If Thursday in Mesquite were a painting, it would bear no likeness of a Leonardo DaVinci or a Remington, Renoir, Monet or even a Van Gogh. The choppy, pieced-together work on the gridiron would be best described as a Pablo Picasso, broken up, reassembled into abstract shapes and yet very much worthy as a critical win in the Don Drake era.
Overcoming images of undisciplined play in the form of fumbl…
