FADE IN: Stranger in Paradise Screenplay (Series)

Historical Drama | Thriller | Crime | Supernatural

NOTE: I’ve written ten feature screenplays and multiple episodes of a series. A number submitted for competition did well, most in first draft format. I think each and every one is worthy of further development. If you are in the business and would like more info on what I have posted (and more!) feel free to reach out.

Logline:
Detroit in 1928 is the epicenter of bootleg booze controlled by Jewish gangsters, a corrupt political system, a vibrant African-American community, and an evil straight out of the Old Testament.

Feedback:
As Larry’s character says in Throw Mama From the Train “a writer writes” and while my discipline sometimes falters, I try to stick to that.

Yes, it’s self-serving, but if you’re a writer you know that means spending tons of time questioning your talent. Getting a response like this from a reader was nice.

“Stranger in Paradise” is a richly detailed pilot with a fantastically painted backdrop, world, and perspective. The period and setting are both highly singular, and together, create a highly unified tone and voice that this pilot carries throughout its 60-some pages. Additionally, the action paragraphs, and visual descriptions found within those action paragraphs, are incredibly nuanced and detailed, and work wonderfully together to create a fully-developed world for these characters to act in.

Another real highlight of this piece is the dialogue. Much like the worldbuilding, which works in tandem perfectly with the dialogue, the dialogue is subtle, and nuanced, and contributes to an overall tonality that is well-developed and well-executed. Character dialogue is very well thought out, and the voices of many of the characters are very strong and singular, and always advance the story further while avoiding being on the nose.

Beyond characterization and plot, as mentioned, one element of this script that works really well is the tonality of the piece. Overall, throughout the majority of the pilot, the tone of the piece is not only extremely consistent but really engaging for a reader. It’s easy to feel transported into this world, and want to stay in this world for subsequent episodes, which is no easy feat.

Synopsis:
Culture, race, religion, booze, violence, sex, and the supernatural all bleed together in STRANGERS IN PARADISE set in prohibition Detroit, circa 1928.

At the heart of the series is WILLIAM DOHERTY, an idealistic cop struggling with a corrupt political system in a city where more illegal liquor enters than anywhere in the United States.

Atop the mountain of corruption is the notorious Purple Gang, led by ABE JACOBS and his ruthless band of bootleggers. They’re so ruthless that even Al Capone knows enough to keep a healthy distance from these Jewish mobsters.

In the heart of this boozy mix is Paradise Valley — a black-owned enclave second only in prominence to Harlem. It’s where the jazz flows as fast as the hooch. Where ROLAND “FINGERS” CARTER plays killer drums and his beautiful girlfriend NILA sells smokes. Where deals not only go down, but often go terribly wrong.

SGT. SAMUEL WASHINGTON comes from the streets of Paradise Valley. He was one of the first black cops on the force, but now he’s on the outs. And he just may be the only friend Bill Doherty has.

That’s because Bill has seen something beyond the sex, the crime and the booze. What Bill has seen isn’t an evil born of Detroit. It’s an evil that comes straight from the Old Testament. And it’s an evil that could change everything.

STRANGERS IN PARADISE is a sprawling series that examines the struggle between good and evil. From the housewife who smuggles for an Irish gang and the cop struggling with addiction, to the politician playing the system and the average Joe just trying to get by, it’s about black, white and all the shades in between.

Notes:
I’ve completed five one-hour episodes of STRANGERS IN PARADISE. With the major characters and situation established in the pilot, I believe it only gets better as the story unfolds.

Beyond the first five episodes, I have an arch established for season one and extensive notes on the remaining episodes. I also have two subsequent seasons roughly plotted out and a comprehensive bible covering all the major characters of season one and beyond.

I’ve also done extensive research on the history of era — everything from the gangs involved and prohibition-era Detroit, to the specific music of the time. Obviously, the characters and particular situation are fictitious, but I want it grounded in historical reality as much as possible.

While it’s often frowned upon to put specific music in spec scripts, I stumbled upon Howlin’ Wolf’s Evil (Is Going On) early in the writing process and it became something of a touchstone that I use it as a dramatic end to the pilot. I’ve set up subsequent episodes with a cold open and would love to use it during the opening credits, but that’s probably getting a bit ahead of myself.