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Era

1940's-1970's

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Genre

Drama, Period Drama

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Logline

During the Civil Rights Movement, Byron Middleton gets a job sorting mail for MLK, where he sees all of the incoming threats. This story of dedication and survival between Byron's past and 1977, after MLK's last words, where Byron's being deposed by the US Government.

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Strengths:

There's so much that's working tremendously well here. In general, the world feels well-realized and these characters feel seamlessly drawn into it. We believe these events, not just because much of the story is real, but because of the detail with which it's depicted. Byron's a tremendously sympathetic character - he's a normal guy in the midst of extraordinary circumstances. His relationship with MLK is one of the most compelling elements of the script. It's nuanced, full of genuine feeling and a specific sense of humor. There have been so many competing depictions of MLK in the last twenty years of film. This script gives us enough to push Byron along on his journey, and stays focused on that. The writer is also keenly aware of how to play with structure, how to deploy flashback, how to continue to drive a narrative forward while including elements from the past. One of the more interesting parts of this is the way that James Earl Ray is depicted - complicated, traumatized, and yet not forgivable in any particular sense. Again, the script eschews an overly sinister portrayal of him because that really isn't its focus. The twist at the end is probably something that will be debated until production, but this particular reader thought it was well-executed. It's simple in its optimism, and respectful.

 

Prospects:

There's certainly something here. The read itself is an engaging take on the MLK story, one that gives us a window into it that we haven't seen. Whether Byron is real or not doesn't even matter, because the specificity of this world and the interesting role that he has within MLK's life is interesting enough as fiction. With that said, there have been a lot of movies about MLK. The ending is certainly a bold step, but these are historical events that we largely know. All the more reason why it's important that we keep going as deep as possible with our relatable characters. One could see this landing at a certain number of production companies, maybe talent-driven ones or even companies like Imagine that love to do historical work. It's not tremendously expensive, but it's period, which can be tricky commercially, so expect pushback. More than likely this would need serious indie financing or studio/streamer money to get made. That's totally fine, there are so many companies that could get this across the finish line.

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Logline:

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When Martin Luther King’s former assistant testifies for the Senate Select Committee on Intelligence Activities to reform the techniques of the FBI and CIA in 1975, important behind-the scenes moments are revealed about a potential conspiracy that led to the assassination by James Earl Ray.

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Strengths:

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With strong characters and relationships, this period drama explores important issues about intolerance, racism, and civil rights. BYRON is an admirable lead character whose close relationship with MLK offers a unique “behind-the scenes” look at the events that led up to MLK’s assassination. The relationship between BYRON and his wife MARIE is engaging and audiences would root for them amidst the challenges they face. Meanwhile, it would be compelling to hear MLK’s famous speeches while depicting contrasting images. For example, it is haunting to see the contrasting activities of JAMES EARL RAY and BYRON leading up to MLK’s assassination while MLK gives his last speech at Mason Temple Church. The piece would also expose some surprising information about J. EDGAR HOOVER’s part in ordering agents to spy on MLK, undercutting MLK’s credibility in the media and enlisting the help from the mafia. Other evidence of a conspiracy by the Memphis Police to reduce MLK’s security detail at a strategic time is dramatic. Additionally, it is sobering that many of the issues MLK fought for back in 1967 (such as equal administration of justice, applied in equal measure), are still issues being fought for today. 

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First and foremost, the screenplay is based around an imaginative premise and a compelling ‘What if’, which also examines Martin Luther King’s relationships with the people closest to him. This alternative history approach is successful in that it enables the reader to walk in our protagonist’s shoes as he rushes to save King’s life on that fateful day. The material is clearly well researched and rich in period detail with some excellent dialogue to boot. Equally drawn are the scenes of the Klan, which terrifyingly suck the reader right into the horror and hatred of the time period. But it is the revisionist storyline, which clearly offers a great deal of appeal here, and shows lots of potential as a unique project examining America’s racial divide.

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In some respects the premise draws a comparison to the recent limited series 11.22.63 in which our hero tried through a time travel loop to save the life of JFK. Such premises are fascinating because they contain within them the curiosity to know how different the world would have been had these cultural giants lived. Such is the case here too and prospects are ultimately strong for this material. 

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Marie and Byron are a very lovable couple together. Their shared childhood trauma binds them in a way that makes their adult love richer and more evocative. Though their relationship plays second fiddle to Martin Luther King himself, they provide a more accessible and grounded point of view on his Civil Rights campaign. The plot tends to move well as the timeline leaps around across decades and recognizable historical events, seamlessly blurring fiction with nonfiction to set up a surprising ending. James Earl Ray's parallel storyline does a nice job of adding an undercurrent of tension and dread as it inches closer to the events of the flash-forward teaser. His mental illness meets a disturbing motivation in Wallace's openly racist presidential campaign -- the echoes of which are sure to feel all too relevant once again amidst recent American politics. Against such despair, Martin Luther King stands as a symbol of hope and strength with his voiceover speeches capturing some of the most powerful, emotional sequences of the screenplay. The third act's main event lands with surprise despite being broadcast in the title, but the writer is smart to undermine even that development with a more tragic reality.

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SAVING MLK has merit in today's political climate as a reminder of the self-sacrifices made for the civil rights that increasingly feel on the table amidst the rise of far-right ideologies.  

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The script does a really evocative job in its rendering of Byron and Marie’s romance. There’s a tenderness and warmth afforded to their relationship (Especially in some of the script’s early scenes, where Byron and Marie seek Dr. King’s blessing and have their wedding) that really stands out on the page. The script feels as if it does an especially good job when it depicts the “everyday” of its characters’ lives during these time periods; even when the story trains its focus on assassin James Earl Ray, it delivers snippets of his biography that manage to feel specifically drawn and also disconcerting. There’s a richness to the characters — Dr. King himself, of course, receives a portrayal that conveys both his humanity and larger-than-life stature. Some of the later pages of “SAVING MLK” — in the lead-up to what will be Dr. King’s assassination — are laden with stomach-turning tension and unease. The script conveys the racist threat of the era — like an early grotesque scene portraying a Klansman attack — vividly.

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As a work of historical fiction or a dramatic telling of alternate history, the script ties together some real events that gives it a real sense of authenticity despite what the audience already knows about the tragic truth regarding MLK's fate, which is not something that's easy to achieve. The suspicions about and even the hard truths regarding the FBI's investigations into MLK are put on full display here which may appeal to viewers that have blamed the agency for his assassination in one way or another. The dialogue rings true for the characters, especially those directly in Martin Luther King's circle like Byron and Marie. As two of the protagonists, the audience will no doubt root for those characters to make it despite the increase in threats, and Byron's story is ultimately one of heroism. Though he's fictionalized, he does represent any number of men forced to choose between running from their past or running towards their future while dealing with the harder parts of life. The various locations work well for the plot and show just how ambitious and hardworking MLK was and how intent on stopping him his enemies were as well. The quotes of MLK are strategically applied for dramatic effect while reminding viewers that the lessons he taught are still vital today, all these years later, despite what progress has been made.

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There could be a path from script to screen which could be through the hands of a producer who has inroads with studios' Originals Division, such as Effie Brown, Topic, Pastel, MACRO, Westbrook, or Participant Media, however, the lead actors and director will be critical for the pitch process.

 

 

 

 

 

 

 

 

 

HIGHLIGHTED STRENGTH DETAILS SAVING MLK features effective moments of intense suspense and dramatic action, much high drama and potent, often gut wrenching emotional beats. There are moments of occasional humor, usually husband and wife / Mars and Venus type wit. These precious moments of smile inducing comedy allow viewers a brief respite from the darker events that will return with a vengeance to the story.

 

The basic story is sophisticated and nuanced; the details and specifics are likewise intricate and complex. Supporting stories are expertly woven into the central conflict, offering contrast and context. Pace is appropriate for the genre as well as the specific subject; there are no unwanted lulls as the various stories unfold (though see below). Pauses are purposeful, and carry emotional weight. Even though we are well aware of what takes place, the tension and suspense is palpable; this is due to the skill with which you have carefully written each moment of the murder sequence.

 

Other scenes later on in the story are equally well conceived and expertly written; there is kind of a claustrophobic feel to the story, as if we have been swept along with Byron and we’re along for the ride whether we want to be or not.The inevitable careens ahead, or does it? There are multiple opportunities to illustrate interesting and germane imagery throughout the script, and the writer takes good advantage of these! Of particular note are sequences of the brothers singing, and the horrifying invasion of the celebration by the KKK.

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The characters are spot on! Layered, detailed, just as we might imagine these larger than life folks were in real life.

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SAVING MLK

 

D r a m a F e a t u r e  1 0 6 P a g e s

 

by David M. O'Neill

 

Entry Type: Standard Entry with Feedback (WeScreenplay Diverse Voices Lab (Fall 2023)

Synopsis Included:

July 25th, 2023 Analyst: MP47

 

 

T O P  1 %  

C O N C E P T

 

T O P  2 %

P L O T

 

T O P  2 %

S T R U C T U R E

 

HIGHLIGHTED STRENGTH DETAILS There are so many things working well in this script, but one thing that really stood out is your ability to weave multiple plot lines and characters together in a way that keeps us invested and focused. The James Earl Ray plot line highlights emotional moments from his past (such as the death of his sister). We get a lot of ebb and flow for Byron and Marie with their wedding and pregnancy. And this is well balanced with the drier story of J. Edgar Hoover and his partner. Hoover really emerges as the villain of the tale. There's a moment on page 79 that I absolutely loved in terms of message: Woman Voter's dialogue, "He's the only man in the country not afraid to say what he thinks," highlighting the similarities between George Wallace and Trump and his movement, which speaks volumes in terms of how this period in American history sadly relates to our own. Same praise for MLK's speech at the bottom of page 82, "a nation divided against itself." I also think Byron has important thematic dialogue on page 88 about being pulled out of one's "terrified self" to live. One place where you bring everything together in a great way is at the end when we get MLK, Byron, and Marie's stories simultaneously. The ending made me cry. I think the concept of having a person save MLK is incredibly strong (as highlighted here in the concept section).

 

Overall though, extremely well done to you here - outstanding work. This is a story that deserves to be heard.

 

FINAL THOUGHTS: My two larger notes about this piece are first that I think the concept is incredible - LOVE it. The themes, conflict, and message of the story as well as the refashioning of history are all on point. This was a very strong submission and I think you're in great shape. Excellent work. You moved me and made me think, and I'm honored to have experienced the world through this lens. Take care, and I wish you all the best as you continue on your writing journey.

 

V I R T U A L L Y  P E R F E C T                            E X C E L L E N T

 

9 8 t h - 1 0 0 t h  Percentile                                 C h a r a c t e r s

 

P l o t                                                                      93rd P e r c e n t I l e

 

9 8 t h  P e r c e n t i l e

 

C o n c e p t   

 

9 9 t h   P e r c e n t i l e

 

S t r u c t u r e   

 

9 8 t h  P e r c e n t i l e

 

D i a l o g u e

 

9 8 t h  P e r c e n t i l e

 

O v e r a l l   I m p r e s s i o n

 

9 8 t h  P e r c e n t i l e