake-like eye through a long telescope towards the distant ship.

FIRST OFFICER FALSTAF’S POV

Through the round image of his telescope, we see the silhouette and light of a sailing ship, the subject matter of Captain and Falstaf’s concern

MAN’S VOICE (O.S.)

(shouting from a distance)

Mr. Falstaf, Captain’s quarter now.

BACK TO SCENE

First Officer Falstaf interrupts his peering and lowers the telescope. He turns and looks toward the voice.

CLOSE ON FALSTAF’S FACE

We see in him down deep – a mean soul.

INT. CAPTAIN’S QUARTERS – LATER

CLOSE ON A NAVIGATIONAL CHART OF THE NORTHERN PART OF FLORIDA’S EAST COAST.

The chart is on a table in the captain’s quarters. We see Captain’s hand brushing an area on the chart, then pointing with his weathered, hairy finger to a spot just off the Florida coast near the town marked Fernandina, Florida, which is written on the chart in bold letters.

CAPTAIN (O.S.)

Dead Reckoning says we’re here – about.

He glides his hairy finger to the right and lower than the first spot to a point.

CAPTAIN (O.S.) (CONT’D)

(tapping the point twice)

Revenue Cutter.

INT. CAPTAIN’S QUARTERS – CONTINUOUS

Captain and First Officer Falstaf stand around the table and continue to observe the chart.

Cabin Boy, now dressed, stands at a counter along the side of the bulkhead preparing a rum drink for the officers. He takes two glasses to them and dispenses one to each, as they study the chart.

Falstaf looks to Captain.

FIRST OFFICER FALSTAF

We can make Fernandina before the Feds.

CAPTAIN

We risk tearing up the sails in this wind — AND — we tell ‘em we hiding something when we run.

FIRST OFFICER FALSTAF

Maybe it’s not a federal.

CAPTAIN

It is god damn it. Revenue Marine.

FIRST OFFICER FALSTAF

We make Fernandina–.

CAPTAIN

–Mister Falstaf, they catch us by morning light. Or come into port and see what we got. Either way…

FIRST OFFICER FALSTAF

Death for you.

CAPTAIN

Yeah, those plantation bastards can own ‘em, but we can’t bring more of ‘em in. I don’t plan to die this day, my good man.

The captain walks to a porthole and looks out to sea. He then looks at the Falstaff, who returns the concentrated stare.

FIRST OFFICER FALSTAF

The order?

Captain looks out the porthole again, then nods “yes.”

CAPTAIN

(looking out to sea through the porthole)

They don’t exist, never did.

INT. SLAVE’S DECK — LATER

The stacks of slaves lay in quietude, then CREWMAN 1, 2, and 3 enter the quarters.

CREWMAN 1

(points to 5 stacks of male slaves)

This section first. Don’t panic them, just unchain them, and point topside.

Crewman 2 and 3 carry out the order. Some 25 slaves, partially clothed, are confused, but que up the ladder to the main deck.

EXT. MAIN DECK – MOMENTS LATER

SERIES OF SHOTS

1)The First ten slaves reach the deck. There is no warning or delay. Several of the ship’s crew heard them to the side of the ship, then start to push and shove them overboard. There is resistance – to no avail.

2)Some realizing their watery demise try to retreat to the ladder leading below; they are bludgeoned by the crew with clubs.

3)Heads busted and blood gushing therefrom, some slaves are dragged to the side and tossed overboard.

SLAVE’S DECK

5) Male and Female slaves are being aggressively escorted from the berthing area up the ladder to the main deck.

6) Female Slave 1 is manhandled by a crewman. She glances back to eye search for Male Slave 3.

7) POV FEMALE SLAVE 1

Her eyes fixate on Male Slave 3 who still lies in his bunk. His eyes contact Female Slave 1 breaking the 4th wall.

BACK TO SCENE

8) A crewman pushes Female Slave 1 up the ladder. She shuffles along with uncertainty, innocence, and obedience.

9) Male Slave 3 is unchained from his bunk and forcefully escorted towards the ladder. His own eyes search up the ladder hoping to see Female Slave 1.

SHIP’S MAIN DECK

10) Bedlam prevails slaves ripen their knowledge into the certainty of their fate; they fight for survival.

11) Crewmen armed with rifles FIRE SHOTS into several of the fighting slaves; other crewmen throw the dead and wounded overboard.

12) Two crewmen use swords on several slaves refusing to go overboard. The bodies tossed.

CAPTAIN’S QUARTERS

13) Captain stands at the rear window of his cabin and looks out at the sea below

POV OF CAPTAIN AT THE SEA WAKE BEHIND THE SHIP

14) Numerous male and female slaves thrash in the sea behind the ship. Some frantically grab on to others. Some sink.

BACK TO CAPTAIN’S QUARTERS

Captain stands watching, then turns where Cabin Boy stands with eyes wide with fear.

The captain walks to Cabin Boy. He points his index finger at Cabin Boy, then points his finger at himself. Cabin Boy is relieved knowing he will live.

Captain lays his hand on Cabin Boy’s shoulder. Cabin Boy rotates his head and kisses it.

15) A black sky as a backdrop for stars.

SCREAMS OF NUMEROUS SLAVES IN TERROR (O.S.)

The SOUND of a female opera singer is heard (O.S.) SINGING Bach’s Ava Maria.

16) Ten female slaves are ushered from below deck to the main deck. As each arrives, they are wide-eyed in horror as they see the male slaves being thrown overboard. They, too, SCREAM and panic.

17) As each slave hits the sea, most cannot swim. It’s a human frenzy.

SCREAMS after SCREAMS of each slave rings out over the sea as each hit the water. Some swim, some bob and go under all fighting to survive.

18) There is a steady stream of men slaves coming from below.

INT. SLAVE’S DECK – CONTINUOUS

The SOUND of a female opera singer continues (O.S.) SINGING Bach’s Ava Maria.

19) The ship’s crew now have an assembly line of death unchaining a slave, violently forcing them up the ladder.

20) The SCREAMS from the above can now be heard below. Some of the slaves fight refusal. One is SHOT in the face for fighting back. It reaches a panic level, but the ship’s crew uses pistols and knives to keep the movement.

21) Then, the female slaves are added to the assembly. There are SCREAMS throughout the ship now. All women, pregnant included are forced.

EXT. SHIP’S MAIN DECK – CONTINUOUS

22) Now the women are thrown overboard.

The SOUND of a female opera singer continues (O.S.) SINGING Bach’s Ava Maria.

23) A black sky is seen as a backdrop for stars.

EXT. AMERICAN BEACH – NIGHT

The SOUND of a female opera singer continues (O.S.) SINGING Bach’s Ava Maria.

24) A drone panorama of the beach is seen. The weather is distinctly clear, and calm as contrasted with the rain and wind before; gentle waves roll in.

25) Now seen are scattered bodies of slaves, some washed ashore, others floating just offshore.

CLOSE UP A pregnant Female Slave 1 lays dead on the beach. Waves wash over her with her arm clinched around her bloated stomach area.

CLOSE UP ON FEMALE SLAVE 1’s WRIST

We see the bracelet.

BACK TO SCENE

We see numerous scattered bodies of dead slaves

26) A black sky is seen as a backdrop for stars, then:

27) The same sky evolves into a bright sunning morning and daylight.

EXT. AMERICAN BEACH – DAY

28) The same beach previously littered with the bodies of slaves is now free of the dead human clutter.

While Avo Maria is continued to be sung, the camera pulls back, and we are introduced to the beauty of the wild original beach that will later become – American Beach.

29) a drone camera angle pans the expanse of some 200 acres of beach, woods, ponds, and scattered small cottages that makeup what we now know as American Beach.

CLOSE UP ON THE LANDSCAPE

30) The sun showers warm glows on the ebb and flow of the incoming tide on the beach.

31) A worn sandy road strays from a 2-lane blacktop highway; beside the road is a sign that reads “American Beach.”

32) Smatterings of varied sea grasses sway among sand dunes under the bright blue sky.

33) Baby sea turtles emerge from a sandy nest leaving their eggshells behind. They scamper toward the sea.

34) Sandpipers pop along the water’s edge poking their beaks into the aftermath of retreating waves of water.

35) From the interior of wooded pines, live oaks, bushes of palmetto, and saw grass, a doe and fawn wander; a squirrel studies them, and a variety of birds in flight serve as a canopy for innumerable wonders of nature.

36) In a marshy lagoon languishes a docile alligator, partially submerged.

37) A giant 60-foot sand dune reaches for that blue sky; a sign by it says “Nana, the tallest sand dune in Florida, Protected as a National Landmark.”

38) Seagulls glide along the beach.

39) jellyfish float among gentle and lapping waves

40) Offshore, 3 porpoises roll up and under to share air.

41) A drone angle glides along the seashore displaying weathered cottages.

42) A close-up of two of the small beach cottages.

43) We see an old nightclub — boarded up

44) a street sign which reads: “LEWIS ST.”

45) there is an old grocery store still open; it appears to be yesteryear.

46) We see a weather-beaten motor home on the beach.

As the music continues, the camera closes in on the trailer, then to the door of the motor home.

INT. TRAILER – CONTINUOUS

Song and music continue

47) CLOSE UP: A CD player is seen as the source of the SONG and MUSIC.

48) CLOSE UP: A university degree is displayed on the wall of the motor home. It reads: “Oberlin Conservatory of Music, MaVYNEE BETSCH Bachelor of Arts in Music, 1955.”

49) CLOSE UP: A framed newspaper clipping from the German newspaper named Braunschweig News, dated 1959 displays the photo of a young black woman singing in a formal dress. The headline of an article reads “American Socialite makes her operatic debut to European audiences.”

50)The camera moves to a window. Seen outside the window at a distance is a seated group of college students. Standing over them is a tall black woman.

EXT. AMERICAN BEACH – DAY

51) CLOSE UP

A mid-sized black woman – MAVYNEE BETSCH – pronounced “Mawve’ eene” (60) – stands over the students as they sit on the beach. She pantomimes a lecture as the

SONG and MUSIC continue.

She exhibits a coiled mound of kinky, black/grayish mixed hair. The stacked strands would approximate 7 feet in length if they were unfurled. But they now tower together as a large lump to a height of over a foot from the top of her head.

Her fingernails protrude unusually long, like cutlery. The right-hand nails appear more like Swiss Army knives, but the left-hand nails are rarely seen, elongated, 8-inches. Those machete-like nails (and hand) are covered with a plastic bag, apparently to prevent breakage.

From shoulders to ankles, MaVynne is clothed – no, costumed – in a bright yellow gown with colorful prints of butterflies and exotic African animals. The dress hints of that continent’s heritage, but the obvious is a display of the love of life and nature everywhere.

Her gown is punctuated with varying sizes and shapes of campaign buttons, political and environmental, revealing her dedication to peace, the environment, and all things embracing and protecting life itself.

SONG AND MUSIC CONCLUDE.

She lectures a group of college students.

She’s soft-spoken, and when the words roll from her velvet tongue, they resonate wizardly wise.

Five young people listen, attentively all hair-and-eyes: KENISHA, 18, black, slender. She sports a sweatshirt from Spelman; TANYA, 20, black woman showing the pounds more associated a few years at Oberlin; Rhett, 17, white boy, wearing a Georgia State baseball cap and tank-top to show off how he hits home runs; TIGER, 19, black. Wears a visor that suggests he’s a golfer, and; bespectacled, Edward, white, 20, who soaks up the lecturer’s knowledge to have it relayed to friends at Brown University.

MAVYNEE

When you know the story of American Beach, you’ll come to love its history, sure, but you’ll also learn its spirit that has made us understand – love of life for ALL people.

[Edward Gadrix]

Business Decisions: What I learned in this assignment is to be flexible in working with the producer. My script has some high-budget conventions – like an opening water scene – which may have to be “watered down.”

Genre

My genre is Historical/Fiction. I’m assuming my producer has bought into the concept of the story, which is to identify and illuminated for the audience the only beach in the South for African Americans during the early part of the 20th Century. It attracted a large number of black celebrities (Duke Ellington, Cab Calloway, Joe Louis, Hank Aaron, and more) when those entertainment and sports figures could not enjoy the sand and surf of Florida and the rest of the Southern States. I see my job – much like the writer of “Green Book” – is to bring that to the attention of the audience while keeping in mind the other decisions to be made by the producer.

Title

It. a simple title – “American Beach” – but it identifies the subject location and story which is the focal point of the script. It’s similar to the title and concept of “Green Book” and it is my job now to illuminate the story to an entertaining concept.

Concept

The concept is to draw a comparison of the racial prejudice of the early 20th century with the more subtle but similar prejudices today. Prejudice was easy to spot in the South in years past; today, it prevails all over the Nation in masks of subtlety. The racial themes, however, parallel the story of the Protagonist who has his own journey and growth which must take place. He hails from a high-class family in Buckhead Atlanta. He is always trying to please his arrogant father who has a vast real estate empire. When my Protagonist discovers American Beach, just North of Jacksonville, he sees it as a real estate development opportunity to catapult him into the eyes and graces of his father. In so doing, however, he is transformed by the goodness and genuineness of the black population who inhabit American Beach.

Audience

I see the audience as over 25, both male and female. I believe the historical/fiction viewers are both entertained and educated through movies like “Green Book”, Disney’s “The Finest Hours”, Gone With The Wind” and… “American Beach.”

Budget

I’ve tried to consider budget as a factor in the script. The primary expenses of the film take place early on as they are water scenes. It opens with a slave ship off the coast of Jacksonville so it is periodic in scope. It, however, is a hook I believe necessary to lay the foundation for the successor inhabitants of American Beach. As the movie progresses, it is still periodic of the 1940s when the beach was at the height of its popularity. While there are ways to cut down on the budget there, a producer should know going in that it is a periodic film.

Lead CharactersJourney / character Arc

The lead character is a white male (25ish); the part can be played by a number of actors but I agree with the text of the assignment, a “big name” can add tremendous attraction to the film. I have identified the arch of the Protagonist as wanting to be equal to his Ivy League brother in the eyes of his overbearing Father. He sets out to do this by trying to swindle the inhabitants at American Beach out of their valuable property. In the journey, he discovers the honesty and sincerity of the black who live there and in so doing changes his feelings to understanding the importance of life through a beach. Much of the real estate acquisition story is true and is now known as the expensive development – Amelia Island and Ritz Carlton.

Opening / Endings

The opening has a slave ship off the coast of North Florida. When the Captain discovers the Federal Ship closing in on him (by the mid-1880s importing slaves had been abolished and illegal), he has them thrown overboard so he has not incurred his own hanging. Those black bodies wash up on… American Beach.

The ending has the Protagonist saving the property for the black owners at American Beach the same property he had earlier tried to acquire from them for his family’s real estate empire and development into a resort FOR WHTES ONLY.

[Edward Gadrix]

Response to Assignment 3A

This is my 2nd look, and more depth, into the movie Green Book. The writer has done a good job of meeting my first convention (to identify and illuminate the historical persons and events). This did happen. Where I think the writer did a creative presentation was on the fictional side.

The writer used the conventions of drama and comedy in a balanced mix that worked. I felt that emotion was built into the two main characters, but in my opinion, took license in how they acted. I felt the writer followed structural guidelines, but in developing the attitude and the characters had with their then station in life, together with how they dealt with one another was fictionalized. That said, however, the times were so different in the 1950s, and the writer updated the demeanors of the two to relate to contemporary audiences, without losing the historical significance.

I also think the writer capitalized on stereotypes the majority of the audience possesses, but in doing so, it made the film even more popular. That is proven and the writer won an Academy Award for Best Screenwriting.

I point out that the families and friends of the real-life characters objected to the portrayal by the screenwriter which bears out – or at least supports my observations that the screenwriter fictionalized a great deal of the dialogue, action, and relationship of the cast.

When the historical is balanced with the fictional, however, the movie was an outstanding and entertaining film that will be viewed over many years. The genre, to me, offers audiences not only entertainment but a peek into the lives and events of people, places, and things that has curiosity in them well before they view the film. So, we have their attention and the outset; NOW WE HAVE TO GIVE THEM DEPTH.

• This reply was modified 2 years, 10 months ago by  Edward Gadrix.

[Edward Gadrix]

I learned from this assignment new conventions to my genre – historical fiction. They are listed below.

Films Reviewed: Green Book and The Finest Hours

I identified the following conventions in both films. I would like to hear back if the genre I have identified I want to be the best in is too vague. I do believe, depending on the true story it would involve drama, comedy, action, or a combination, but I like to research true stories and present them not in a documentary way, but as an entertaining story. I am working on a script now that has fictional characters with a story that parallels a true story.

Conventions for Historical/Fiction (inspired by true stories) \

PURPOSE: Identify and illuminate persons, situations, locations, or events in which a large amount of the public has limited knowledge and will have an interest or be entertained as a result of the film.

CHARACTER DRIVIN: The characters display a journey that reveals growth and change for the better (Hero) and demise or resolution (antagonist).

LOCATIONS: Throughout the genre, the viewer experience recognizable time or physical sights or locations that are a pertinent part of the story.

HIGH STAKES COME FROM WITHIN: The character’s growth and journey develop from within through conflict with his/her values.

EMOTIONALLY RESONATES: The audience must be able to feel the emotion of the characters and accompany them on the journey.

REAL LIFE SITUATIONS: As the story is inspired by true stories, the audience may gain an unknowingly unrealistic view of the real fact, but entertainment prevails over such real facts.

[Edward Gadrix]

What I have learned: While I’ve been “okay” in making myself creditable, through this lesson it has inspired me to list all of my credit including a MA in screenwriting, numeous festival awards up to the quarterfinals and semifinaal, but no winner, a SAG which was filmed and releases with my credit as a cowriter of an adaptation of a stage play.

1. Based upon the Credibility Model in this lesson, fill in the Credibility Checklist to show us your current credibility.

My major credibility is the adaptation of a successful stage play to a movie script. “Here Comes the Sun” was shot and produced as a SAG film in 2021. It stars Ms. Terri Vaughn from the Steve Harvey Show. While I have a small acting part, my main role is as a co-writer of the script.

2. Make a list of possible things you can do to increase your credibility in the future. I want to list my credits on LinkedIn. I have never used that source and through this course, I have decided to add it to my marketing strategy. I do not have a webpage and I will consider that.

3. At the top of the page, tell us the 2 or 3 steps you’ll take in the next 30 days to increase your credibility.

Update my page on imdb, set up my Linkedin page, and garner data on a web page.

4. Answer the question ‘What I learned doing this assignment is…?’ and put it at the top of your work. See above

[Edward Gadrix]

Eddie Gadrix, Assignment 1

From the first assignment, I learned the importance of communication between the writer and producer. The vision of both must be engaged early on and throughout the project. I experienced some of this lack of knowledge on my part in a stage play I adapted for film. I wrote the script almost to completion before I submitted it to the producer/playwright. We had difficulties that had to be overcome. We did bridge that gap, but I can see if I had taken this course before the project, we could have saved time and needless tension. With that experience and the audio preceding, this course gives me encouragement to proceed.

I also like the 5 steps to a project; it’s simple and makes sense.

[Edward Gadrix]

Eddie Gadrix. I agree to the Confidentiality Agreement

[Edward Gadrix]

My name is Eddie Gadrix, from Atlanta, GA. I’ve adapted a successful stage play into a SAG film which was produced last year. I’ve also written a 1-hour TV pilot, a full feature, and a short. All have earned some recognition in various festivals.

I hope to be more involved with adaptations and I’m hopeful this course is helpful in that regard.

[Edward Gadrix]

1. Tell us your logline.

When his best friend is murdered by the KKK, a young black college grad is impelled to leave the security of his 1930s Southern roots to fulfill his friend’s mission of improving their racial station in life only to find his journey has uncovered decoding secrets prior to World War II that could topple the American President.

2. Present your current story, showing each part of the 9-part structure.
Give us each of these, along with the current main conflict:

Main Conflict:

1. Opening:

Set up with Chris and Alice, then (flashback) Eddie and Jaz.

2. Inciting Incident:

Jaz is murdered by the KKK
3. By page 10, you know what the movie is about:

Eddie takes on Jaz’s mission of elevating the racial station in life

4. First turning point at end of Act 1:

Eddie is admitted into the Army’s Magic decoding program. (Meets Mollie, as well)

5. Mid-Point:

Eddie is confronted with the knowledge of Colonel Fall’s being devious and a miscreant.

6. Second turning point at end of Act 2:

Eddie knows the direction of the Magic program has varying avenue and ramifications.

7. Crisis:

Eddie and Colonel Fall crash head on with one another over conflicting goals. His conflict is also with President Roosevelt’s own goal

8. Climax:

Eddie is faced with critical decision of revealing the bombing of Pearl Harbor or Letting his girlfriend Mollie Die there as a nurse at the Pearl Hospital. Both relate to his mission of

Enhancing the racial station in his journey.

9. Resolution:

Eddie’s decision results in his being recognized as a patriotic American and earns the recognition that attains his mission’s goals.

What have I learned: While I have had a general idea of my story, this exercise
helps me clarify my events

[Edward Gadrix]

The Code Magician

When his best friend is murdered by the KKK, a young black college grad is impelled to leave the security of his 1930s Southern roots to fulfill his friend’s mission of improving their racial station in life only to find his journey has uncovered decoding secrets prior to World War II that could topple the American President.

It’s the year 2005.

Chris and Alice Marks attend a funeral of a 90-year-old black man – Eddie Lincoln – who has left them his meager effects in his handwritten will. Since they had never met the deceased, they’re puzzles. They know he was a friend with their father, Naval Commander Lee Marks, but that was back before World War II.

The story returns via flashback to the time when Eddie just graduated from college and planning to teach school and raise a family in a small town in South Carolina, “just like all his ancestors before him had done.” His Northern-born friend, Jaz, from college, insists Eddie join him in his passionate goal – improving the station of his race in pre-Civil Rights Movement America. He sees it coming and wants Eddie to go where they can make a name for themselves to lift the image of the black man.

It is only after the brutal murder of Jaz by the Ku Klux Klan that Eddie wrestles with a major decision: to stay home with his plans for a peaceful small time and small-town life – or — pursue and fulfill Jaz’s mission which is broader in scope and lesser in security. He decides to take the mission so important to his friend. He’s uncertain where he’s going or how he’ll get there, but he’s confident he’ll know it when he sees it.

In that pursuit, and as a civilian clerk in the U.S. Army, Eddie is discovered to have exceptional abilities in math which can be used in the Army’s secret Signal Corps – decoding Japanese messages leading up to World War II. The “Magic” program continues to develop, and Eddie is a key player in its evolution that leads to beforehand knowledge of the bombing of Pearl Harbor.

Eddie sees this expertise as a pathway to accomplish the now dual goal of his friend, Jaz, and himself. Along the way he is confronted with the Antagonist, Colonel Rufus Fall who only uses Eddie for the benefit of Fall’s own mission, to become wealthy beyond belief by using the decoding secrets to create that wealth. And Fall will destroy or kill anyone in his way.

Also, along the way, Eddie becomes romantically involved with Mollie, a white woman who likewise becomes entangled in the decisions and conflicts Eddie encounters at the highest levels of government, including the White House.

Finally, Eddie is again put to a major decision: revealing his knowledge prior to December 7, 1941, of the imminent Japanese attack or Pearl Harbor – or — remaining silent so as to allow President Roosevelt to use the event to motivate Americans to enter into an unwanted war then raging in Europe.

The main story is interrupted from time to time by the fast forwards to the thoughts and activities of Chris and Alice Marks in more current times. The ending of the movie has a twist also that resolves into knowledge that Eddie’s journey was successful.

[Edward Gadrix]

Edward Gadrix and I agree.

[Edward Gadrix]

I’m Eddie Gadrix from the ATL. I’ve written 1 feature, 1 1-hour TV pilot, 1 short, and I have 2 features in progress. I hope to strengthen my writing through this course.

[Edward Gadrix]

Edward Gadrix – ASSIGNMENT MY VILLIAN HAS A PLAN

To create your Villain’s plan, answer these four questions:

What is the end goal?

The end goal for my Villain is to create and build an army within the Army. The goal is to identify current U.S. Army personnel who are sympathetic to “right-wing” political thought and who are willing to take the next step to participate in a military coup and take over of the government when the right political leader gives the word.

How can the Villain accomplish that in a devious way?

He has organized a “Hollywood Canteen” type of venue to entertain military personnel off bases in order to identify the right subjects for this “sub rosa” Arma.

How can they cover it up?

They give the appearance of being in the best interest of supporting our military soldiers through free dances and entertainment events. These events include the sex trafficking of Asian sex slaves.

Sequence it to make it as intriguing as possible.

A. A member of the dance band who was a part of the mission of the Villain is brutally murdered creating the need for a replacement musician who has demonstrated “right-wing” political tendencies. My Hero fits the description.

B. Take advantage of the divorced relationship (with my protagonist/Hero wanting to get back with his ex-wife. The protagonist Is lured into a sexual encounter with a sex slave.

C. Entangle the ex-wife and children into the scheme so that my Hero has much ot hide if he is to keep the love of his life.

D. My Hero wanders deeper into the plot he initially thinks is sex trafficking only to learn it has to do with the military overthrow of the U.S. Government.

E. During the revelation of the scheme, my Hero is intrigued with the sex slave with whom he’s been engaged, and it establishes a conflict with my Hero as to his goal of returning to his marriage vs his new relationship.

F. All of the “good people” on my Hero’s side eventually encounter the showdown with the Villain and the devious plan. Some live; some die.

[Edward Gadrix]

Eddie Gadrix Suwtacking

Viewing the two thrillers as assignments taught me how to better define a scene through structure and layers of mystery, intrigue, and suspense. Sometimes one seemed to overlay with one of the others, but the exercise was still useful. I had never seen Lambs and really appreciated the ending as I (along with Kenneth Lonergan) believe all stories don’t have to completely resolve in the positive. Hannibal is free to do his thing!!

[Edward Gadrix]

Edward Gadrix

My Hero’s world is an odd group of veterans who have a band to entertain troops off base. This group consists of former American Legionnaires who now have no connection to that organization. Why?

Hero: The mystery of my Hero is he has split with his former wife, but would like to get back with her. He has flaws that if revealed make it difficult for that reunion to take place.

The suspense of my Hero is that he is a snoop and gets in the way of his own best interest.

The intrigue of my Hero is he’s forceful and feels he can put his life back together.

The mystery of my Villain is that he is a high-ranking member of the U.S. Intelligence community who is involved with lowly band members. Why?

The Suspense of my Villain is that he seems to be involved with my Hero’s involvement with the group

The Intrigue of my Villain is he has a past he continues to try and hide.

I have learned that I am far from being clear on my thriller/story and the depth of my characters. But that lack of knowledge forms the foundation for me to continue to develop the story of both.

[Edward Gadrix]

Edward Gadrix’s Big M.I.S.

What I learned in this assignment is to conceptualize the conventions of my thriller/story. I now need to refine those conventions.

Logline:

A high school band director joins a military veteran’s band to craft his interest in march music, but finds he has step into an international scheme of sex trafficking and a “right wing” plot to overthrow the U.S. government.

What are the conventions of your story?

Unwitting
but Resourceful Hero:

My protagonist is an educated, but naive, high school music `teacher, but he is cleaver enough to stay one step ahead of his students.

Dangerous Villain:

My protagonist will meet up with the director of a military operation who is a former KGB operative – and deadly.

High Stakes:

My protagonist will find his life and the lives of his family are at stake as he becomes embroiled into the international scheme.

Life and Death situations:

When my protagonist learns more of what he stepped into, there are attempts made to destroy both him and his family.

This story is thrilling because it is relevant to what is going on in America as we speak.

Big
Mystery: What is the main mystery of your story that will keep us
wondering throughout the story?

Why are so many military people coming and going with a military band when they have nothing to do with music or the group?

Big
Intrigue: What is the covert, clandestine, underhanded plot that will live
under the surface for most of the movie?
The
use of sex to attract both the military and my protagonist further
involves them in this international plot to overthrow the government.

Big
Suspense: What is the main danger to your Hero that will continue to
escalate throughout the script?
As
my protagonist learns more about the scheme, the threat on his life
accordingly increases.

[Edward Gadrix]

Transsiberian (2008)

The Unwitting but Resourceful Hero consists of two characters: Roy (Woody Harrelson) and Jesse (Emily Mortimer) attend a church conference in Russia and decide to tale the Trans-Siberian railroad across the country to complete their “once-in-a-lifetime.”

The Dangerous Villain is initially thought to be “The Spaniard” Carlos (Edwardo Noriega), but the twist at the end reveals the Russian drug detective Grinko (Ben Kingsley) to be the villain and who meets all the conventions for a thriller.

The High stakes are Jesse’s innocence or guilt as a murderer of Carlos, or her merely defending herself against his sexual advances. In the end, both her life and that of Roy’s are at stake in this drug drama.

The Life and death situations include Carlos attempting to rape Jesse, then her near fall from the train, and at the end the defense of Roy and Jesse against the drug cartel.

This movie is thrilling because if owe has ever traveled on trains in any of the countries of the former Soviet Union (and I have) they will identify with the many characters and events that ride these mysterious trains.

The Big Mystery is why is Carlos and Abby (Kate Mara) so friendly to Roy and Jesse, and what is the significance of the dolls Carlos carries with him.

The Big Intrigue is the situation with Grinko’s pursuit of Roy and Jesse as new friends on the train..

The Big Suspense is how is Jesse going to disentangle herself from the situation where she has killed Carlos without Roy and the police knowing about it. Moreover, how are they going to get out of the situation with the drug cartel?

What I learned doing this assignment is that I can better identify the necessary conventions of a thriller.

• This reply was modified 3 years, 6 months ago by  Edward Gadrix.

[Edward Gadrix]

I agree to the aforementioned terms in the agreement.

[Edward Gadrix]

Hi: I’m Eddie Gadrix, from Hotlanta. i’ve written 1 feature, 1 hour-long TV pilot, 1-short, and adapted a stage play for a SAG film that was shot this year (pandemic notwithstanding) and is in post-production. My original projects have been action/adventure, and I want to tackle the thriller genre. Moreover, it may punch up my other material.