BISCAYNE BAY

This is my favorite script, and I feel no shame picking favorites. But, it did not start out as a favorite.

In my first semester at film school, in my very first screenwriting class, we were asked to pick whether we wanted to write a 1-hour TV pilot or a feature. Since my brain equates features with novels, and I had this one idea about rum-running that wouldn’t leave me alone, I chose a TV pilot. This was the first time I went through extensive outlining and workshopping with my writing. It was also the first time I showed an unfinished draft of anything to anyone (yes, it was super uncomfortable but necessary).

For five months, I worked on Biscayne Bay, fleshing out characters, and history, and overthinking my word choice. I got to do table reads and hear my characters come to life. But I was more annoyed than anything with the script because, while I liked it, I wasn’t in love with it. It was missing a punch. My professor agreed and, most likely sensing my panic due to the pending deadline, asked, “Have you seen The Godfather?” I had not. And he told me not to write anything new for Biscayne Bay, watch The Godfather, and get back to him.

So, I went home, didn’t touch my script, and watched The Godfather. The next class, I had a new idea for act five and pitched it, and it was the punch the script needed. A lot of inspiration for Biscayne Bay was pulled from Peaky Blinders to the degree that I still pitch it to people as Peaky Blinders on the beach, but the inspiration for act five can only be credited to The Godfather and my professor’s very apt recommendation.

Biscayne Bay has gone on to place in several competitions, including:

• The Los Angeles International Screenplay Awards
• Final Draft’s Big Break Competition
• The Big Apple Film Festival