This is a collection of the stories I’ve written (regardless of format – film, play, novel) – as well as some other scripts (from doco narrations etc). Most of these can be downloaded here in PDF format – except the novels which are on Amazon.
I’ll add more here as I manage to dig out more from the archives. And I may compile them all into a complete works file as well – but for now they’re just individual files. The dates given here represent the approximate time I was doing most of the work on the project ie. when it was really relevant to me, or when I first thought of it or were engaged in it. Many of scripts had a few tidy up and corrections after they were first done, hence the date on the script may be later, as I’ve tried to use the latest draft whenever I can.
Shows So Fair
2019 – novel
Set in Toowoomba in 1993, Shows So Fair follows Detective Jane Lockwood, newly promoted and newly arrived from Brisbane, as she navigates a conservative regional police force still reshaping itself after the Fitzgerald Inquiry. Intelligent, observant, and quietly determined, Jane must prove herself in a workplace marked by sexism, political alliances, and unspoken hierarchies of power.
When the body of Victoria Warwick, a seventeen‑year‑old schoolgirl, is found strangled on Rifle Range Road, Jane and her partner Detective Colin Turner are drawn into a disturbing investigation that exposes deep fault lines beneath the town’s respectable surface. Victoria, the daughter of wealthy religious developer Declan Warwick, lived a secret life defined by art, music, and emotional isolation. As the inquiry unfolds, a second murder — that of Rohan Elliot, an environmental activist and teacher — reveals a pattern that appears to implicate Warwick, whose development plans were being threatened.
As political pressure mounts, Jane is removed from the case at Warwick’s request, sidelined into clerical work while male colleagues pursue the investigation. Refusing to let the truth go, she continues her own quiet inquiry, following a trail of poetry, symbolism, and suppressed knowledge – and putting everything on the line to solve the case herself.
Shows So Fair explores how power, ideology, and gender shape whose voices are heard and whose truths are ignored. The novel examines repression — emotional, sexual, and moral — and how suppressed pain can erupt into violence when denied language or compassion. At its core, the story affirms the necessity of seeing clearly and bearing witness, even when doing so comes at personal cost.
Purchase the book (Amazon)
Female Planet
2018 – novel
In a future society shaped entirely by women after the disappearance of men, Jodie and Sal share a loving but imperfect partnership built on shared values, work, and quiet domestic intimacy. When Jodie becomes pregnant through advanced reproductive technology, the experience initially deepens their bond, but the physical and emotional demands of pregnancy begin to strain their relationship. As medical authorities discover that Jodie is carrying a male child, the pressure intensifies. The pregnancy becomes a political and ideological crisis, and fear fractures the couple’s trust. Unable to reconcile her beliefs with the implications of the child’s existence, Sal leaves, abandoning Jodie at the moment she most needs support. Isolated, detained, and stripped of agency, Jodie endures institutional control alone, clinging to her resolve to protect her unborn child. Confronted with the reality of what she has left behind — and the cost of ideological certainty — Sal returns, choosing love over fear. With the help of their mothers, the couple escapes and goes into hiding, determined to reclaim their relationship and bring their child into the world on their own terms.
Female Planet examines power, reproductive autonomy, and ideological extremism, questioning whether a society founded on liberation can become oppressive when it fears difference. It argues that compassion, consent, and love—rather than purity, control, or historical trauma—are the true measures of justice.
Purchase the novel here (Amazon)
Honeysuckle Way
2017 – feature film
Honeysuckle Way follows Amanda, a Year 12 student in suburban Brisbane whose life unravels when her mother’s new relationship erodes her safety at home. Emotionally neglected and dismissed, Amanda is sexually assaulted by her mother’s boyfriend, an experience she is unable to name or disclose without being disbelieved. When her mother rejects her account and prioritises the relationship, Amanda runs away. She drifts into homelessness in the inner city, surviving through squats, parks, and precarious relationships. She forms a volatile bond with Adam, a homeless young man trapped in addiction, whose presence offers fleeting comfort but ultimately deepens her vulnerability. As Amanda is repeatedly failed by institutions, authority figures, and adults who misuse trust, she becomes increasingly isolated and at risk. The disappearance of Adam leaves her utterly alone. Only when Amanda encounters Mary, a principled outreach worker who listens without judgement, does genuine care finally emerge. The story ends with the first credible possibility of safety, grounded in being believed.
Honeysuckle Way explores neglect, vulnerability, and the pathways into youth homelessness, showing how harm accumulates through everyday failures of care. It argues that survival often depends not on resilience alone, but on whether even one person chooses to act with integrity and compassion.
Watch the film (Youtube)
Download the screenplay (PDF)
Toby
2016 – short film
Toby follows a quiet afternoon in a suburban family home, where everyday routines mask an emotional disconnect. Trent, a father in his mid‑thirties, retreats into television and personal interests while his wife Sandrah manages the house and their three‑year‑old son, Toby, plays alone. When Toby repeatedly asks his father to play with him, Trent dismisses him, insisting he needs time to himself. Challenged by Sandrah, Trent withdraws further into his “man cave,” where objects from his childhood trigger fragmented memories of his own emotionally absent father. These recollections reveal a pattern of neglect that shaped Trent’s upbringing — not through cruelty, but through relentless unavailability. Confronted with the realisation that he is repeating the same behaviour with his own son, Trent is forced to choose between habit and change.
Toby explores intergenerational emotional neglect, masculine withdrawal, and the quiet ways harm is passed on without intent. At its core, the film asks whether awareness and small acts of presence can interrupt cycles that might otherwise define a child’s future.
Download the screenplay (PDF)
Beyond Our Shores
2014 – stage play
Beyond Our Shores is set in a small country town on the Western Darling Downs and follows the intersecting lives of a local family and a recently resettled Afghan refugee family. Qasim and Nujood Khayyar, with their traumatised son Shadar, arrive hoping to escape years of detention and begin a quiet, ordinary life. Instead, they encounter suspicion, bureaucratic obstruction, and casual hostility as they struggle to find housing, employment, and acceptance. Shadar, withdrawn and damaged by prolonged displacement, becomes increasingly isolated at school and in public spaces. Parallel to this, the Richards family debates responsibility, identity, and belonging, often justifying inaction through practicality or fear. As opportunities for help are repeatedly deferred or denied, Shadar’s suffering goes unnoticed until it ends in tragedy. Only afterwards do acts of empathy finally emerge. The play closes on the fragile possibility of connection, forcing the community to confront how ordinary indifference can become catastrophic.
Beyond Our Shores examines moral responsibility, bystander failure, and the human cost of prejudice embedded in everyday systems. It argues that harm is not just caused by open cruelty, but by delay, deflection, and the belief that responsibility lies somewhere else.
Download the play (PDF)
Human Interface Parser
2010 – feature film
Human Interface Parser is a fast‑paced sketch comedy film. Structured as a series of surreal, satirical vignettes, the script leaps between absurd interviews, parody talk shows, prehistoric “Histories” delivered by cavemen Ig and Og, and meta‑sketches that constantly undermine their own logic. Tthe film dismantles modern assumptions about sex, politics, religion, capitalism, feminism, art, and identity. Ig and Og’s “Histories” trace the evolution of thought from language and time to comedy, war, postmodernism, and political correctness, exposing the circular logic and contradictions embedded in human systems of belief.
Watch the film (Youtube)
Download the screenplay (PDF)
Rebecca’s Riot
2007 – short film
Rebecca’s Riot is set in suburban Brisbane on the night of the 1956 rock’n’roll riots and follows sixteen‑year‑old Rebecca Morris as she navigates strict parental control, emerging desire, and a longing to belong. Living in a tightly ordered household ruled by her authoritarian father, Rebecca is forbidden from attending a rock’n’roll concert that represents freedom, youth, and possibility. Encouraged by her more permissive friend Tania, Rebecca carefully engineers a deception to sneak out of the house and attend the concert. After overcoming delays and near discovery, she arrives at the stadium just in time to experience a brief, exhilarating moment of collective joy. That moment is quickly shattered as violence erupts between police and concert‑goers, plunging the night into chaos. Rebecca escapes physically unharmed but emotionally shaken. Outside the venue she discovers Tania with the boy she secretly hoped would notice her. She returns home unseen, changed by an experience that promised liberation but delivered disillusionment.
Rebecca’s Riot explores repression, generational fear, and the policing of independence under the guise of protection. The film contrasts moral panic with lived experience, revealing how authority and control can quietly wound long before any public “riot” begins.
Download the screenplay (PDF)
Hold Me Tight
2004 – short film
Hold Me Tight is set in the 1850s and follows Alan Cameron, an escaped convict fleeing across the Queensland bush after breaking free from a penal settlement in Moreton Bay. Physically weakened and increasingly desperate, Cameron moves through unfamiliar land, driven by hunger, memory, and the fragile hope of freedom. As he struggles to survive, he repeatedly encounters signs of another way of living: the quiet competence of two Aboriginal men, Talaipi and Dalngang, who track him with curiosity and compassion rather than hostility. They understand the land that Cameron is fighting against and ultimately choose to help him, carrying food to offer when he can no longer sustain himself. Cameron’s flight ends violently when he is discovered by a settler farmer and beaten, returned to custody, and brutally punished. The final images juxtapose colonial violence with Indigenous witness, revealing a world where mercy exists but is powerless against entrenched systems of domination. Cameron’s brief taste of freedom becomes a meditation on survival, dignity, and the cost of empire.
Hold Me Tight explores colonial brutality, survival, and the contrast between imposed authority and lived knowledge of the land. It reframes Indigenous presence as moral clarity and restraint, exposing how violence is normalised within systems that claim order and civilisation.
Watch the film (Youtube)
Download the screenplay (PDF)
The Sash
2003 – screenplay
The Sash traces the final days of Ned Kelly, from his armoured last stand at Glenrowan to his execution in Melbourne Gaol. As he awaits death, Ned reflects on the path that brought him there, fiercely rejecting the authority of a legal system he believes was designed to destroy him. Central to his inner conflict is the death of Sergeant Michael Kennedy at Stringybark Creek. Ned maintains the killing was an act of self‑defence, yet the screenplay reveals that the moment lingers with him: Kennedy’s fear, his plea, and Ned’s hesitation return in fragments of memory. Ned does not confess guilt, but he carries the human consequence of having taken a life. Outside the prison, public support surges as David Gaunson and others fight for a reprieve, only to be blocked by political calculation and class prejudice. On the morning of his execution, Ned meets death without renouncing his beliefs. The story closes by returning to his childhood, revealing the origin of the sash—a symbol of compassion that reframes Ned as neither monster nor martyr, but a man shaped by courage, conscience, and circumstance.
The Sash explores justice, class power, and moral complexity, challenging the divide between criminality and conscience in colonial Australia. Through the symbol of the sash, the story argues that identity is shaped not by verdicts or legend, but by acts of compassion, loyalty, and the social forces that frame a life.
Download the screenplay (PDF)
In My Image
2000 – feature film
Set in 1938 in the Mandated Territory of New Guinea, In My Image follows David Miller, a disillusioned former barrister turned anthropologist, grappling with the consequences of colonial interference, law, and belief. When a Gaindu man, T’Laupo, is charged with murder for killing another villager in accordance with traditional law, David is drawn back into the legal system he once rejected. As the trial unfolds, David challenges the imposition of Western law and Christianity on Indigenous culture, arguing that belief, morality, and justice are culturally constructed rather than universal. His closest relationship is with Jainantu, a former friend who has embraced Christianity and become a lay preacher, embodying the very transformation David resists. Despite David’s impassioned defence exposing the hypocrisy of colonial justice, T’Laupo is convicted and sentenced to death. In the final scene, Jainantu leads David to a sacred waterfall, offering compassion rather than argument. There, David recognises that, despite preaching acceptance and cultural relativism, he has been attempting to reshape others in his own image. The realisation leaves him humbled and changed.
In My Image interrogates colonial power, cultural relativism, and the imposition of Western law and religion on Indigenous societies. It asks whether justice can exist when one culture claims moral authority over another — and whether belief, law, and meaning ever exist independently of the people who create them.
Watch the film (Youtube)
Download the screenplay (PDF)
One’n’All
1998 – short stage play
One’n’All is a theatrical allegory that moves fluidly across time and place to examine how societies organise power, work, and care. Through a series of interconnected vignettes — from pre‑colonial Aboriginal life, to nineteenth‑century pastoral expansion and labour conflict, to utopian socialism in Paraguay, and finally to contemporary corporate Australia — the play traces recurring patterns of exploitation, idealism, and moral compromise. Characters reappear in different guises, suggesting that while cultures change, the underlying human tensions remain the same. Each episode reveals a struggle between collective wellbeing and individual self‑interest: land taken and defended, labour exploited and resisted, ideals enforced rather than lived, and modern economic rationalism justifying harm as “just business.” The play culminates in a contemporary vision of voluntary cooperation and generosity, proposing a fragile but hopeful alternative to systems built on coercion. Rather than offering a single solution, One’n’All invites the audience to recognise these patterns within themselves, and to consider whether a more humane way of living must begin at the level of individual choice.
One’n’All explores the tension between self‑interest and collective responsibility, questioning whether justice can ever be imposed without reproducing harm. Across history and ideology, it argues that genuine social change cannot be engineered by force, but must arise from voluntary empathy, shared care, and personal ethical commitment.
Download the play (PDF)
The Forest of Life
1989… – novel
In a future shaped by ecological collapse, Earth survives only through vast Organoprocessors, which manufacture food, and Rebreathers, which regulate air and weather. The natural world has vanished, except for the tightly sealed Wilderness Area, the last living forest on the planet, preserved under military control. Humanity’s survival depends on technologies created by the reclusive industrialist Douglas Orschlack, whose inventions saved billions of lives while simultaneously locking the world into permanent artificial dependency. Revered by some and despised by others, Orschlack has become both saviour and jailer of the human future.
Michelle, raised on the Moon in an ordered, fully artificial environment, moves to Earth seeking independence, meaning, and connection. She begins a relationship with Matthew, a brilliant but restless technician deeply critical of the systems that sustain civilisation. Their bond is intense and loving, but increasingly strained by opposing worldviews: Michelle desires stability, career progression, and the freedom to travel the world, while Matthew is consumed by the need to dismantle the structures he believes caused the Ecocide.
When Michelle believes she is pregnant, the prospect of parenthood forces them to confront responsibility, sacrifice, and the ethics of bringing new life into a damaged world. Though the pregnancy proves to be a false alarm, it exposes deep fractures in their relationship. Seeking clarity, they illegally enter the Wilderness Area, where they encounter real trees, birds, and living ecosystems for the first time. For Matthew, the forest confirms his belief that the world must be rebuilt from living systems rather than sustained by machines. For Michelle, the experience is awe‑inspiring but frightening — a fragile remnant that highlights how precarious the future truly is. The further they travel into the Wilderness Area the more real this becomes until they both face the same tragic consequence that humanity itself must deal with.
The Forest of Life examines whether humanity is truly alive when survival depends entirely on artificial systems, and what ethical cost comes with technological salvation. Through Matthew and Michelle’s relationship, the novel explores how love fractures under conflicting visions of responsibility, ambition, and the future in a damaged world. At its heart, the story asks whether hope lies in preserving control, or in risking everything to let life — and uncertainty — return.
Purchase the book (Amazon)
Just Passing Through
1989 – stage play
Set in Brisbane in the late 1980s, Just Passing Through follows Robert, a sensitive, intellectually restless young man visiting his older brother Simon and Simon’s flatmate George over several unsettled days. Officially, Robert is in the city to pursue film opportunities, but his stay exposes deeper tensions: artistic frustration, emotional loneliness, and unresolved questions about identity, intimacy, and belonging. As Robert moves between conversations with Simon, awkward interactions with George, and imagined encounters with Natalie, a woman he longs for but cannot reach, he struggles to reconcile his ideals with lived reality. His ambitions are repeatedly dismissed by cultural gatekeepers, while Simon’s confident embrace of a different life path unsettles him further. The visit culminates not in resolution, but in clarity: Robert recognises that his journey is ongoing, shaped by yearning rather than arrival. He leaves Brisbane unchanged on the surface, yet inwardly altered.
Just Passing Through explores artistic identity, emotional vulnerability, and the tension between certainty and experience in early adulthood. It examines how longing — for love, recognition, and meaning — can both sustain and destabilise a person who has not yet found a place to belong.
Download the play (PDF)
Some Obscure Comedy Show
1989 – comedy revue
Some Obscure Comedy Show is an anarchic stage‑based sketch comedy that uses absurdity, repetition, and meta‑theatrical play to interrogate authority, criticism, ideology, and the search for meaning. Framed loosely around a group of inept, apologetic “terrorists” who seize a theatre and take a bewildered audience member hostage, the show unfolds as a series of loosely connected sketches that continually undermine their own logic and purpose.
The sketches range from philosophical monologues and musical numbers to savage parodies of arts criticism, news media, religion, politics, masculinity, and cultural pretension. Recurring figures — including pompous critics, baffled philosophers, misguided gurus, ordinary men in quiet despair, and characters who openly comment on the structure and failure of the show itself — create a world where certainty collapses under scrutiny.
Download the script (PDF)
Tale of Two Men
1988 – stage play
A Tale of Two Men is set in Sydney in the early 1980s and centres on Elizabeth, a young woman navigating intimacy, expectation, and choice as she becomes involved with two very different men. Jack, a country man working temporarily in the city, and Arnold, an urban intellectual and aspiring writer. As Elizabeth spends time with both men, conversations around work, discipline, love, sex, and responsibility expose deep philosophical differences between them — and within her own desires. What begins as flirtation and social comedy gradually hardens into emotional confrontation that strips away illusion. Elizabeth ultimately rejects both men, recognising that neither truly sees her as a person rather than an idea. The play closes not with romantic resolution, but with emotional clarity, as all three characters confront the limits of their beliefs.
A Tale of Two Men explores masculinity, entitlement, and competing ideas of success, asking whether discipline, self‑expression, or emotional responsibility truly define a worthwhile life. It interrogates how men construct identity — and how women are often positioned as proving grounds for those constructions rather than equals within them.
Download play (PDF)