CALL FOR SUBMISSIONS
Visit waxpoetryart.com to explore poetry
(including haiku
and spoken word),
visual art,
photography,
play,
and fiction
submission opportunities.
Experience the thrills of the Weekly Poems Contest.
--
Short Plays Magazine Contest #1 – First Place
January 15th, 2026
by Jessica Conine
Characters: WOMAN: secretive, spunky MAN: smart, convincing, upright Setting: A dim nightclub, 1938, Dallas Texas. Scene: (A MAN and a WOMAN sit across the table from each other. Both are silent and avoiding each other's eyes. The MAN takes a moment before beginning.) MAN You know you gotta come with me, right? (The WOMAN looks at him, then down. A beat) WOMAN I-I don't know. See, I like it here, I have a routine here, one day I might even have friends here, / I don't know. MAN How? You're scared of getting close to anyone nowadays anyways. (A beat) You know it would be better, we've talked about this. / Better for both of us. WOMAN It wouldn't be better for me, you have to see that. And besides, I've got my gig here, Larry said he'd let me sing when Alice is on her break, / this could be my big shot, finally! MAN Larry doesn't know you! WOMAN He doesn't have to! MAN He will, though, if you keep doing this stuff. Everyone will. WOMAN No they… (A beat)... Because of… (she's hesitant) because of you know who, I'm half of myself. Because of what happened that day, people will just say "Any relation?", and "What a coincidence!". MAN (Taunting) Or would they say "Hmm... I wonder..." WOMAN NO! (Huffing, composing herself) Without him...I have the greatest disguise ever conceived. MAN Until someone figures you out. You and your little secret. (Silence. Then, leaning in) You know, I could stand up and say your name, right here, right now, and everything you are will be brought to light. (She thinks for a moment, then decidedly shakes her head) WOMAN That ain't true, I'll tell you that right now. MAN Oh really, you're so sure? WOMAN Yes, for two reasons. One, Everyone knows that woman is dead. Two... ( more warmly) you're a good man, and you know the right thing to do. MAN I can't tell you that makes me feel much better. You don't exactly have the best track record. WOMAN That's the thing, babe: I've been around enough bad guys to know what a good one looks like. I'd say I've gotten to know you pretty good these past few months. MAN Please, don't – WOMAN And you're definitely one of them. (A beat. Then, he leans across the table) MAN The fact is... half of America's greatest crime spree couple – Miss Bonnie Parker herself – is still alive... and she's sitting across the table from me. (Long beat) That woman wasn't you, Bonnie. She didn't deserve that fate, and you know it. WOMAN No, she didn't. But I can't control that. Do you think I tied her up and strapped her to the seat? MAN No, I'm... I'm not saying that. Who was she, anyway? WOMAN Hell if I know. Clyde and I had split quietly before then. I saw her picture in the newspaper plenty though, too shot up for people to tell it wasn't me. But Lord knows I ain't some rolly-polly little rat face bitty. MAN The point is, you didn't die in that car, she did. WOMAN But I was granted a death just as much as she was. (A beat) Think of it as, I don't know, divine intervention. MAN Why would the divine wanna intervene with the likes of you? (She raises her eyebrows and sits back. After some thought, he concedes. ) MAN (cont. ) Alright fine, I'll bite. What do you have to gain from all of this? WOMAN You know how you read a book, and you get to a part that wrenches your heart out, and you know something bad is coming but you can't do anything to change it or stop it? And you just want to go back to before it all became a mess? That's my life. But y'see, I'm lucky, because I've gotten the chance to rip those pages out and rewrite my ending. Who gets the chance to do that? (Sighing, the MAN feels trapped) MAN Bonnie, I... (frustrated) What about me? What about my life, what I... it's my duty Bonnie. WOMAN So, that's it then. Duty. (She crosses her arms and thinks) That's all it was ever about, wasn't it. Your. Duty. MAN No, no... well, I mean, at / first- WOMAN Right, right. MAN Then, Bonnie, then... it turned into... I don't know. I don't know what it turned into, but it was... something else. WOMAN Something you... liked? (She grabs his hand. A beat, then he pulls his hand away) MAN It doesn't matter. (He sighs, pondering. Then continues) If... if I consider letting you stay here, how do I know you won't wreak havoc. WOMAN I'm not that girl anymore. My name was always attached to his. Clyde's dead, and trust me, I don't want to be just Bonnie. Maybe it's time for people to get to know Miss Parker. That's all I've ever wanted, I suppose. MAN What will I tell them at the bureau? WOMAN Tell them the truth. Bonnie Parker is dead. MAN (A beat) What will you do? WOMAN I don't know. Isn't that exciting? (The MAN stands, begins to walk out. He stops, then looks at the floor, then to her, smirking.) MAN Best save me a seat from Broadway, Miss Parker. I'll be watching you. END
About the Playwright
Jessica Conine resides in Rome, Georgia, United States.
Read the playwright's biography and The Short Play's the Thing publications
on Jessica Conine's Artist Page.
Short Plays Collection
This play is also featured in
Short Plays Collection #1,
published in the The Short Play's the Thing Playhouse.
Keywords: secret identity, alternate history, crime mystery, Bonnie and Clyde, Bonnie Parker
Previously published in Short Plays Magazine:
Welcome, Daughter
by Ellen Kaplan
Short Plays Magazine is part of The Short Play's the Thing and waxpoetryart.com.
- Visit The Short Play's the Thing Submissions page to see all opportunities.
- Visit The Short Play's the Thing Playhouse.
- This website and all contents ©Kirk Ramdath and specified artists.
- AI training on this website is not permitted.
(Advertisements)