WAITING IN LINE FOR STANDING ROOM ONLY
By Barth Cox
415 Eason Place Monroe, LA 71201 (423) 552-2002 barthcox@gmail.com Â
TEASER FADE IN: INT. CLUB - STAGE - NIGHT Lights down on the dance floor/stage in a seedy gay bar, A disco ball from another era throws a sparkle on the mirrored back wall. An APPLAUSE sits in the air as the first cord resounds in the room. A spotlight hits the stage as SHANE MONTGOMERY (30's) sashays effortlessly into the light as RUBY, his larger-thanlife drag alter ego. As the vocals of a pop diva come in, he begins to lip syncs to “SONG TO BE DETERMINED.” INT. SARAH’S HOUSE - DINING ROOM - NIGHT In a quaint suburban ranch house with an open concept, SARAH BLAND (30's) sits alone at the table set for two. Model thin, she looks like she's been placed in the fashion magazine setting she created. She strikes an unintentional pose in her pencil skirt, slightly disheveled blouse, and comfortable pair of flats. A crumpled jacket lays across the back of her chair. Another no show. The candles on the table burn down, while the second place setting remains empty. Sarah picks at the food on her plate, then pushes it away. She empties the last splash from the open bottle of wine into her glass. An audible sigh. Sarah rises from the table and blows out the candles. INTERCUT BETWEEN THE BAR AND SARAH'S HOUSE INT. STAGE - Shane drops the dark velvet opera cape to reveal the gold evening gown that barely contains his ample figure. He teeters on stiletto heels. A large, blonde teased wig completes the bigger-than-life transformation. Comfortable in his own skin, he twirls seamlessly from pose to pose. INT. SARAH’S HOUSE - KITCHEN - Sarah picks up her plate, the almost empty wine glass, and the wine bottles from the table.
2. She rambles to the kitchen to deposit the plate in the sink and the empty bottles in the garbage can, Other wine bottles stick out from to-go containers on top of the garbage INT. STAGE - Shane floats around the stage with exaggerated arm motions and rehearsed choreography. He throws air kisses and striking face to her adoring public during interludes in the music. INT. KITCHEN - Sarah grabs a fresh bottle of wine from the counter, pulls the cork and pours a full glass. She downs the entire glass in one swallow. INT. STAGE - Shane slowly chantÊs toward the front of the stage, intentionally glamorous. Patrons in THE CROWD hand her dollar bills and she holds each person's hand for a second while she lip syncs a serenade to them. INT. SARAH’S HOUSE - LIVING ROOM - Sarah looks at the clock on the wall, then toward the closed front door. She pauses, then dances toward the living room, twirling with a wine glass in one hand and the opened bottle in the other. A piece of hair falls onto her face. INT. STAGE - GRAPHIC MATCH. Shane dances and twirls to the center of the stage, arms outstretched. He flicks his wrist, raining the bills around his head. INT. LIVING ROOM - Sarah catches her reflections in the patio doors. She stops. Disapproval cloaks her face as she surveys her reflections. Sarah reassembles her clothes to pristine. She runs her fingers through her hair, catching the loose piece and pulling it back in place, tight to her scalp. INT. STAGE - Shane turns to the mirror in the back of the stage as she strikes a forceful pose as the song approaches the bridge. INT. LIVING ROOM - Satisfied, Sarah positions her body in the same sexy manner, trying out the movements in the large patio window for the first time. INT. STAGE - GRAPHIC MATCH. Confidently, Shane incorporates similar poses in his choreography. INT. LIVING ROOM - Sarah grabs her phone while she dances, checking for calls. No missed calls. She tosses the phone on the sofa. INT. CLUB - BAR. JASON BLAND (40's) leans back on the bar, looking toward the stage. He wears an open jacket, blue shirt, and a loose tie. He nervously stirs the drink in his hand.
3. INT. LIVING ROOM - Sarah perches on the edge of the sofa. She reaches for her laptop on the coffee table, while juggling the wine and bottle as she checks her appearance. She positions herself and hits the record button. SARAH Hello, my friends! Sadly Sarah here. Drinking all alone again! No husband ... again! INT. STAGE - PULL BACK TO THE STAGE. Shane eyes Jason from the stage during an interlude in the song. For a moment, he thinks he catches Jason's eye and interjects a yummy sound before the older man looks away. SARAH (V.O.) (whiny drunk, slurring words) He’s working ... (air apostrophes) ...LATE ...again. Do you think... just maybe... it's another woman? INT. LIVING ROOM - Sarah slides back onto the sofa, getting very comfortable. She kicks off her flats, one by one over her head. SARAH (assured) ... it's another woman. He has been out... (air apostrophes) ...LATE ...so often that I have entertained the thought that there must be another woman. INT. BAR - Jason takes notice as LANDON CALDWELL,(21) a slight, twink boy in jeans and a tight t-short invades the bar. Overly excited, Landon makes excuses for being late, before giving Jason a kiss. INT. STAGE - The ruckus draws Shane attention, and he shows his disappointment. SARAH (V.O.) What if she is hotter than me? I guess as of late, everybody looks better than me. I try! (beat) She better not be ugly! For God's sake, I would be devastated if he left me for an ugly, mean, controlling hag. A real bitch!
4. INT. LIVING ROOM - Sarah rolls her eyes and lets out a huge sigh. She throws up her hands in defiance. SARAH I am not thinking about it anymore. It is, what it is! (beat, self-conscious) Don’t look at me like that. Don’t judge! I though you were my friend. Sarah struggles to pour another glass of wine, so she throws the empty glass against the wall. She drinks straight from the bottle. Her appearance begins to unravel, as she wipes her mouth with her sleeve. SARAH (CONT’D) (realizing the camera is on) Sh! Sh! No, no, no... I am sorry. You. You CAN NOT tell him you and I talked again. I know you can keep a secret. You are my closest friends... My best friends... (misplaced disgust) Whatever... Sarah slams the computer shut and throws it on the coffee table. She picks up her phone, stumbles over to the table and picks up her jacket, with the wine bottle under her arm. INT. BAR - A GROUP OF DRUNK FRAT BOYS stumble in making a ruckus. They position themselves at an empty table in the middle of the small, enthusiastic crowd. INT. SARAH’S HOUSE - FOYER - Sarah checks her phone as she heads to the door. No missed calls. She locks the door and sets the alarm. INT. BAR - Two of the frat boys start yelling at Shane, throwing napkins and cups, mocking him. Shane throws them an evil eye, but it goes unnoticed. INT. SARAH’S HOUSE - BEDROOM - Sarah stumbles into the bedroom, and throws her jacket on a chair before falling backward in a dramatic manner on the bed. INT. STAGE - Shane turns to the mirror elegantly as the song ends, looking over his shoulder. FRAT GUY ONE (slurring his words) Yeah, somebody get the pig off the stage.
5. Shane spins around slowly, ready for a fight. FADE OUT. END OF TEASER
6. ACT ONE FADE IN: INT. CLUB - STAGE - NIGHT Shane turns to the crowd, and the crowd applauds. bow/curtsy.
He takes a
ANNOUNCER (off stage) Ladies and gentlemen, put your hands together for Miss Ruby as she exits the stage. The ANNOUNCER, a drag queen in her sixties in a black cocktail dress and red wig, prances onto the stage. ANNOUNCER (CONT’D) Come on Missy. Quit bowing and scraping! Hurry up now, we have other entertainers tonight and you are wasting time. Kiss, kiss. FRAT GUY ONE (slurring his words) Oink, Oink, Moo, Moo! FRAT GUY TWO Somebody rope and tie up that fat cow! Shane whips around to the direction of the drunk frat guys. The announcer gently pushes Shane off the stage. ANNOUNCER (throwing a warning look, in the background) Let's show some love to Miss Ruby Pamplemousse. You know girl, that name is a mouthful. Everybody, applause and dollar bills. She also accepts five, tens and twenties. Just in case you think she deserves it. She'd accept a debit card if she could find a place to slide it. INT. CLUB - AUDIENCE The announcer continues to ab lib. Shane walks toward the small group of frat boys with a fake smile on his face.
7. SHANE (looking down at his fly) Oops, What is that? Something is showing! Oh, no honey, nobody wants to look at that. Your ignorance, yes, your ignorance is showing. FRAT GUY TWO (uncontrollable laughter) Listen to the ugly dude in the dress. FRAT GUY ONE She ain’t no woman! If she was a woman she would be one UGLY WOMAN! FRANK HARRIS (early 30's) tends the bar in a tight pair of jeans and a plaid shirt with no sleeves. He finishes collecting money for a couple drinks when he notices the altercation starting. The room goes quiet. Shane steps back and starts clapping to mock them. SHANE WOW! BIG, BIG man around campus... (in their faces) Unlike you, I know who I am, MISSY! (matter of factly) It's not like you could handle all of this anyways! You seem to be lacking something! Oh, yes, it takes that! And some BRAINS, scarecrow. You need both to get on this ride! And you... you do not have either! Shane starts to exit when the first frat guy reaches over to grab him. The other guys hold him back. FRAT GUY ONE You bitch... You are not going to talk to me like that and get away with it, dude... Frank jumps from behind the bar, grabbing a baseball bat from beneath the bar as he exits. Shane changes from drag queen to man mentally. Frank grabs Shane’s arm in mid swing. He steps directly between the altercation. FRANK (to Shane) It’s not worth it.
8. FRANK (CONT’D) If Tony see you starting a fight with a customer again, he isn’t going to let you perform any more. Get out of here! GO! Shane storms off like drag queen. Frank turns his attention to the drunk frat guys and their friends. He picks up their cups and bottles, depositing them in the nearby trash can. FRANK (CONT’D) Time for you guys to be heading out too. Your night is over. You boys are cut off. The group plants themselves at the table, ignoring Frank. He swings the baseball bat onto the top of the table. FRANK (CONT’D) (firmly, in control) I said get up and get out. Let’s go. Need me to call you a cab? The first drunk frat guy gets in Frank's face. FRANK (CONT’D) (loudly) I can call the cops instead? Or the hospital? And you will have to tell admissions, your momma and your daddy that this big fairy kicked your butt. The other frat guys try to corral frat guy one toward the exit. FRAT GUY THREE We are leaving. We don’t want trouble. FRAT GUY ONE We could take him. This isn’t over, freak. FRANK Oh, yes it is, BOY. Beat it. The frat guy pushes his friend off of him and then exit the bar. Frank shakes his head and chuckles in satisfaction. You could hear a pin drop in the bar, which doesn't go unnoticed by Frank.
9. FRANK (CONT’D) Hey, Delores! Do you have any other entertainers? Or are you trying to hog the stage again? Chop, chop, Miss Thing! Put on a show. Daddy needs to make some money tonight. ANNOUNCER Under all the plaid and denim, you know Miss Hairy Bear Frank, you are one fierce drag queen wannabe! FRANK You wish! You couldn't take the competition! He blows Frank a kiss and mouths "thank you." The announcer turns back to the audience and ab libs as Frank heads back behind the bar. FADE OUT. FADE IN: INT. BATHROOM - DAY EARLY MORNING. Sarah wipes the fog off the bathroom mirror in front of her. Her hair is pulled back tight in a chignon. She wears a fresh white blouse and gray pencil skirt, almost identical to the one she wore the night before. INT. SHANE’S BEDROOM - DAY Shane sits at a vintage vanity in his bedroom. He sports the remnants of his makeup from the night before. Foundation and eyeliner appear smudged and smeared from sleeping in it. Eyes puffy from crying. He take a deep breath, before cutting through the makeup. INTERCUT/SPLIT SCREEN BETWEEN SARAH AND SHANE Sarah lines her brows with a pencil, using her finger to blend in the color with her hair. Shane pulls the huge bedazzled earrings off his ears. tosses them into a basket on the vanity
He
Sarah clumsily rushes to apply eyeliner. She draws a crooked like, then wipes it off before applying again.
10. Shane holds a makeup removal cloth and wipes the thick eye shadow from his face. He pulls the fake eyelashes from his upper lid. Sarah reaches for a nude lip color, puts it on, takes it off. Dissatisfied, she puts on a pink lipstick and removes it. Shane wipes the smudged bright lipstick off. It takes several passes to completely remove the layers of lipstick, overextended past his natural lip line. Sarah grapples through the drawers until she finds a bright red lipstick, and after examining the color, applies it instead. Shane scrubs the makeup remover pad over his face to expunge the layers of foundation and pancake makeup. He exits. Sarah examines herself in the mirror, pulling her hair back tighter before leaving the bathroom. Shane comes back in the mirror in his uniform for work. He puts on his visor. He licks fingers and tidies his eyebrows before exiting. SHANE (disgusted) Showtime! INT. SARAH’S KITCHEN - MORNING Sarah enters the kitchen. Jason ignores her while he argues with someone on the phone. He wears a gray suit and a red tie. He has a cup of coffee in his hand. She straightens her blouse and notices the broken wine glass still on the floor. SARAH Juanita called off? Jason holds his index finger up toward her. JASON (to phone) Hold on. (to Sarah) Sick. Sarah picks up the broken pieces of the wine glass.
11. JASON (CONT’D) (Ab lib) Can you give me 15 min--fine, fine I’ll leave now Jason juggles the phone, a briefcase, a computer bag and putting on his coat with the cup of coffee in his hand. He spills the coffee on his shoes, barely missing his suit. He shakes the coffee off his shoes. He puts the cup on the counter as he checks himself for a spill. Sarah picks the cup up, walking it to the sink. SARAH Will you be home for dinner, tonight? JASON You’re cooking? SARAH I can cook. I can clean my own house. JASON I don’t know, maybe. Jason grabs his keys and rushes out of the front door, still on the phone. Sarah sets the cup down in the sink and leans over the counter. A moment passes. INT. SARAH’S BATHROOM - DAY Sarah puts on a cleaning smock over her clothing and wraps a gray scarf around her head. INT. SARAH’S KITCHEN - DAY Sarah opens the closet and grabs a mop bucket and assorted cleaning tools. She reaches in the closet for a huge vacuum cleaner. She fills the empty mop bucket with cleaning supplies from under the sink. She goes over to the wine rack and puts an open wine bottle in with the cleaning supplies. Sarah stands in her kitchen, intimidated by the huge task and the unfamiliar cleaning paraphernalia.
12. She gets down on her knees and selects the spider sponge to wipe up the coffee that Jason tracked through the kitchen. A single strand of hair comes loose, and she tries to blow it back. INT. HALLWAY/JASON’S HOME OFFICE - DAY Sarah drags the vacuums and the cleaning supplies through the hallway. She appears disheveled. The scarf barely holds her hair back. She kicks the door and struggles with the vacuum, which gets stuck in the doorway. SARAH (frustrated) Come on, you monster sucking machine... The room is lined with bookshelves. There are framed pieces of art around the room. A desk sits in the center of the room. Sarah pulls an oversized pair of pink latex gloves out of the mop bucket and puts them on, snapping them like she is going in for surgery. She grabs the wine bottle and takes a huge swig of wine. She dust the front edge of the bookshelf and places her wine bottle on the area she cleaned, drinking from it. She then gingerly wipes down a framed piece of art, and it falls to the ground. SARAH (CONT’D) (sarcastically mocking) Don’t touch the art. You’re touching the art... (touching the art) Don’t touch the art! She picks it up and purposely drops it, breaking the glass. SARAH (CONT’D) (beat) Huh! what a shame. I hate that picture anyway! She kicks the picture as she walks past it. She navigates toward his desk. She begins moving things around the desk and stacks his papers. SARAH (CONT’D) (mimicking Jason) What are you doing in here, SARAH! (MORE)
13. SARAH (CONT’D) Can you leave me to my work, Sarah! (muttering audibly) Could you shut the door, Sarah! (muttering more) Don't do that, Sarah. SARAH (CONT’D) Stop touching that, Sarah. I’m busy, Sarah. I am always too busy to do anything. She pulls a drawer open and runs the cleaning rag across the top, then slams it shut. SARAH (CONT’D) This is my office, Sa-(beat, under breath) ...rah? Her hand brushes against the mouse, and the computer screen light up. Sarah’s mouth goes slack as she views the monitor. Huh?
SARAH (CONT’D)
She clicks through the documents on the computer. Her eyes widen the more she looks at what appears on the screen. INT. SARAH’S LIVING ROOM - DAY Sarah tosses the cleaning stuff around. Furiously, she sits on the couch and opens her laptop. She calms her nerves, then quickly tidies herself up, straighten her hair and her clothes before hitting the record button several times. INT. RANDOM OFFICE - DAY An ADMINISTRATIVE ASSISTANT taking lunch. She hits through the new videos. She clicks on the latest video uploaded by Sadly Sarah. SARAH (online) Hey, my lovelies. This is Sadly Sarah. Those of you who’ve been following me... INT. WATER COOLER - DAY SEVERAL PEOPLE with their phones around the water cooler at a job. All are watching SADLY Sarah on their phones.
14. SARAH (online) ...know I wanted to be a journalist so many years ago. Girlfriends and boyfriends, have I got news for you! ... EXT. STREET - DAY COLLEGE AGE STUDENTS with headphone walking and watching SADLY Sarah. SARAH (online) ...Remember when I told you that I thought my husband was cheating on me with another woman? Remember?... INT. CLASSROOM - DAY A FEMALE STUDENT near the center of the room watches Sadly Sarah with headphones on, while the TEACHER lectures. ANOTHER STUDENT, tries to watch from over her shoulder. SARAH ...Last week I smelt that weird perfume on his shirts. ... SECOND STUDENT What is she saying? TEACHER (O.S.) Put your phones away please. Damn!
STUDENT
INT. MALL - DAY OVER THE SHOULDER of a GAY MAN on Facetime talking to his friend. GAY MAN 1 Did you hear her when she said it wasn’t perfume? INT. BEDROOM - DAY The OTHER GAY MAN dresses while watching his friend.
15. GAY MAN 2 I did. I did. It was... GAY MAN 1 AND 2 (mocking, unison) AFTERSHAVE! Laughter ensues. INT. NAIL SALON - DAY A NAIL TECHNICIAN files the fingernails of a STYLISH WOMAN, who looks like a cheaper version of one of the Kardashian sisters. NAIL TECHNICIAN She said... NO, It was not his aftershave... NO IT WAS NOT! STYLISH WOMAN I heard her. I heard her say... (mockingly imitating) "That son of a bitch is really cheating on me!" You dumbass! How could anybody be that stupid? I think it's an act! How could she not know! NAIL TECHNICIAN She was blindsided... The stylish woman picks up her phone, pulling her hand away from the nail technician to access it. NAIL TECHNICIAN (CONT’D) If you want me to finish, quit moving that hand! INT. RESTAURANT - DAY The COOK rings the bell to indicate that food is up. COOK (yelling) Come on! This food ain’t going to deliver itself. SERVER Hold your horses! I am coming! The SERVER starts putting the plates together while talking on her phone.
16. SERVER (CONT’D) (into her phone, laughing) She said, the son de puta me engaña con el hombre. Yes, yes, yes, with a MAN! She said, "¡SOBRE MÍ! CON UN DUDE! Con un pene. A PENIS! COOK This food ain’t taking itself out... SERVER (oblivious, picking up food) Then mi niña, she stopped talking. INT. NAIL SALON - DAY The stylish woman has one hand in a cuticle solution. The Asian woman is filing the other hand. STYLISH WOMAN Girl, it got scary, real quick. NAIL TECHNICIAN What do you mean? I didn't see the whole thing. My break was over. The stylish woman picks up her phone when it buzzes. The nail technician grabs her hand as she pulls it way. STYLISH WOMAN Well, I thought Miss thing had gone cra-cra... (yelling) Stop hitting my hand or I don’t tip! NAIL TECHNICIAN You want ugly nails? INT. MALL - DAY GAY MAN 2 shakes his head in agreement on the Facetime. GAY MAN 1 In one second...
17. INT. RANDOM OFFICE - DAY ON THE COMPUTER SCREEN, Sarah’s mood changes from somewhat jovial to completely fearful, after realizing what she was doing and the implications of her actions. GAY MAN 1 (voice over) ...she went from the tragic Sadly Sarah we all love to TRAGIC! GAY MAN 1 TOTALLY TRAGIC Sadly Sarah. (fist bomb) POW! A complete train wreck. INT. SARAH’S LIVING ROOM - DAY Sarah, in the moment, struggles to shut off her camera. She sends the video into the blogosphere. She slams down the cover of the laptop, then completely breaks down. She picks up the closed laptop and carries it into the office. INT. JASON'S HOME OFFICE - DAY Sarah walks into the office, sits in the chair staring at the screen, cradling the laptop. Her chin rest on the edge of the laptop as she stares at the monitor of Jason’s computer. From her point of view, the selfies of Jason with several significantly younger men, some in compromising situations. INT. JASON'S OFFICE - NIGHT GRAPHIC MATCH of the previous shot. Mascara runs down her face, and smudges under her eyes. The bold red lip color is almost completely faded. Her eyes are red and bloodshot. JASON (sneeringly) Hey, I’m home. What’s for dinner? Jason walks through the door to his office and sees Sarah sitting in his office chair. He approaches her, but his face registers alarm when he sees the picture up on the monitor. His eyebrows raise. JASON (CONT’D) (accusing) What are you...
18. She turns the monitor toward him. SARAH (forcefully interrupting) Explain. FADE OUT. END OF ACT ONE
19. ACT TWO FADE IN: INT. JASON'S OFFICE - NIGHT SARAH You have no explanation? Jason starts to turn away. His body language indicates complete shutdown. Sarah points towards the monitor. She grabs his arm. SARAH (CONT’D) (a glimmer of hope) Please... JASON What do you want me to say? SARAH Anything... He starts to speak but stops before words can be formed. She puts down her computer and stands up, eying him quizzically. How long?
SARAH (CONT’D)
JASON Since I was fifteen... SARAH Why did you marry me then? He doesn’t say anything. Before completely breaking down, he proceeds toward the front door. She follows him, trying to grab his arm. SARAH (CONT’D) Wait, we can talk about this... WAIT! He pulls away in a dismissive manner, grabbing his jacket before reaching for the doorknob. SARAH (CONT’D) Do you want me to leave? He stops in his tracks. He goes to speak but can’t. He exits the house. The front door slams in her face.
20. EXT. FRONT YARD - NIGHT Sarah throws the door open, continuing to follow him. He pushes her away before getting in the car, starting it and peeling out. She gets up from the ground, shocked. SARAH That’s what I get after five years of living with this man? Nothing. Nothing? NOTHING! She breaks down completely, falling to her knees in the front yard. INT. SARAH’S BEDROOM - NIGHT Sarah packs the laptop, stuffing it and the accessories into a large cloth case. She slides the hangers across a metal bar as she rips the dull, expensive wardrobe off them. Every piece of clothing is gray, black or white. She cleaning out the drawers, pulling out her jewelry and her underwear. She throws several pieces of lingerie into a trash bin. The large suitcase is filled to exploding. Dress clothes get tossed into a garment bag. More clothes get tossed on top of the heap. INT. SARAH’S BATHROOM - NIGHT Sarah swipes her arm across the counter to gather all the makeup and other cosmetics into a cosmetic bag till it won’t close. She throws what doesn't fit into black plastic shopping bags. INT. SARAH’S KITCHEN - NIGHT Sarah pulls wine bottles out of the wine rack and slides them into a tote. She pops a cork on a bottle that has a postit note that says "don't touch." She drinks a goodly amount from the bottle, then pours the rest down the drain. INT. SARAH’S HALLWAY - NIGHT Sarah stops to throw on a light jacket and scarf. She picks up all her bags and walks down the hallway, struggling to carry them. She drags the bulging suitcase.
21. EXT. BUS STOP - NIGHT Sarah sits on the bench, catatonic and detached. A time lapse of people entering and exiting buses while she remains in the same place. She finally gets on a bus. INT. BUS - NIGHT Sarah enters the bus dragging all of her possessions. She positions herself in a front seat, looking visibly disturbed. An older guy purposely moves to the back of the bus to get away from her. EXT. SIDEWALK - NIGHT Sarah meanders aimlessly along a busy downtown sidewalk. She bumps into people along the way, unaware of her surrounding. The walking dead, emotionally. She hugs her jacket closer to her body, and her breath is visible in the cold air. A tube of red lipstick falls on the sidewalk. Further down the sidewalk, a scarf falls onto the pavement. CRANE UP to a trail of cosmetics and jewelry. Every time she bumps into someone, something sheds from her pile of belonging. EXT. COFFEE SHOP - NIGHT She settles on the curb. She drops her possessions, and the suitcase opens. The contents tumble out onto the pavement. She tries to push it back in, breaking down. Reality sets in. SHANE (O.S.) (slightly dismissive) Are you okay honey? She looks back to the voice. Shane is cleaning up patio tables and throwing left coffee cups in the trash. She rests her head in her hands. Huge sigh as she looks up. SHANE (CONT’D) Honey, you look like crap? Are you okay? SARAH Do I look okay? SHANE For a train wreck, if that was what you were trying for?
22. She starts with a sarcastic laugh that turns into an almost hysterical cry. Shane drops the towel and spray bottle and runs over and helps her up. He grabs her suitcase and bags, while she fumbles with the rest. Stuff still falls out, and she portrays a visible sense of defeat. SHANE (CONT’D) Come on. Come on. Come inside. You can warm up in there. I will get you a cup of coffee. It’s on me. They enter the coffee shop. He picks up the towel and spray bottle as they struggle to get into the door FADE OUT. END OF ACT TWO
23. ACT THREE FADE IN: INT. COFFEE SHOP - NIGHT Shane places Sarah in an overstuffed couch. She appears demoralized. He gently places her stuff down around her. Shane goes behind the counter and makes a latte for Sarah. His MANAGER lurks behind him with a clipboard in hand. MANAGER You bringing homeless people in here again? I hope somebody is going to pay for that. SHANE No, I am just practicing my lattes. Of course, somebody is paying for it! MANAGER I don’t know what I am paying you for? SHANE Overtime? Did you call anybody in? I am going on 13 hours. Call someone, please! Manager shakes his head as he exits toward the office. Sarah fumbles through her purse to find a mirror. Shane carries the coffee cup to her, then hurries to stop her from looking at herself in the mirror. SHANE (CONT’D) Oh, no, no, no! I wouldn’t do that if I were you. Her eyes well up as she purveys her face. She takes a napkin and starts removing the smudges, making it worse. Shane takes the mirror from her. He sets the coffee on a table, take the napkin from her and tries to remove some of the smudges. He then hands her the coffee cup. Thanks.
SARAH
24. SHANE (stating obvious) Rough night? SARAH That’s an understatement. I am feeling numb. SHANE Do I know you, by any chance? SARAH I've a vlog? Maybe you have seen my videos online? SHANE No, that’s not it. I don't go online much. (beat) Now that you don’t look like a raccoon, I would swear you and I, we went to school together? SARAH No, I don’t think so. SHANE Think 40 pounds lighter and bleached blond hair SARAH (suddenly aware) .... John Norris? SHANE Oh no, you didn’t go there? Really? He stuttered when he got nervous. She is stumped. SHANE (CONT’D) Oh girl please, you and I shared a damn lab table for a semester... Well half before I dropped out! Can not believe you don’t know who I am? Thought I made a better impression! SARAH (cautiously) Shane... Montgomery?
25. SHANE How many people did you share a lab table with? I’m sorry
SARAH
SHANE Oh, don’t be. I was a little girl back then, and I blossomed into all of this... Shane’s relief walks in the door, carrying a messenger bag. COWORKER Blossomed? More like exploded. SHANE Oh jealous bitch, please! You better be my replacement? (to Sarah) I have changed since then. I had pimples back then SARAH Didn’t we all? She goes to sips the coffee, but it is too hot. She blows on it before sipping again. He starts to walk away, she fumbles through her purse and finds a couple dollars. Here...
SARAH (CONT’D)
SHANE Put that away. The bitch owes me anyway. (beat, with a side glance) Chin up! It can’t get any worse! Shane meaders back to the counter to wait on a new customer. Sarah takes a bunch of napkins and starts drying off her stuff. She then pulls out her phone, but there are still no calls. She sees a ridiculously high red number for notifications on her blog app. She goes to the site and starts reading the posted notifications. Positive and negative comments appear in view while others are voiced over. Sarah’s reaction grows proportionately.
26. VOICE ONE (V.O.) Sadly Sarah, I feel for you! Nobody should go through what you went through! VOICE TWO (V.O.) Hashtag Karma be a bitch girl and I hope he gets bitch slapped! VOICE THREE (V.O.) You is stupid if you didn’t know he was gay! VOICE FOUR (V.O.) Momma, you need a real man to take care of that hurting heart. Try some of this hashtag hot chocolate! Hashtag holla! VOICE FIVE (V.O.) Why is he still alive? I’d of killed him and his boy-toy, too. Hashtag give me my knife! VOICE SIX (V.O.) Seeing your story makes me afraid to marry. Who can you trust? No such thing as true love. VOICE SEVEN (V.O.) I hope she isn’t prejudiced against gay people now. Liars, cheats, and jerks? YES! But not gay people. VOICE EIGHT (V.O.) There is no excuse for gay men to hide in the closet today. To marry someone to cover your sexual orientation is the most diabolical betrayal imaginable. Shame on people that do this, hashtag bloody cowards. VOICE NINE (V.O.) Girl, you just stupid. Hashtag S-TO-P-I-D, period. VOICE TEN (V.O.) Show him the door and throw him out in the trash! Hashtag kick him to the curb girl She tries to delete the video. As she panics the voices and comments escalate. She freaks out and hyperventilates.
27. SHANE You still here? She looks up shellshocked, yelling silently as she holds the phone toward him. SHANE (CONT’D) Okay, okay. Its going to be okay. He takes her phone and turns it off, then puts it in her purse. He then pats flap of the purse. SHANE (CONT’D) It's not gonna hurt you now. Breath! Breath! SARAH I don't know what I am going to do? I don't know where to go? I don't know why I did what I did? Sarah crys uncontrollably. Shane purveys the situation. SHANE When’s the last time you ate something? You want to grab a bite? Whenever I am feeling bad, eatting something helps me. Can't you fell. Let clock out and we can get out of here! She nods between gasps. Shane helps her up, assembles her stuff. Shane picks up the empty cup, bringing it over to the counter. He walks past his manager, who observed the breakdown. MANAGER Uh-huh! You are a far better person than me... SHANE Honey, we already know that there isn’t a kind bone in your body. And while you are just standing there being decorative... (taking time card from pocket) Could you sign my time card? Shane takes the signed card and puts it by the register. He picks up several of Sarah's bag, and they hastily leave the coffee shop.
28. INT. DINER - NIGHT They arrive at the diner and head toward the only empty booth. The SERVER comes by the table and drops the menus while running a check to another table. She speaks loudly and can be heard coming long before she gets to the table. SERVER You already know the specials... SHANE I love you too, Maria. SERVER Bitch, just shut up. I will get to you when I get to you. Kisses.
SHANE
SERVER Okay, what do you want? SHANE I’m torn between the fries and brown gravy, the Monte Cristo and the double bacon cheeseburger... Hmmm. And the french fries with brown gravy. SERVER You said that twice? Fries with brown gravy twice? SHANE Maybe I want two orders of fries with brown gravy. SERVER Do what you did last time, order it all.... and the pecan pie. Miss thing, you are working on a heart attack! SHANE (waving off server - to Sarah) Best pecan pie I have ever had... SERVER Honey, sit up. She’s having the whole menu. What do you want? (double take) Wait! Wait! I know you....
29. SHANE Quit ogling. The poor dear has had a hard day! Sarah tries to shrink down below the edge of the table. SERVER I know! You're Sadly Sarah? Yeah, I saw online that you left your husband today! Girl, all everybody was talking about today. SHANE What? You've been drinking on the job again? SERVER No. She found incriminating pictures of him with another dude! With a penis! (split gut laughing) The trollop! Sarah puts her head down on the table. SHANE Is this all true? She nods not making eye contact. SHANE (CONT’D) (snaps) You go, Missy! You didn’t tell me! (evil eye to server as she leaves) Are you going to put our order in? SERVER She hasn’t ordered yet. SHANE Give her time to read the menu. First time you know! SARAH Just coffee and toast, please. SERVER Are you sure? I’ll buy. You have given me so many hours of entertainment. The least I could do...
30. SARAH That is all I can stomach. SERVER Wait a minute... You mean to tell me that was all of that online was real? You weren't doing that for the camera? SARAH No, it was real.
Real life!
Sarah throws her hands in the air, as she looks away. The server uncomfortably leaves the booth, muttering in Spanish. SHANE You know the bitch is on the phone calling everybody she knows? SARAH I don’t care! SHANE I DO! I just ordered enough to kill an elephant, and I don’t want everyone she knows showing up to watch me eat. You want to get out of here? SARAH Just leave... SHANE She hasn’t put the order in yet. I know a better place. Come on, lets go! (to the server) Hey, Maria! Bye Felicia! SERVER No, no, no, no, no... They leave the diner rapidly, with the server chasing behind them. INT. CLUB - NIGHT Sarah stands in the back of the club. The music plays loudly. A small, festive crowd assembles at the bar. Sarah appears self-conscious and out of place as she straightens her clothes and hair obsessively. She awkwardly shuffles out the way as some patrons go past her.
31. Shane speaks privately to Frank. Frank hands Shane two drinks. Shane elbows through patrons to bring Sarah a a fruity drink with a paper umbrella and huge slice of orange, and a neon green shot. SHANE A little something for the nerves. Sarah throws back the shot, then downs the drink in a single gulp. She takes Shane’s drink from him, downing it as well. Shane looks with amazement. SHANE (CONT’D) Hmmm! I’m impressed! SARAH Sorry, bad habits are hard to beat. He takes the the empty glasses from her and places them on the bar. She follow him to the bar, where Shane orders another round. A couple in love walks past them, laughing together. Sarah looks away quickly, uncomfortably. She pulls her phone out - no messages. Sarah wraps her arms around herself and looks around the room. The fanfare for the start of the show comes on. Shane takes her by the arm to an empty table. He signals to Frank for another round, once they sit down. SHANE Make it three just incase... This time could I get my own drink? SARAH Sorry. I’m just nervous. The announcer comes on stage with a catsuit and a huge bouffant wig. The very small crowd pays little attention, continuing to carry on their conversations. EMCEE (barely audible) Ladies and gentlemen, I would like to welcome to the stage the ever beautiful and effervescent, Corrina Felicia Pope. What she lacks in experience she more than makes up with her peppy personality. Put your hands together!
32. SHANE (to those around them) Hush, she’s coming on... The music changes “SONG TO BE DETERMINED” and CORRINA, a young, slender drag queen with a homemade gold dress and a poorly fitting, cheap wig, awkwardly sashays onto stage. Sarah can’t take her eyes off of the drag queen as she begins to perform. She visibly relaxes. Frank walks to the table, serving up the drinks. Sarah takes her drink from him without taking her eyes off of the drag queen. Shane watches Sarah. FRANK Is she okay? Shane waves his hands in front of her face. SHANE (To Frank) She blinked. That's a good sign! Frank returns to the bar, SHANE (CONT’D) (To Sarah) You still with us? SARAH She’s beautiful. How does she do it? SHANE Hmm. First, you do realize that she is a he? Sarah double takes to the stage. SHANE (CONT’D) You should see her out of makeup. No, she is not that pretty. Girl, you take off that hair and wipe that face, and all you’ve got is one puny, skinny scared little queen. You take all that away and go boo... she run. She would NEVER go in front of this crowd, without at least twenty layers of make up and a shake-and-go wig.
33. SARAH I don't think I could do it. It looks really difficult. SHANE Really? You go online all the time with your vlog. That is what I am hearing. SARAH That is different! No body’s ever watching me. SHANE Oh, they are watching you... You just can’t see them. You channel all that drama, and honey, I am sure you can do it. That part of you that wants to be fabulous, it'll just comes out! And you will say to yourself afterwards, "huh, I didn’t know I had in me." (beat) People think drag queens make fun of women, but we don’t. We make women superheroes, claiming all that femininity and trapping as our armor. So nobody can hurt us anymore. Look at her... Really look at her! Because... she could be you! No.
SARAH
SHANE Yes, some makeup, a big ole wig and some liquid courage... Honey, you could rule the world. (beat) I do, every time I am on stage... Shane snaps and sashays toward the stage with a dollar bill in his hand. EXT. CLUB - NIGHT Shane and Sarah walk out the door of the bar with other people, only to see a SMALL GROUP OF CHURCH MEMBERS handing out fliers to people as they leave. Several of the church members hold signs with very inflammatory saying on them. COUPLES and SMALL GROUPS walk past the group, ignoring them.
34. A YOUNG MAN hands a flier to Shane. YOUNG MAN Would you like to come to our service? YOUNG MAN (CONT’D) The only way to see Jesus in heaven is to renounce your sins. SHANE (hands flier back) How do you know you are not preaching to the choir? You don't, and I take offense at your presuming I am anything other than a child of God. POV SHOT of a bar across the street with COLLEGE-AGE STUDENTS grouped around the entrance. SHANE (CONT’D) (pointing across the street) Shouldn’t you be handing those fliers across the street, also? Let's be fair. Sin is sin, girl. Just saying for the record. Good night and God speed you on your misdirected way! Shane throws a hand up before the stunned young man can speak, and he walks past him. Sarah loses her balance trying to keep up with him and has to run after him to catch up. She slides her hand through his arm for support. He gets in the car quickly. INT. CAR - NIGHT Shane sits in the car, pensive and aggravated. Sarah meekly gets in the passenger seat. SARAH Did they upset you? SHANE You are stating the obvious, you know? SARAH Want to talk about it....
35. SHANE I was nice to him... Sarah stares him down. SHANE (CONT’D) Okay, so I wasn’t exactly nice. There by but by the grace of God and a stick of mascara go I! Didn’t know I was a preacher’s kid, did you? SARAH You? No way! SHANE Mount Bethel River of Life Pentacostal Church of Something or Another that I have erased from my mind. My daddy started this church when he felt all the other churches weren’t good enough for him. SARAH Glory be! AMEN! SHANE Uh, huh! He sent me to reparative therapy when I said I wanted to learn how to sew. SEWING?
SARAH
SHANE Okay, I wanted to sew a ball gown to match my eye shadow, but he didn’t know that. Seriously, three years in therapy and it didn’t work. I had Bible quotes recited at me daily, and everybody prayed and prayed and prayed. My knees would hurt! (uncomfortably serious) He forced me to leave college. He forced me to pretend to be someone I am not ever going to be. I am glad I went through it because I would not be where I am now if I hadn’t. Now, all the brainwashing attempts, all the mental torture... None of it could change me. You know what they say about leopards? (MORE)
36. SHANE (CONT’D) You can't change a drag queen either. Sarah reaches over and grabs Shane's hand. SARAH I am glad you didn't change because you have the biggest heart... SHANE (interrupting, mood changes) The absolute biggest and a closet full of frocks. Honey, Neiman Marcus would die to get in my closet. They both stare at each other before falling out laughing. He starts the car and puts it in reverse. FADE OUT: EXT. STREET - DAY VERY EARLY MORNING. Frank bounces out of a motel room. He strides at a good pace along the sidewalk. He puts on his shirt as he walks down the street. He turns into the door of a corner store, still straighten his clothes as he walks in. INT. CORNER STORE - DAY BARRY, a large mixed-race effeminate man stands behind the counter. He searches through his phone when Frank walks into the store. Frank picks up a soft drink, a candy bar and the morning paper. BARRY (to the phone) Sarah, Sarah, Sarah, where are you? You can’t leave me hanging like this darling! FRANK Talking to yourself again, Jasmine? Frank puts his purchases on the counter. BARRY Frank, you know I am Barry when I am at work... Wise ass. (pointing to the phone) (MORE)
37. BARRY (CONT’D) This scourged soul on the Internet that has taken us on a trip into her cataclysmic life. She told us she was confronting her two timing husband... I want to know what happened... BARRY (CONT’D) (ringing up the purchases) Soda and a candy bar? Breakfast of champions? Frank digs down into the pockets of his tight jeans for his tip money. BARRY (CONT’D) You got a spring in your step this morning? Tell, tell! You got some last night? FRANK Just give me the total! BARRY (leaning over the counter) $2.98. I don’t want the details... What was his name? Tom? Dick? Harry? George.
FRANK
BARRY George? Was that his real name? FRANK (handing over money) It was the name on his credit card. BARRY That’s about as real as you are going to get these days! Look at you! Don’t tell me he’s a repeat? FRANK No. Just met him at the bar last night. He is visiting from Cleveland! BARRY (handing back the change) Cleveland! That would be a big move?
38. Frank gives Barry the evil eye. BARRY (CONT’D) Don’t look at me like that. You know you bears are like lesbians! Second date and you’re calling the moving company. BARRY (CONT’D) Watch it, or Miss Ruby's going to be laying her big ass out in front of that moving van. She ain’t ever going to let you leave! Surprise she doesn’t tie you up when you walk in the door... Frank starts gathers up his stuff and heads toward the door. FRANK Good-bye! Keep the change! BARRY Ah. Donation to my college fund. A minds a terrible thing to waste! Talking about Miss RUBY, remind that wench she lost that bet fair and square, and she owes me dinner! And it better be good! FRANK (at the door) Why? Jasmine, you know you never push away from a table. A half-empty water bottle barely misses Frank as he leaves. BARRY Damn bitchy for a bottom! He returns to his phone. INT. LIVING ROOM - DAY Frank enters the apartment. THE DOOR SQUEAKS, which wakes Sarah, who was sleeping on the couch in her clothes. She sits up, startled. She puts her hand up to block the sunlight coming through the open door. SARAH WHO ARE YOU? FRANK Frank Harris.
39. SARAH Where am I? FRANK You're in my apartment? My roommate, Shane Montgomery picked you up out of the gutter last night? Remember? SARAH I know that part. I mean, WHERE am I? Wait a minute. Frank Harris. My younger brother Scott had a friend named Frank Harris. FRANK You're Sarah Copeland? SARAH I was. Sarah Bland, now. I am... uhm, was married. FRANK Scott and I were friends a long time ago. How is he doing? SARAH I don't know. Married I guess. I haven't talked to him in a couple years. We had a falling out a few years back, and... FRANK Look, I didn't mean to wake you. I tried to sneak in. (beat) I have to get some sleep. I’m working an extra shift tonight. SARAH I’m sorry... I didn’t... Okay. Frank nervously leaves the room. Sarah lays on the couch, unable to sleep. She tosses around, then decides to get up. INT. KITCHEN - DAY She decides to make coffee. As she struggles to figure out the coffee maker, she knocks over the coffee grounds onto the floor. She falls to the ground and starts to cry. Shane comes out of his room. He wears flannel pajama pants, a t-shirt, a light robe and a pair of black-rimmed glasses.
40. Sarah composes herself suddenly. SHANE That was not enough beauty sleep! (noticing the catastrophe) You never learned how to cook? SARAH That obvious? SHANE Sit down and I will make the coffee. I like my coffee the way I like my men... STRONG! If the spoon don’t stand up in it, it’s too weak! You won’t get it right. Sarah sits down and holds her head. Shane proceeds to measure out the coffee and water. SHANE (CONT’D) Need an aspirin? SARAH Please. Can you put out the sun while you are at it? Shane puts a bottle of aspirin and a small glass of water in front of her. SHANE Buck it up Missy. You want to hang with the big boys, you better be able to do the hang over the next morning. SARAH Thanks. (beat) How many bars did we go to last night? SHANE How many didn’t we go to? It would be easier to count! Sarah begins a heart-gripping cry. She catches Shane staring at her with empathy. SHANE (CONT’D) Did I say something to upset you?
41. SARAH No, no. I’m sorry. I won’t do that again. I promise, (breathing deep) I will be strong and not let it affect me anymore. SHANE Famous last words. You need a tissue? SARAH No. It’s okay. Shane hands her the tissue anyway, then pats her arm gently. SHANE If you need to cry, go ahead and cry. This is a no judgment zone! Heaven knows I have balled my eyes out more than once over a man. SARAH I don’t know why I am crying. It... Our marriage was over a long time ago. It’s not like we ever had anything anyone would call a relationship? I am sorry, I should... SHANE (attempt to lighten the mood) Oh please, you put it all over the Internet for months now? SARAH I kept thinking if I talked about it, it would change. If I tried harder, dressed differently, changed my hair, my makeup... And...
SHANE
SARAH Nothing was working. It was like everyone involved in this marriage knew it dying ... from some malignancy, but none of us wanted to believe it. I keep hoping it would get better. I tried everything. (MORE)
42. SARAH (CONT’D) I kept hoping there will be a miracle and it will be cured. And then... it dies. Yet, deep inside, I knew it was going to die. (beat) When it finally ended, everything I thought I knew about myself, my value as person and as woman died with it. (snapping out of self-woe) SARAH (CONT’D) I’m monopolizing the conversation like I am the center of the universe... SHANE No, it’s okay... SARAH (angrily) No, it’s not okay for a man to do this to a woman! If it was another woman, I thought I knew how to deal with that. I could have competed. A man? I am clueless if there is anything I could have done. Shane bring the coffee pot to the table, pouring a cup for Sarah. He offers the cream and sugar. She waves to indicate she doesn’t want any. SHANE Probably not. (changing subject) Did Frank come home? Or was I dreaming again? SARAH Yeah, right before you came out. Funny thing, I already knew Frank. We grew up in the same neighborhood. He and my brother were best friends back in the day! Shane places another cup on the table and pours himself a cup of coffee. SHANE You just know everybody! SARAH You two a thing?
43. SHANE Wishful thinking. Now, setting the record straight, I am attracted to that burly, bearish appearance, cause I love me a man. But I am afraid my little boy doesn’t like men in dresses. What am I to do! (beat) Anyway, he needs to settle down some and stop gallivanting all night long with a sundry of men. SHANE (CONT’D) My drag momma always said, when I was a LITTLE GIRL, desperation doesn’t look good on most homosexuals. (loud whisper) I think she was right! He doesn't see it as desperation, yet. SARAH (changing the subject) Do only men do drag? SHANE No, some lesbians and other women do drag as men, but unfortunately that can be BORING. Sometimes it’s good. And there are some women who do drag like they are men dressing as drag queens. I think they just love the big hair and all the make up because they can let their inhibitions go! SARAH I think I could do drag that way? Shane nearly chokes on his coffee. FADE OUT. END OF ACT THREE
44. ACT FOUR FADE IN: INT. KITCHEN - DAY Shane recovers from nearly choking on his coffee. Sarah stands over him adamant to be heard. SARAH Do you think I could do it? SHANE Maybe. Let me put on my shades and look at this from a whole new light? Oh, yeah. It could work. Question is, do you want to do it? SARAH I am thinking about it. I think I would like to see what it was like to do it. To be somebody completely different. I never do anything wild and crazy... Never?
SHANE
SARAH No. Look at me. Straight and boring. I need to do something new and daring! SHANE Drag is not something to be taken lightly. Like straight boys do at Halloween. You know its opening Pandora's box? If you are sure, then do it! I have an idea if you're game? What?
SARAH
SHANE I have a show three days from now, and I can bring you on as my drag daughter! That is it! (beat) You, the most marvelous Sadly Sarah, can be MY DRAG DAUGHTER. I would give up one of my songs to introduce you to the world.
45. Sarah gives her an eye of disbelief. SHANE (CONT’D) Don’t look at me like that. Honey, you don’t know how I work. In three days, I can change the the Queen of England into a fabulous bitch. Come on, follow me.... We gotta WORK! Shane picks up his and her coffee and takes her by the hand, dragging her into the bedroom. INT. SHANE’S BEDROOM - DAY The room is an explosion of organized chaos. Some type of sheer ethnic cloth with color over the window, bathing the room in a bohemian feel. Clothes for both genders are laid out on a chair. Old school vintage bed. A antique vanity with loads of cosmetics and a fancy bench. He picks up the clothes from the chair and moves them to the unmade double bed. He pulls the chair up to the vanity, and places her in the chair. He sits next to her and starts making her up. Daughter?
SARAH
SHANE Not my real daughter. Girl, I am not that old. SARAH How about your sister? SHANE I have always wanted a sister, but no. You are the protege. You are the daughter! And in just three days, Miss Sadly Sarah will have her grand coming out! And no body will see it coming! SARAH What is the story with you and Frank?
46. SHANE Frank is part of my family. Honey I have had a tribe of "family" members who have come through those doors. Some for a day or two. Some for longer, like Frank. Some are invited to stay, like Frank, and some are shown the door, like Miss Jasmine Marie Opal, that bitch, I though she was never going to leave. Put a ditch in my sofa cushions. But I digress. (beat) You said you knew Frank? Did you know that Frank’s father threw him out when he was fourteen for being gay. Stayed with his mother and step-father till they threw him out when he was fifteen and a half. He had nowhere to go but on the streets. Hustled, prostituted to stay alive. Nearly died out there. I picked him up at 17 and a half... Sarah has a questioning face. SHANE (CONT’D) Quit squinting and get your mind out of the gutter... It wasn’t like that. He was desperate and out on the street, with no one caring about him. He had one foot in the grave when I pulled him up and helped him. I was a youngster myself, but I could not see him dying out here. Oh, no, Satan, you weren't taking my little boy. SARAH You’re always picking up strays... SHANE Just like I did for you? True.
SARAH
Shane turns her to the mirror. Sarah is surprised by the transformation. SHANE What a transformation a little makeup will make.
47.
A little?
SARAH
SHANE It’s a day face! Sarah pauses while she looks at herself in the mirror Shane gets dressed in the background. Thank you.
SARAH
SHANE It was nothing! Now, we have to find you something to wear. Because honey, you don’t shop at the big girl stores. And that is all I have here. Shane gets up, throws on a sweater coat over his arm. SHANE (CONT’D) Are you coming! SARAH I have clothes... SHANE We have to do something about those things you have on. Missy, what were you thinking when you bought them. SARAH They cost a lot! SHANE Cost a lot and whole lot of ugly! Maybe a bonfire? Come on They head out the door together, Sarah following behind. MUSIC UP on “SONG TO BE DETERMINED.” INT. SHOPPING MALL - AFTERNOON (MONTAGE) Shane leads Sarah from store to store. Gradually Sarah carries more and more bags, while Shane throws another one at her.
48. INT. SHOE STORE - DAY Shane and Sarah survey shoes in racks. Sarah pulls out a conservative pair of flats. Shane puts them back on the shelf and pulls out a pair of stripper heels. Sarah tries to object, unsuccessfully, but Shane picks up a fabulous pair of heels and takes them to the register. INT. DANCE STUDIO - NIGHT The DANCE INSTRUCTOR leaves as Shane and Sarah walk in, dressed for rehearsal. Shane wears tights and an oversized shirt, and a pair of heels. He is wearing shades at night. Sarah has on gray slacks and a white blouse, and the pair of stripper heels in her hands DANCE INSTRUCTOR How long are you gonna need it? SHANE (glancing at Sarah) I am afraid this is going to be an all-nighter. DANCE INSTRUCTOR Lock it up. You know where the lights are? SHANE Of course! Not my first rodeo! DANCE INSTRUCTOR Because last time you didn’t, Blanche! (air kisses) Love ya, mean it. SHANE Bitch. Love ya. The dance instructor exits. Sarah sits on the ground, putting on the heels. She stands up like she is wearing stilts. Shane grabs her by the arm, pulling her forward, almost tumbling her. SHANE (CONT’D) Okay Girlie, I need to see you walk. Walk like you mean it. She starts to walk like a toddler, arms out. Shane walks behind her, knocks her arms down. MUSIC UP.
49. SHANE (CONT’D) Hands on your hips. Move those hips like you mean it. Come on. Shane gets instantly disgruntled with her walk, then walks in front of her to demonstrate. SHANE (CONT’D) Give me some fabulous! Think like you are walking on a runway and every eye is on you. You have to walk like you are one bad ass broad, you look great and you want everybody to know you look great. (beat) Now you do it. MONTAGE - VARIOUS A. INT. DANCE STUDIO - DAY - MULTIPLE SHOTS of Sarah trying to walk, but she continues to fall forward or have her ankles buckling under her. B. INT. DRESSING ROOMS - DAY - MULTIPLE SHOTS of Sarah walking out of the dressing room with something ill-fitting. Shane sends her back. C. INT. CLOTHING STORE - DAY - Shane thumbs through racks of clothes, while Sarah gets impatient with the process. Shane pulls out multiple dresses, piling them on Sarah, who walks off again to the dressing room with an armload. D. INT. COSMETIC COUNTER - DAY - Shane tries out garish colors of eyeshadow and lip color on Sarah, who looks like a whipped dog. E. INT. MALL - DAY - Shane walks through the mall at a good pace. Sarah carries several even more shopping bags, while Shane leads her through the mall, heading for the next store carrying the same single small gold shopping bag. Sarah slows down to shift the weight of the parcels, and he pulls her along to catch up. F. INT. CRAFT STORE - DAY - Shane pulls out a huge chunk of foam rubber, and places it up against Sarah back end and her breast. Sarah keeps pushing him away.
50. INT. DANCE STUDIO - DAY SHANE (V.O.) (while clapping) Again. Walk it like you mean it. Walks one two three. Move that booty like you mean it. Sarah gets better at walking but still struggling. Shane shows some frustration. SARAH Can we take a few minutes? Please? Shane pats his brow with a towel. SHANE Yeah, you are getting better, but you have a long way to go. They walk over to some chairs, by the barre, and Sarah stumbles. Shane grabs her and seats her in one of the chairs. She throws the towel toward Sarah. SHANE (CONT’D) Didn’t your momma ever teach you how to walk in heels? Not those little things you had on. A real heel! Sarah looks away, takes a beat. SARAH Its just been me, Scottie and Daddy since I was eight. Shane’s face shows seriousness. Beat. SHANE I just assumed... SARAH No, no. How could you know? (beat) Momma had a dream of being a singer, but she was diagnosed with breast cancer when I was a little girl. Stage four. She didn’t have a chance.
51. SHANE I’m sorry. Here, I’ve been complaining about my own family, and you have been through all of this. SARAH. How could you have known? I never talked about her. Some days I have trouble remembering her. SHANE Woh! Woh! WOH! I am getting a little teary eyed here! I can not do serious for too long! Lots of times when I am hurting, I lighten the mood... I don’t mean anything by it... SARAH I’m getting to know you better. It’s okay... You know, she never realized her dream. SHANE Then you need to realize it for her. This is your chance! This is your chance to do it for your mama. Now get up and do it! SARAH (mocking salute) Eye-Yi Sir! SHANE Ma’am will do! SARAH More like Mother Sergent Superior... Shane guffaws as he snaps his fingers and drags Sarah back to the floor. INT. SHOPPING MALL - DAY They head for racks of clothes. SHANE Have to find you the right statement piece!
52. SARAH (holding up a boring dress) These aren’t that bad? SHANE (giving the look over his sunglasses) Just because you asked that question means you don’t believe it. SARAH My husband liked me in gray. SHANE Enough said on that subject. Seriously, why would you take fashion advice from a man! SARAH Instinctively? He is with another man, now! I guess... SHANE Coincidence! All men do not have good taste! SARAH I was always afraid to try colors. SHANE Color is our friend. That and rows of ruffles to hide the imperfections. Shane throws together different dresses and pushes her by the shoulders toward the dressing rooms. SHANE (CONT’D) Go try these on and lets see what we’ve got. INT. DRESSING ROOM - DAY Sarah walks out with a dress. Her demeanor is very tired, so she swings her arms. SARAH Is this good enough
53. SHANE Good enough is NEVER good enough. We aren’t going for good enough. We are going for FABULOUS. Go try the last one. She storms off. Shane chuckles to himself as she leaves. The sounds of her changing into the clothes. She grumbles to herself as she changes. She exits out. We do not see the dress. SARAH (determined) I am taking this one no matter what you think! Shane turns to her, approving. SHANE Perfection. EXT. CLUB - NIGHT Shane holds court with the patrons at the door, while Sarah tags behind him. They have their makeup started, and Shane wears a shake-and-go wig. Shane has a pink bathrobe and high heels, while Sarah wears jeans and one of Shane’s t-shirt. Shane sashays into the club, with a single wig form and wig, and a single large tackle box of makeup. Sarah carries garment bags, dresses, wigs all over her arms, to the point where we can barely see her. Jason walks into the club door in front of them with his arms around Landon. Sarah recognizes him, but he doesn’t see her, because she turns herself away from him. She has that look in her eyes of somebody ready to run. Shane grabs her before she has a chance to dart. Shane recognizes something wrong, and pulls her into the club door. INT. DRESSING ROOM - NIGHT Shane starts pulling wigs and dresses out of Sarah’s arms. Sarah seems overwhelmed as the clothes and hair start flying. She stands behind Shane, holding the remaining stuff that Shane has not sorted through. From the piles of stuff, Shane pulls out a HUGE blond teased wig, that she starts fluffing.
54. RUBY Here it is. I was afraid I left it at home. I am giving you one of my best, but you can only borrow it. After tonight it comes back to Momma. RUBY takes the outfit in the garment bag from Sarah, staging the dresses, wigs, makeup. SARAH Do you think it is too much.... RUBY Never! It has to be over the top. You are the fledgling child of a drag queen. Besides, you are not going to walk out there like the Sadly Sarah I meet three days ago on the curb. This new Sadly Sarah is kicking some ass and taking names later! SARAH I don’t know if I can do this. She turns around and starts to head toward the door, but Shane grabs her. SHANE The nerves will go away. Just relax and have fun. SARAH It’s not the nerves... SHANE Your husband? You saw him, didn’t you? He’s here? Sarah looks at her unbelieving for a moment, then shakes her head and bites her lip nervously. INT. CLUB - NIGHT Shane pulls Sarah to the curtained doorway to purvey THE CROWD. POV as they scan the audience. SHANE Okay, which one is he?
55. SARAH (looking around) I don’t see him... Sarah sees Jason standing near a pole with Landon. SARAH (CONT’D) Wait. He’s over by the pole with that young guy. In the gray jacket... SHANE Uh, hum. That little nelly thing that Landon has been seeing? Honey, you can do a whole lot better than that! (beat) Landon could do better than that. Jason looks toward them, and Sarah pulls back behind the curtain, hyperventilating. SHANE (CONT’D) I hate to say this, but you have to face him one way or the other. SARAH I don’t know if I am ready? ... I am going to make a fool of myself... (growing hysteria) Look, I am just not going to do it! INT. DRESSING ROOM - EVENING Shane moves the stuff away and sets Sarah in a chair. She turns to another DRAG QUEEN who is waiting. SHANE Two doubles. PRONTO. The drag queen cuts his eyes as he exits. Shane turns Sarah to face him. SHANE (CONT’D) Honey, this is your independence day. It like today is the fourth of July, and YOU ARE THE FIREWORKS! SARAH I can’t go out there knowing that he’s there...
56. SHANE Do you want him to control you for the rest of your life? Because right now, that's what's happening! The drag queen brings back the shots. Shane gives one to Sarah, who downs it, then take the other from Shane. SARAH He’s not controlling me... SHANE Then prove it! You have been waiting in line your whole life for standing room only. Now is the time to walk through and take your place at the head of the line. Like walking the red carpet, past the paparazzi... (beat, intimately) Sarah, when I am finished making you over, he is not going to recognize you. Not tonight, not any night! This is finally your time to be the woman you have always wanted to be. A super hero! Strong. Independent. And finally free. Don’t let him get in your head. SARAH What if I mess up? SHANE You mess up! And you keep going! It is just like life! Look... (beat) You are a natural entertainer. You have thousands of people who love Sadly Sarah online. You can’t let those people see you buckle because of this man who didn’t want you in the first damn place. SHANE (CONT’D) Don’t let him hold you back anymore. (beat) When you finish this number, you are going to be a different woman. Besides, you walk away from this, you are going to regret it for the rest of your life. You need the power to walk away from him.
57. Shane shakes his head at Sarah, with a single determined snap of the fingers. Sarah reaches over and hugs Shane hard. Shane wipes the tears from her eyes. SHANE (CONT’D) Stop crying, because you are going to make me cry. And big girls don’t look good when we cry. (beat, both laugh) Now, hurry up, I still have to put your face back together. Chop, chop... Show starts in fifteen minutes and you are still not dressed. Shane starts pulling off Sarah’s street clothes and begins the transformation. SHANE (CONT’D) Somebody give me the duct tape. I need to pop those things out of that brassiere. AB LIB the ensuing battle, FADING OUT AUDIO. INT. CLUB - NIGHT Sarah stands in the back of the room, behind a door frame. Various DRAG QUEENS around her are getting ready for performances. There is a lot of activity around her. She practices her steps and arm movements, from her POV. ANNOUNCER Ladies and Gents, put your hands together for our next entertainer. Coming to the stage, the always illustriously elegant... Ruby Pamplemousse. Shane comes past Sarah as Ruby, patting her on the shoulder, mouthing good luck. He slips a feather boa around Sarah’s neck. The energetic crowd chants Ruby’s name as he sashays through to the stage. SHANE Oh, Thank you for your warm welcome. Usually at this time of night I am the stage hog, no remarks from the peanut gallery... But this evening I am going to give this song to MY drag daughter. Yes, yes! (MORE)
58. SHANE (CONT’D) I, Ruby Pamplemousse, have a new Drag Daughter. You didn’t even know I was pregnant! My daughter is a DIVA! For those of you who are not in the know, a DIVA is a biological woman who dresses and encompasses all the fabulousness of a drag queen to perform. Without any further delays, you may know her already from her vlogs... My daughter, my first born, Sadly Sarah... MUSIC UP on “SONG TO BE DETERMINED.” Sarah jumps out of selfconscious rehearsal mood. SARAH Oh... I guess I am on! Showtime! Sarah walks to the stage. First shots of her taking the first steps in a pair of red platform heels. Change to the front shot, which is the first time we see the full transformation. She walks on stage, with Shane offering a hand to help her up the steps. She performs like a natural. Sassy, sexy. Shane behind her, acting as her background singer/dancer. Sarah’S POV - Jason and Landon at the bar, close, talking and smiling, ignoring the action on stage. Sarah glances at them, and in a natural break in the song, she struts off the stage. She acknowledging members of the crowd, taking dollar bills as she heads for the bar. She walks right up to Jason, and throws her foot right into his crotch. She pushes Landon out of the way, takes her boa off and wraps behind Jason’s neck, leaning in close to him. He recognizes her suddenly. JASON (disbelief) Sarah? SARAH Didn’t think I was capable of this? It's amazing what can happen when I throw the riff raff, namely you, out of my life. She pulls the boa away, throwing it over her neck, empowered. She symbolically wipes her hands together like it is part of the song. SARAH (CONT’D) You are nothing to me. You are dead to me. (MORE)
59. SARAH (CONT’D) I am through shedding tears for you. Welcome to my independence party! Jason’s eyes go wide. Every eye in the room is on him. He storms out of the bar, stumbling on his own feet as he leaves. Landon follows after him. Sarah goes back on stage, smirking. She drags the feather boa behind her and snaps it like a whip when she gets to the edge of the stage. Shane gives her a side glance, proud. They finish the song FADE OUT: END OF ACT FOUR
60. TAG FADE IN: INT. DRESSING ROOM - NIGHT The drag queens come off the stage. Wigs and frocks are flying all over the place. Shane sits down hard in a chair to catch his breath. Sarah comes behind him, still elated from the performance. SARAH That felt good! SHANE You Diva! Look at you all dolled up and full of spunk! SARAH Did you see his face? When he realized it was ME! SHANE (fixing makeup) I think everybody in the bar saw his face! Missy, you scared him to death! SARAH Good. He had it coming! SHANE Look at you! A pure certified diva! SARAH Thanks to you! SHANE (changing clothes) Oh no, no! Most of this was already there! This girl just wanted to get out of that sea of gray and boredom. I just pushed a little bit to get the rest of it out of you! Girl, you exploded! SARAH No more standing in line... SHANE Should have never settled for second best! Here, zip me up!
61. SARAH What about you? Settling... (nodding toward the bar) Your turn... SHANE Oh deary, please. I am not sure if I want to settle down and have the American dream yet. Me in a little house dress and a white picket fence. (beat) Then again, it would be nice to have a permanent indentation on the other side of my mattress! (snickers, as she throws on a new wig) But, it’s going to take a lot more than a wig and some makeup to get me a man I can call my own. But you never know! The new song ques up. Shane hurries toward the door, but steps back in for just a second. SHANE (CONT’D) (beat) Miracles happen every day! Shane exits toward the stage. Sarah watches her start her act, then walks back to the mirror in the dressing room. She is the only one in the room. She takes off the wig, examines it. Confidently she tosses it to the side. She takes off one false eyelash and then catches herself in the mirror. Her hair tussled, her make up sweated through. She looks at herself proudly SARAH (forceful whisper) I am strong. Confident. She runs her index finger lightly down the side of her face. SARAH (CONT’D) ...AND underneath it all, beautiful! She sits back self-satisfied with herself. FADE OUT
62. END OF TAG