Screenwriter

Screenplays

“WATER MOMS”

(comedy FULL-LENGTH FEATURE)
AVAILABLE FOR production

 

 

LOGLINE
When a new mom in town pulls a group of parental misfits together to help hydrate and encourage an underdog high school marching band, it results in watery warfare after a jealous rival tries to sabatage the band in order to become “Water Mom of the Year.”

 SYNOPSIS

GRACE ALLEN (42) is a small town mom who needs to feel relevant again. After the death of her husband (who was devoured by a shark after he thought it was a good idea to feed it milk bones), Grace and her 14-year-old daughter RUBY relocate to the community of Lakeshore. Ruby joins the unenthusiastic high school band. But during Ruby’s first down-home country parade at her new school, Grace discovers that the band has no parental support. The kids are dying of thirst and sweating to death. An already experienced Water Mom, Grace starts a new Water Mom’s Club at Lakeshore, much to the chagrin of Lakeshore High’s biggest rival mom, MIRANDA MOODY (35). 

Miranda is a Middle Heights Academy mom, determined to take home the “Water Mom of the Year” trophy. But she feels threatened by Grace and all Grace has done to help Lakeshore become the best high school band in the area.

To nab the trophy, Miranda tries to sabotage Lakeshore High from qualifying for the biggest parade of all, The Sherburne Pageant of the Bands. She sneaks vodka into the water cooler, runs like an idiot savant through the band’s number during judging (this is a no-no), and steals the drumline’s sticks, all in an effort to make sure Lakeshore High doesn’t qualify. But Grace Allen won’t have it. To save them during the biggest competition and parade of the year, Grace goes back into her past and pulls out the karaoke champion in her. Her song, coupled with the band’s best playing, gives the crowd something to get excited about. But will it save the band – and rip the “Water Mom of The Year” trophy out of Miranda’s hands?

 

 

“DAWDY PUGG -KILLER REPORTER”

(dramedy PILOT 56-minutes)
AVAILABLE FOR production

 

LOGLINE
A thrill-seeking TV reporter turned tenacious vigilante finds herself slying the bad guys at night, only to turn around and cover the deaths with her own twist, live on TV the next day.

 SYNOPSIS

DAWDY PUGG (30) is on her way to Miami Beach for the best reporting job ever. But thanks to a few ignorant thugs who think she knows a woman named Frieda Friday, Dawdy ends up kidnapped, drugged, and framed for Frieda Friday’s murder.

It’s not such a bad place to be, considering she caught one of the thugs threatening her on tape, and that tape can earn her another Emmy for “on-the-front-lines” reporting. But when she accidentally kills one of her kidnappers, everything goes south. Dawdy ends up in jail accused of not just one murder, but two. 

Now she’s in trouble.

Behind bars, Dawdy meets her murderous mentor, BEATRICE BICE (65). Beatrice teaches Dawdy the ways of a hands-off murderess. Without ever pulling the trigger or slashing a single throat, Beatrice shares with Dawdy dozens of ways to kill the bad guys by staging the killings as accidents.

“The advantage you have is that camera,” Beatrice tells Dawdy. “You can tell the world aaaanything you want, and they’ll believe you.”

Armed with this knowledge, Dawdy makes her way back to the newsroom and onto the streets of Doverling, taking out the menaces of the world, one by one. 

“STICKS”

dramedy pilot 25-minutes
IN post-production

 

 

LOGLINE
A secrets and scandals writer stuck in the sticks of a redneck town turns to a celebrity drug dealer for career advice in order to keep her own secrets from being exposed.

 

SYNOPSIS
RICKY RICHMOND (45), a seemingly prim and proper wife and mother, yearns to escape the redneck town she’s trapped in to chase big time dreams as a novelist. If she had her way, she would co-write a book and go on tour with the famous mystery writer, Peter Searle, who intentionally hides his face on his books and at signings as part of his “mysterious” persona. But in order to follow her passion and escape the sticks, she’s got to keep a shameful secret under wraps; a secret that is about to cost her $60 thousand dollars.

Enter celebrity drug dealer, MAC FISHER (60). Many in the community are fascinated with the scholarly drug ringleader because he’s been able to elude authorities for so long. But when District Attorney CLARK RICHMOND (52) gets to the root of his drug ring and busts it up, he puts Mac Fisher behind bars.

Did we mention that Clark is Ricky’s husband? Yeah. It’s a problem.

“SAVING ATLAS”

(dramA FULL-LENGTH FEATURE)
AVAILABLE FOR production

 

 

LOGLINE
After the mercy killing of his grandmother, a frightened young black man kidnaps a highly emotional white woman to drive him to freedom. The culture clash in the car will change their lives in ways neither could have ever thought possible.

 SYNOPSIS PAIGE WARD (37) is on the brink of an emotional melt down. Her daughter is an addict, her marriage is falling apart, and she can’t stand what her life has become. Little does she know that the night she decides to leave it all behind is the same night she is held at gunpoint and kidnapped by an equally emotional black man. He threatens to shoot her if she doesn’t drive.

Surprisingly, she isn’t frightened. Where most would cower in fear, Paige explodes with anger, instead. She has already been pushed to the brink, and some random guy with a gun isn’t going to tell her what to do.

Her actions take VICTOR ATLAS (28) off guard. He’s the stereotypical black guy with a gun, isn’t he? Why wouldn’t she be afraid of him? Hiding his own fear, he aggressively threatens to shoot her if she doesn’t put the car into drive. This time his threat works, and she complies.

Meantime, down the road in a rundown neighborhood, Detective MARTIN WARD (40) a police detective and Paige’s overworked husband, stands over the dead body of an elderly woman. He believes ex-con TREVOR ATLAS (32) is responsible for the shooting death of his grandmother. But Trevor’s wife says Victor did it. Either way, two brothers are on the run in opposite directions. Martin and a team leave the scene to pursue Victor, while a second team pursues Trevor. Both men have been pinged via their cell phones. During the search, Martin learns that Paige’s cell phone is in the same location as Victor’s. But he has no idea why.

As Martin continues the manhunt to find Victor and bring Paige home safely, Paige struggles to understand why Victor is in so much pain. At the same time, Victor quietly realizes that she isn’t the privileged white woman he thought she was. She’s also experienced death and tragedy. Their skin color may be different, but the pain they’ve endured is the same. Despite this realization, their emotions and cultures still clash. At one point Paige sees an opportunity to call for help on her cell phone. This enrages Victor, and he smashes the car window and throws both of their phones out. 

Now Martin has no idea where they are.

As Victor’s rage ebbs and flows, so does Paige’s empathy toward him. At one point, they find a moment that is without anger or judgment. But the moment comes to a screeching halt when a deer jumps out of nowhere, forcing the car off the road and into a lake.

The car begins to sink quickly.

Paige is stuck in the vehicle, trapped by her jammed seatbelt. Victor is not. He looks at her one last time, and escapes out the back window before the car fills with water.

It is in this moment that two completely different people will make decisions that will change the trajectory of their lives, and the lives of those around them, forever. 

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