<p>Alessandro Camon&rsquo;s two-hander transpires in overlapping monologues between Anna Jackson, a traumatized shut-in whose police officer son was killed in the line of duty, and Gabriel Wayland, a prison inmate in solitary confinement. The characters&mdash;both sympathetic, both impassioned&mdash;hold forth about their radically different views &nbsp;on the nature of time, regret and the criminal justice system. Gabriel speaks from his cell, Anna from the prison-like home.</p><p>&nbsp; &nbsp;&ldquo;&hellip;His drama comes full circle in a beautifully realized denouement that emphasizes not only our human need for connection, but our innate and sometimes surprising capacity for forgiveness.&rdquo;<br />
F Kathleen Foley, &nbsp;Los Angeles Times</p><p>&nbsp; &nbsp;&ldquo;I was riveted&hellip;sharp writing and observations&hellip; In their haunted isolation, for all their differences, victim and perpetrator both experience time as a tool of torture. And then, in a twist I can&rsquo;t give away, they discover a connection that carries with it a hint of redemption.&rdquo;<br />
Steve Lopez, Los Angeles Times</p><p>Stunning&hellip; Poetic writing&hellip; An inspired two-hander that casts a jaundiced eye on the criminal justice and prison systems&hellip;&nbsp;<br />
Camon employs the same grim nuance that was so successful in his Oscar-nominated screenplay for The Messenger&hellip;<br />
His familiarity with the subject brings immediacy as well as emotional and psychological veracity to his writing.&rdquo;<br />
The Hollywood Reporter</p>