PLAYS &
SCREENPLAYS
SCREENPLAY
Dirty Hands
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Jon McCann, a troubled young and very idealistic police detective, together with his partner, John "Moose" Mukowski, pursue the madman killing young girls by crucifixion. Tormented by memories of the death of his childhood love and the priest who counseled him as a boy, all evidence points to Jon himself as the psychopathic killer.
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SCREENPLAY
Only The Dead (Know the End of War)
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The 19th century saw the births, the very painful births, of both the Mexican and Texas Republics. The origin of both came at the price of a treasure of blood spilled, losses suffered and dreams crushed. In the case of Mexico, it also involved deceit, subterfuge and a woeful amount of treachery. In the case of the latter, it entailed a sanguinary war and mass summary executions by the powerful Mexican army.
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This is the story of three families, two Mexican and one Texan, their struggles against savage Indians, between staunch idealists and brutal cynics and the societies that engendered them. It also makes plain the perils of a rigidly hierarchical social system and the Scots-Irish bounty of individual initiative that propelled the westward expansion of the United States.
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It further chronicles the necessary compromises and heartbreaking sacrifices that all of these developments—in individuals and whole societies—unfailingly entail.
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PLAY
Don't Let The Nightmares Keep You From Dreamin'
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Set in 1963 somewhere in the deep south, Don’t Let The Nightmares Keep You From Dreamin’ is the story of two families, one black, one white in the turbulent years of the civil rights movement.
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It occurs in a town torn apart by the integration of the schools. Each family has a history that makes reconciliation within it and with society at large a struggle of epic proportions.
What they share is the pain, the glory, the disasters and triumphs of their common humanity.
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Perfect. I wouldn't change a word of it!
~ Szari Bourque
PLAY
The Cosmological Constant
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Are we destined to live two by two, as Thorton Wilder states? Or are we doomed to live forever isolated as “you are you and I am I”? Or…are we somehow fated to both?
In a trip back to the ranch of his youth, Jordan Mann eagerly explores this apparent contradiction as he observes (and unwillingly becomes a part of) the dynamics of his wonderfully eccentric family.
It is Thanksgiving Day, and the family gathers from far and wide for the event. But there is another possible ceremony in the offing. Mary Lucille, the endearingly idealistic daughter of the tribe must decide her future. Will she marry Ben, the grounded ranch hand? Or will she decide on a religious vocation? Tentative preparations are made as the family waits on tenterhooks.
Along the way toward her final decision we are introduced to the family: Geegee, the matriarch, after a stroke confined to a one-word vocabulary: “Three”; Aunt Tiny, the glue that holds the family together; her daughter, Connie; maiden Aunt Tec with her skewed vision of the universe; irreverent Uncle Harrison; Mary Kathryn, Mary Lucille’s down-to-earth sister; and Mr. Hawkins, the indefatigable ranch foreman, stopped only by his unexpressed feeling for Geegee.
Where it will end is the stuff that dreams are made on.
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