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    Groveland: A Screenplay
    Groveland: A Screenplay
    Groveland: A Screenplay
    Ebook136 pages1 hour

    Groveland: A Screenplay

    By Michael Newton

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    About this ebook

    In 1949 Florida police framed four black youths for the rape of a white woman, sparking violence strongly reminiscent of Rosewood in 1923. One innocent suspect was slain by a posse, the other three brutalized in jail and later convicted on perjured testimony, with two sentenced to death and one to life imprisonment. Civil rights pioneer Harry Moore led the defense, and thereby prompted his own death by bombing, with his wife, on Christmas Day 1951—a case that still remains officially unsolved.

    LanguageEnglish
    PublisherMichael Newton
    Release dateAug 18, 2011
    ISBN9781465850423
    Groveland: A Screenplay
    Author

    Michael Newton

    Michael Newton, PhD, held a doctorate in Counseling Psychology, was a certified Master Hypnotherapist, and was a member of the American Counseling Association. He was also on the faculty of higher educational institutions as a teacher while active in private practice in Los Angeles. Over many years, Dr. Newton developed his own intensive age regression techniques in order to effectively take hypnosis subjects beyond their past life memories to a more meaningful soul experience between lives. He is considered to be a pioneer in uncovering the mysteries about life after death through the use of spiritual hypnotic regression. He trained other advanced hypnotherapists in his techniques. Dr. Newton is the author of three best-selling books, Journey of Souls: Case Studies of Life Between Lives, Destiny of Souls: New Case Studies of Life Between Lives, and Life Between Lives: Hypnotherapy for Spiritual Regression. Dr. Newton has an international reputation as a spiritual regressionist who mapped out much of our life between lives experience. He appeared on numerous national radio and TV talk shows to explain our immortal life in the spirit world. For information about Life between lives Hypnotherapy (LBL) and how to arrange an LBL session please contact The Newton Institute for Life Between Lives Hypnotherapy at http://www.newtoninstitute.org

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      Book preview

      Groveland - Michael Newton

      Groveland: A Screenplay

      By Michael Newton

      Copyright 2011 Michael Newton

      Smashwords Edition

      Smashwords Edition, License Notes

      This ebook is licensed for your personal enjoyment only. This ebook may not be re-sold or given away to other people. If you would like to share this book with another person, please purchase an additional copy for each recipient. If you're reading this book and did not purchase it, or it was not purchased for your use only, then please return to Smashwords.com and purchase your own copy. Thank you for respecting the hard work of this author.

      FADE IN:

      EXT. RURAL GAS STATION – DAY

      The lonely station seems faded and lifeless in early morning sunshine. An old car pulls in and parks to one side, away from the gas pumps. EDDIE HAGGARD stumbles from the driver's seat and lurches toward the station on unsteady legs.

      SUPER: Lake County, Florida—July 16, 1949

      INT. GAS STATION

      The young ATTENDANT sits reading a magazine. Eddie passes by the smudged windows, peering inside, then enters, lunging to the counter. He is disheveled, with dried blood on his forehead from a scalp wound. The startled attendant drops his magazine and gapes at Eddie.

      EDDIE

      I need your telephone.

      ATTENDANT

      Jesus, buddy, what happened to you?

      EDDIE

      Niggers jumped me. Took my girl. I gotta call the sheriff.

      Horrified, the attendant lifts a telephone from its shelf below the counter and pushes it toward Eddie, who begins to dial

      EXT. GAS STATION – LATER

      A police car arrives with SIREN WAILING. DEPUTY GATES is driving, with SHERIFF ELLIS MCCLARY riding shotgun. Gates wears khaki, while McClary wears a business suit with his Stetson and boots. Mirrored sunglasses conceal his eyes.

      As the siren DIES and the officers exit their car, Eddie runs from the office to meet them, followed by the attendant.

      SHERIFF MCCLARY

      Which of you is Eddie Haggard?

      EDDIE

      That's me. The bastards jumped me and—

      SHERIFF MCCLARY

      Whoa, just give it to me slowly. On the phone you said—

      EDDIE

      Four niggers jumped me! Took my girl. Her name's—

      SHERIFF MCCLARY

      When'd all this happen, boy?

      Eddie consults his watch, before remembering he doesn't wear one.

      EDDIE

      Shit. It must've been 'round three o'clock, three-thirty.

      DEPUTY GATES

      (checking his own watch)

      That's more'n three hours ago.

      EDDIE

      That's why we need to hurry.

      SHERIFF MCCLARY

      Start from the beginning, son.

      EDDIE

      (frustrated, angry)

      We was out to a dance, comin' home, and my car died. These four niggers come along and say they'll help me push it, but they whupped on me instead and carried Nora off.

      SHERIFF MCCLARY

      Nora, being your girl.

      EDDIE

      That's what I'm telling you!

      SHERIFF MCCLARY

      Can you describe these boys who jumped you?

      EDDIE

      Niggers.

      DEPUTY GATES

      What about their car?

      EDDIE

      A '47 Studebaker. Maybe brown. Hell, I don't know.

      SHERIFF MCCLARY

      And where'd this happen?

      EDDIE

      Right about four miles from here, down Highway 10.

      DEPUTY GATES

      It took you three hours to walk four miles?

      EDDIE

      (nervous, shifty)

      Walk, hell. Them niggers knocked me out. Then, when I come around, it took a while to get my car started.

      Eddie points to his old coupe parked beside the gas station office. The sheriff simmers.

      SHERIFF MCCLARY

      (to Gates)

      Frank, get this on the air. We need to take a ride and see if we can find this ... what's her name?

      EDDIE

      Nora. Nora Tomlin.

      SHERIFF MCCLARY

      (to Eddie)

      Nora, right. You point the way, and we'll go see what we can see.

      EXT. RESTAURANT – DAY

      NORA TOMLIN emerges from the nearby woods and approaches the rundown rural cafe. Her face is bruised on one side, hair unkempt, one sleeve torn on her blouse. Her legs are covered with scratches.

      Noting the CLOSED sign in the restaurant's window, she sits on the front steps, watching the empty highway. An old pickup truck pulls into the parking lot, stops, and VANCE BARROW, the restaurant's owner, climbs out.

      VANCE

      Won't be open for another thirty minutes.

      NORA

      I ain't hungry.

      VANCE

      So, what brings you here?

      NORA

      I'm lookin' for my boyfriend.

      VANCE

      He supposed to meet you?

      NORA

      I don't guess he has an idea where I am.

      As he gets closer, Vance notes the bruises on her face.

      VANCE

      Are you all right, ma'am?

      NORA

      I just need to find my boyfriend.

      VANCE

      Where'd he be, then?

      NORA

      Groveland, I guess.

      Vance glances from the injured girl to his establishment and back again.

      VANCE

      All right, let's go. I'll take you.

      INT. VANCE'S PICKUP – MOVING

      Vance drives toward Groveland, casting worried glances at Nora while trying to watch the road.

      VANCE

      You want me to, I'll take you to the doctor.

      NORA

      No. I just need Eddie.

      VANCE

      He's your boyfriend?

      NORA

      Just find Eddie. Can you do that?

      VANCE

      Ma'am, I'm trying.

      Through the windshield, they see a police car approaching.

      I/E. SHERIFF'S CRUISER

      Deputy Gates has the wheel, with Sheriff McClary in the front passenger's seat. Eddie sits in back, avidly watching the road. His eyes narrow at sight of the pickup approaching, straining to identify its passengers.

      EDDIE

      That's Nora! Jesus, there she is!

      Gates turns on the cruiser's FLASHING LIGHTS and briefly cranks the SIREN, extending an arm through his window to flag down the pickup. Both cars stop on the highway, passengers unloading. Eddie struggles with the escape-proof rear doors.

      EDDIE

      Goddammit, let me out of here!

      Gates opens the door and Eddie rushes to meet Nora in the middle of the road. They embrace, both weeping, holding each other tightly. After a long moment, Eddie breaks the clinch and pulls Nora toward the highway shoulder farthest from the officers and Vance. Their urgent, whispered conversation is

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