PROGRESS REPORT on movie proposals and related materials for “Do Ask, Do Tell”


This most recent information for this file has been moved to


I also have a sample screenplays (pdf’s) for three short films, authored by me (ãCopyright 2004 by Bill Boushka).


 Handymen (pdf file) (3/14/2004

 Surprise Planet (pdf file) (4/18/2004)

 Golf Course Hole 13 (pdf file) (4/18/2004)

 Micro-Escape (pdf file) (4/27/2004)

Conflict of Interest (pdf file) (5/20/2004)

Exposition for Dogs (pdf file) (5/20/2004)

Do Ask Do Tell: Pilot (pdf file) (6/11/2004)

The “Bill of Rights 2” slide show mentioned in a couple of these is at  Disclaimer: Although most of the “Pilot” is based on factual events in 1961, the ending is fictitious. It should not be interpreted as meaning that I would compromise the workplace.


Here is the direct link for my PGL (Project Greenlight III entry) horror screenplay Baltimore Is Missing (pdf file) (2/28/2004), and here is the link for the information page. (It was posted here after the first round of the contest finished, when it did not place; the posting date was 3/26/2004).  Another feature length demonstration script is 69 Minutes with this information page.


10/3/2004): I want to mention here Dream Out Loud Films (in conjunction with Servicemembers' Legal Defense Network) and the documentary film STOPDADT project regarding the "don't ask don't tell" policy regarding gays and lesbians in the military. I have no current business connection with this project right now, but I encourage the reader to visit these links for the latest information.


Here are the older notes. They will be modified soon.

Project Work.(prior to mid 2003)

I have written and published a sequel Do Ask, Do Tell: When Liberty Is Stressed to iUniverse for print-on-demand book publication. The main purpose of this short book is to answer questions about my political arguments in the light of 9-11. Since there has been a lot of legal development in the Internet censorship and free speech areas in the past few years, I also discuss these, including (ironically, if you look at it this way) some of the potential legal and ethical issues of self-publishing and micro-independent film-making. I am now reviewing galley proofs. The book should be available for order from e-commerce sites in January 2003. In the mean time I can provide complimentary monograph copies until publication. IUniverse controls the distribution of both Do Ask Do Tell books, although I retain all e-publishing and motion picture or other reproduction rights. I have recently confirmed this.  The sequel can be read at this url, and the these are the url’s for the COPA and self-publishing chapters. Also visit the essays on terrorism and “Bill of Rights II.”

I am also still involved in litigation regarding the Child Online Protection Act. For details, follow the links from my main COPA link.  A ruling from the Third Circuit is due in early 2003. I maintain three websites,,, and

 I have assembled a draft screenplay more or less according to the second of the four options given on the dadtpro page. 

Here is an xml template for that screenplay

 One accepted way that filmmakers seek funds or grants for their work is to produce short films from their material. I am looking at this, and I am looking at the various resources available. I am familiar with the SAG rules and with their programs to assist micro-budgeted films.

I could also produce detailed treatment narratives of the other proposals at dadtpro as interest from others warrants.  This material may include XML documents with stylesheets, schemas, and parsers to facilitate analysis. I am working on such an XML application now at a local community college.

I did participate in Project Greenlight II this fall as a reviewer, although I had time to review only one screenplay, since I was tied up with my own book, skills upgrading course work in both film and IT, job search, and part-time work.  




I retired from a long-standing stable job in information technology at a financial institution at the end of 2001.  The separation package was ample to provide some stability, but I will have to work in order to remain stable.  Information technology jobs in today’s market tend to require proven expertise in very specific technologies, and it is no longer easy to remain in the traditional I.T. world and “write” at the same time.

I recognize that if I were able to agent the screenplay or related materials mentioned above, I would probably need to be available to work on the project (as a contractor), probably mostly by long-distance telecommuting, but I would probably have to be prepared for sudden and extensive travel.  (For a lesson, just review the “Project Greenlight HBO series on the making of “Stolen Summer.”) I would also join the Screenwriters’ Guild as an Associate Member at the appropriate time.

By way of comparison, agenting a novel, for example, probably would not require availability for work, only time and resources to complete a manuscript at home.

I work part-time now, and I expect to take other interim jobs to improve financial stability. But I will do the best I can under the circumstance to remain available for any opportunity to work on a film project as I have described. One interesting possibility could be I.T. recruiting for media and film companies, since I am familiar with the wide mix of skills that they need.

Some care must be taken in the area of work so as not to create conflict of interest. I have discussed this issue at some length in my own writings. There is also a conceptual divide between trying to sell original content (whether a novel, screenplay, or non-fiction political and legal analysis) to a media company or group and trying to get a job or consulting contract, but in these high-tech days that distinction is becoming blurred.

I will have access to my 401K without penalty in January 2003 (Okay, you know how old I am).  This raises the question about investing significant sums of my own into film projects.

I insist on remaining financially responsible. That means no running up bills of credit cards and defaulting or declaring bankruptcy!  It also means great care in investments, and avoidance of pyramid schemes, scams, and the like that abound out there. Generally I will not invest my own resources in someone else’s “agenda” just to “get into the business.”

I have been approached by at least two filmmakers in the past 24 months to invest in their projects. Both times I declined, although on at least one of them I passed up a good opportunity in hindsight (but the opportunity was presented just before 9-11-2001 when my judgment was distracted).


It is often difficult to read a proposal or screenplay and determine how well it will work. (PGL contestants, again!!)  Scriptreaders can do this faster than I can. Software tools can analyze production schedules and costs.


The bottom line is that I would be interested in collaborating on other film or book projects that involve individual liberties and treat the problems with objectivity. Such a project would have to say something original, retain intellectual objectivity as to political positions and have genuine educational as well as entertainment value. There are a number of cable documentaries that ought to be purchased, edited, and distributed to festivals and theaters. I would be interested in getting into this. I get a lot of questions about Scott Ritter’s film (In Shifting Sands), for example—and it presents just one side of the Iraq problem. In general, any such film would have to be objective in its treatment. Bowling for Columbine was compelling to watch but too one-sided. You see what I am getting at. 


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