Screenplay / Husband & Wife

FADE IN:

Opening credits roll over the following scenes.

INT. LIZ’S BEDROOM—DAY

Large room, nicely furnished.  

Elizabeth LIZ Green, thirty-nine, (though she looks ten years older) stands in her CLOSET in her underclothes; an unflattering pair of huge white bloomers and the original Playtex Cross Your heart bra.  

The closet’s content is a neutral mix of white, tan, black and navy blue, void of any color or prints.  Liz emerges holding a crisp white blouse and a long navy skirt.  She gently lays them onto her perfectly made king size canopy bed.

INT. SHELLY’S BEDROOM—DAY

Tiny room, old worn furniture.  

Pink clothing item after pink clothing item flies onto the unmade twin bed that is missing a headboard.  

Michelle AKA SHELLY, forty-one, (though she looks ten years younger) in her thong and padded push up bra tears through her dresser drawers tossing the clothes behind her.  Finally she finds what she’s looking for.  She smiles as she pulls out a super short black spandex skirt.

INT. LIZ’S BEDROOM—DAY

Liz carefully pulls on a pair of stockings.

INT. SHELLY’S BEDROOM—DAY

Shelly lathers peaches and cream lotion up her long shapely legs.

INT. LIZ’S BEDROOM—DAY

Liz steps into a pair of penny loafers, and yes there’s a shiny penny in them.

INT. SHELLY’S BEDROOM—DAY

Shelly steps into a a pair of hot pink pumps.

INT. LIZ’S BEDROOM—DAY

Liz sits down at her vanity.  She brushes her graying hair into a ponytail.

INT. SHELLY’S BEDROOM—DAY

Shelly bends down so she can see into the broken mirror balanced on her dresser.  She takes a curling iron to her long luscious locks.

INT. LIZ’S BEDROOM—DAY

Liz moistens her lips with lip balm.

INT. SHELLY’S BEDROOM—DAY

Shelly applies the perfect shade of pink lip gloss to her lips.  She smooths her lips together and then winks her approval at her reflection.

END CREDITS

INT. COLLEGE LECTURE HALL—DAY

Behavioral psychology professor DR. PETER KLEIN, 76, short, thin, white-haired man with an animated attitude and subtle mad scientist demeanor addresses his newest class of ignoramuses.

As he talks students pass around syllabi with his information at the top of the page, “DR. PETER KLEIN, BEHAVIORAL PSYCHOLOGY 272”

DR. PETER KLEIN
By a show of hands how many people think that gender and sexuality are innate, that it’s something you’re born with and have no control over?

Just about everyone’s hand in the room goes up including that of eighteen-year-old ANDY Richard Greene AKA Mannie.

Dr. Winston nods his head while looking around the room.

DR. PETER KLEIN
(mumbles to himself)
Um hmm, Um hmm

Irritated the professor motions for everyone to lower their hands.

DR. PETER KLEIN
Come on people this is a behavioral psychology class!  Nothing is innate; everything is learned.  And since everything is learned, including gender and sexuality, what does that imply?

Dr. Klein looks to the class but no one raises their hand.

DR. PETER KLEIN
Come on all you brainwashed liberal thinkers of the twenty-first century.

He waits again for a response.  Irritated he gives his clueless class the answer.

DR. PETER KLEIN
If behavior is learned that means it can be unlearned.  Gender and sexuality are learned behaviors that can be controlled…

Some of the students shake their head in disagreement.  Dr. Winston notices the dissent.

DR. PETER KLEIN
I see some heads shaking out there.  Is what I’m proposing something that you disagree with?

The majority of the students nod their heads.

ANDY
(yells)
Yes!

DR. PETER KLEIN
(addresses Andy)
I can understand why you all would find such
(air quotes)
~radical concepts, so hard to believe given world  the world we live in today that’s why I have the scientific proof to back me up.  During the course of our semester together we’re going to learn about some of my earlier experiments where I successfully reidentified the gender of a
(air quotes)
Transsexual.  Whether or not you want to believe it people you were not born masculine or feminine, gay or lesbian.  Those are all learned behaviors.

INT. GARAGE—DAY

SUPER: “Two weeks earlier…”

Garage is neat and clean.

Liz is dressed in her usual day off attire, blue jeans, tennis shoes, and a button down flannel shirt.  She hands the last box up to Andy.  He places it in the truck bed and then jumps out.

ANDY
Well that’s it.

Out of nowhere Liz’s busts into loud sobbing.

ANDY
(shocked)
Mom?

LIZ
I’m sorry Andy.

Liz makes an effort to stop herself by sucking in her sobs but fails.  She wails louder.  

ANDY
Are you okay?

She waves it off as though nothing is wrong.

LIZ
(between sobs)
I’m okay.

Liz snorts.

ANDY
Geez mom.  

Andy looks around for something to offer his mom so she can blow her nose.  He spots some paper towel.  He tears a sheet off and holds it out to his mom.

ANDY
Here

Liz looks up and takes the paper.

LIZ
Thanks

She loudly blows her nose.  Once she’s regained her composure she looks over to her only son and smiles weakly.

LIZ
You’re all grown up.  Moving on.

ANDY
I’m only thirty minutes away.  It’s not a big deal.

LIZ
It is.  It absolutely is.  I know that these past few months have been real shit for you and I apologize for that.  I’m really, really sorry.  

ANDY
Mom it’s over.  It’s whatever.

LIZ
(cringes)
It’s not whatever!  Is that the only word you have in your vocabulary to describe your emotions?  It’s not ~whatever that he isn’t here.  You’re going to college for Christ sakes.  Don’t you think your father should be here to see you off?

Andy doesn’t reply.

LIZ
Well don’t you agree?

Andy shrugs.  

LIZ
Of course you don’t.  The man can do no wrong in your eyes.

ANDY
Geez!  Why can’t you just cut him a break?

LIZ
(eyes wide)
Cut him a break?!  Do you know the bind he left us in?  No child support, no college tuition, no…

ANDY
Mom I know how hard you work but dad isn’t out there shooting the breeze.  Things aren’t easy for him either.

Liz’s eyes grow wide.

LIZ
Do you know where he is?  Have you been talking to your father?

Andy doesn’t answer.

LIZ
I swear boy you’d better tell me…

All of a sudden Liz flushes red.  

LIZ
...So help you.  
(fans herself)
It’s so hot all of a sudden.

Sweat suddenly beads up over her forehead and brow.  It runs down her face.

ANDY
Are you okay?

Andy lifts his shirt up and moves to wipe Liz’s brow with it.  

LIZ
(steps back)
Don’t you do it.

He pulls off another paper towel and holds it out to his mom.  Just as Liz is about to take the towel he snatches it out of her reach.

ANDY
(dangling the towel)
If I tell you where dad is will you promise to listen to what he has to say?

LIZ
Give it to me Mannie.

ANDY
Promise first.

Liz lunges for the towel.

ANDY
Woah Nellie!

Playfully Andy sidesteps her.

Liz loses her footing and falls to the floor.

ANDY
Mom!

Concerned Andy drops to his mom’s side to help her up.  

Liz cuts him a dirty look then snatches the paper towel from Andy’s hand.  Without bothering to get up she wipes the sweat from her face.  Andy sits on the floor next to her.

ANDY
I’m sorry mom.

LIZ
Just tell me where he is.

INT. OASIS DAY SPA—DAY

The Oasis Day Spa is really a hair and nail salon but since it offers facials as well the owner MINNIE, a mature, woman with a killer haircut and saw no issue with using the word spa instead of salon.

Shelly, in a super short black skirt, pink pumps and fitted black baby-tee enters the spa.  Around her neck is her beloved butterfly necklace.  Everyone in the room as the attention turns to Shelly who looks completely out of place.

Oblivious to their stares she approaches the RECEPTIONIST.

SHELLY
Hi,

She tosses her hair as she removes her sunglasses.

SHELLY
I have an appointment with Ms. Minnie.

RECEPTIONIST
(points to Minnie)
She’s right back there.

Shelly’s walk is like a model on a runway.  She takes long exaggerated strides towards Minnie who has a client in her chair.

Both Minnie and the client look at Shelly as though they can’t believe their eyes.  Minnie lowers her glasses to get a better look as Shelly approaches.

SHELLY
Ms. Minnie?

MINNIE
Yes?

SHELLY
Hi Mama, I mean Ms. Ann referred me to you.  I’m Shelly, from Oasis House.

MINNIE
(disbelief)
You’re in the shelter?

SHELLY
(apologetic)
For now, but I plan to have a place of my own soon.

MINNIE
Um hmmm

SHELLY
I really appreciate you giving me a chance.  

MINNIE
Oh nothing’s been decided yet.  Did you happen to bring a resume with you darlin?

SHELLY
Yes, I did.

Shelly fumbles around in her over filled bag but can’t seem to find it.

SHELLY
I know I put it in here.

Finally she pulls out a paper.  She goes to hand the paper to Minnie but drops it accidentally.

SHELLY
Oh sorry.

She bends down to pick up the paper revealing her thong.  Minnie and her client GASP.  Oblivious Shelly retrieves the resume and hands it out to Minnie.

SHELLY
Here

Minnie doesn’t move to take the resume.

MINNIE
Why don’t you give that to the receptionist for me and I’ll give you a call after I make a decision.

SHELLY
(disappointed)
Oh, so that’s it?

MINNIE
That’s it.

SHELLY
Okay.  Well it was nice meeting you then.

She offers her hand.  Minnie shakes.

SHELLY
Bye

MINNIE
Goodbye

Shelly turns to leave.  Everyone watches as she walks.  She stops to give the receptionist her resume.

SHELLY
She said to leave this with you.

RECEPTIONIST
Thanks

The receptionist takes the resume and watches Shelly as she leaves.

EXT. OASIS DAY SPA—MOMENTS LATER

Shelly exits the spa and immediately tears run down her face.  She puts on her sunglasses.

INT. OASIS DAY SPA—CONTINUOUS

Minnie chuckles with the receptionist.

MINNIE
Who did she think she was, Mariah Carey or somebody?  Here hand me that phone.

The receptionist hands Minnie the phone and she dials a number.

MINNIE
(into the phone)
Hey Mama how ya doing?...Yeah?...What’s with this girl you just sent over to me?
(to receptionist)
What was her name?

The receptionist looks at the resume.

RECEPTIONIST
Shelly Greene.

MINNIE
(into the phone)
Shelly Greene Mama.  Do you know what she came in here wearing for her interview?

EXT. BUS STOP—DAY

Shelly waits alone at a bus stop smoking a cigarette.  A jeep with tinted windows pulls up slowly.  Shelly watches curiously.  Once in front of Shelly the passenger side window rolls down.  Shelly hesitates and then walks over.

An ELDERLY GENTLEMAN leans over to talk to Shelly.

ELDERLY GENTLEMAN
How are you doing little lady?

SHELLY
I could be better.

ELDERLY GENTLEMAN
I can make it better for you.

SHELLY
Oh yeah?

ELDERLY GENTLEMAN
Sure
(licks his lips)
How much are we talking about here?

SHELLY
What?

ELDERLY GENTLEMAN
Don’t play games with me sugar.  I’m an old man.  Just tell me how much you want.

Suddenly realizing what the man wants Shelly backs away.

ELDERLY GENTLEMAN
Where you going?

SHELLY
Go away!

ELDERLY GENTLEMAN
(yells)
Whore!

He rolls the window up and pulls off.

Protectively she folds her hand across her chest.

EXT. OASIS HOUSE—DAY

Liz looks confused as she reads the sign on the front of the building.

LIZ
(mumbles)
Oasis House?

She double checks the address.

LIZ
Eight-twenty-eight.

She pulls out her cell phone and dials a number.  She listens.

LIZ
(annoyed)
Great!

She flips the phone off.

A woman exits the building and Liz enters.

INT. OASIS HOUSE—DAY

Liz approaches the security desk.  PAULINE the security guard is behind the counter.

LIZ
Hi, What exactly is this place?

PAULINE
Excuse me?

LIZ
I’m sorry.  I’m looking for my husband.  I was told that he was here.

PAULINE
Well I doubt that.  This is a shelter for battered and abused women.

LIZ
It’s possible he might work here.  

PAULINE
I’m sorry Miss but how is that you don’t know exactly where your husband works or what he does?

LIZ
We separated and I haven’t heard from him since.  I got word that he was at this address.  I need to know, for the child support.

Shelly enters.  She walks up to the front desk.

SHELLY
Hey Pauline.

Shelly pulls off her sunglasses.

PAULINE
Hi Shelly.

Pauline buzzes the door for Shelly to enter.

At the same time Liz and Shelly look at one another.  Their eyes grow wide.  They both speak at the same time.

LIZ
Michael?

SHELLY
Liz?  Omigod What are you doing here?

Shelly tries to pull Liz out the door but Liz snatches away from him.

LIZ
Michael?

PAULINE
Excuse me Miss?  What’s going on?

LIZ
This is my husband.

Pauline looks to Shelly.

SHELLY
She’s crazy.

LIZ
What?

Shelly tries to pull Liz out the door.

SHELLY
Come on Liz.  Let’s talk outside.

LIZ
(snatches away)
Let me go!

PAULINE
I need to call Mama Ann.

Shelly rushes to the counter.

SHELLY
No!  Please?

But its too late.  Pauline is already on the phone.

PAULINE
(into the receiver)
You need to get down here ASAP.

She hangs up the phone.

Terrified Shelly turns to Liz.

SHELLY
Tell her you’re joking.

LIZ
About What?

MAMA ANN, a robust and matronly woman bursts through the door.  

MAMA ANN
What’s going on here?

She looks to Pauline.  Pauline shrugs and points to Liz.

LIZ
I don’t know.  Maybe my husband would like to fill all of us in.

MAMA ANN
Who’s your husband?

Shelly runs over to Mama Ann.

SHELLY
Mama Ann please let me talk to you alone.  Please?

MAMA ANN
Hold on now.
(to Liz)
Who is your husband Ma’am?

Liz nods to Shelly.

SHELLY
Mama Ann?  Please?

MAMA ANN
(to Liz)
What?

LIZ
(pointing to Shelly)
That is my husband, Michael.

Mama Ann looks to Shelly and then Liz and then Shelly.

SHELLY
(pleading)
Mama Ann.

MAMA ANN
Lord no.

SHELLY
Please just let me talk to you.

MAMA ANN
Now I’m going to ask you one time and you’d better not lie to me or God help you.  Is what this woman saying true?

Shelly looks angrily to Liz.

MAMA ANN
Well is it?

SHELLY
We’re separated.

LIZ
You abandoned us!
(to Mama Ann)
He left us.  For six months I had no idea where he was.

SHELLY
As if you cared.

LIZ
This is not about you.

SHELLY
It never is.  Everything is all about you.  The Liz Show twenty-four seven.  

LIZ
Oh, oh woe is me.  Enough with the bullshit.

MAMA ANN
Hey hey now.  We don’t need that kind of talk in here.  

LIZ
You know what this is ridiculous.  I I I can’t.  I can’t do this.  I cannot do this.

Liz marches out of the shelter brushing rudely past ANGELA, 28 as she enters.

ANGELA
Hey!

Liz doesn’t stop or turn around.

As Angela enters the shelter she immediately stops in her tracks upon seeing that something is wrong.  

ANGELA
Hey Shelly.

Shelly looks to Angela but doesn’t reply.

ANGELA
Mama Ann

MAMA ANN
Keep moving ~chile.  This don’t concern you.

Angela looks to Shelly but keeps moving as she’s told.  Pauline buzzes her in.

MAMA ANN
(to Shelly)
You need to come with me.

Shelly obediently follows behind Mama Ann.  Pauline buzzes them in.  Mama Ann opens the door for Shelly.

MAMA ANN
Go on down to my office.  And not a word to anyone.

SHELLY
Yes

Mama Ann holds the door open and watches her retreat down the hallway, past Angela.  Shelly doesn’t even look up to acknowledge her.

Mama Ann turns to Pauline.

MAMA ANN
This stays between us, you hear?

PAULINE
Of course Ms. Ann.

Mama Ann lets the security door close.

INT. MAMA ANN’S OFFICE—LATER

Mama Ann closes the door to her office.

Shelly sits in a chair in front of her desk.  Her face is wet with tears.  Mama Ann sinks into her chair.

SHELLY
Mama Ann I’m so sorry,
(starts to cry)
~so sorry.

Mama Ann takes a deep breath in and lets it out slowly.

MAMA ANN
Michelle,
(and then)
Well I guess you’re not Michelle are you?

SHELLY
Oh Mama Ann you know me.  You know me.  

MAMA ANN
What I know is that you need help.  What you’re doing is not natural.  It’s not right.

SHELLY
Mama Ann, you just don’t understand.

MAMA ANN
(jumps up)
No you don’t understand.  This is a home for battered and abused women, women.  I’m sorry but you need to leave here tonight.

SHELLY
(drops to her knees)
Please Mama Ann.  Please?

MAMA ANN
(refuses to look at her)
There is nothing I can do for you here.

SHELLY
I don’t have anywhere to go.

Mama Ann still refuses to look.

SHELLY
(stands)
This isn’t fair.  God did this to me.  He forsaked me.  I’m the victim here.  

MAMA ANN
(turns to face Shelly)
How dare you?

She walks over to Shelly and looks her straight in the eyes.

MAMA ANN
How dare you compare yourself to the women here.  They are victims.  You are a fraud and a liar.  The Lord has nothing to do with who you are.

Shelly breathes hard looking as though she wants to hurt Mama Ann.  Instead she turns and slams out of the office.

EXT. OASIS HOUSE—NIGHT

Shelly rushes out of Oasis House carrying a duffel bag.  Angela stands outside the door smoking a cigarette.  She sees her friend exit the shelter.

ANGELA
Shelly!

SHELLY
(calls back)
I can’t talk now Ange.

Angela rushes to catch up with Shelly.

ANGELA
Hey wait.

She grabs Shelly from behind.

SHELLY
(snaps)
What?!

ANGELA
What the hell is going on?

SHELLY
They put me out.

Shelly starts walking swiftly.  Angela struggles to keep up.

ANGELA
What?  Why?

SHELLY
Because they don’t want me there anymore.

ANGELA
Why not?

SHELLY
They just don’t.
(turns to Angela)
Please I have to go find a place to sleep tonight.  I’ll call you once I’m settled.  

ANGELA
Okay

Shelly walks off.

Angela watches Shelly walk away.

EXT. COLLEGE CAMPUS—NIGHT

Shelly waits under a tree.  A group of loud ~frat boys pass by.  She tugs at her skirt and retreats into the shadows.  She watches them pass.

ANDY
Dad?

Shelly startles and turns to see her son behind her.

SHELLY
Andy

She embraces him.

SHELLY
I’m so glad to see you.

ANDY
Why are you hiding in the shadows?  What are you doing here?
(sees her bags)
What happened?

SHELLY
Your mother.

ANDY
She came to see you?

SHELLY
You told her where I was?  Why didn’t you…

ANDY
I was going to call but I got caught up in my schoolwork.  My psych teacher’s a dick.

SHELLY
You shoulda told me Mannie.  

ANDY
I know.  I’m sorry.  
(and then)
What happened?

SHELLY
She outted me and they put me out.  Just like that.  I have nowhere to go.

ANDY
Oh Dad.
(hugs Shelly)
I’m sorry.

SHELLY
Yeah I know.  It’s not your fault.  That woman…

ANDY
My roommate’s gone for the night.  You can come up if you want.

SHELLY
Your sure?

ANDY
You’re my dad.

Shelly smiles weakly.  She puts her arm around Andy’s shoulders.  They walk away.

EXT. COLLEGE CAMPUS—DAY

Shelly and Andy exit the dorm together.  Andy waves bye to Shelly and then heads off in the opposite direction.  She pulls a door key out of her pocket and looks down at it.  She fingers it and then puts it back into her pocket.

INT. PSYCHOTHERAPIST OFFICE—DAY

Psychotherapist DR. KATHY KALINOWSKI watches as Shelly balls into a tissue.

SHELLY
She’s such a bitch.

DR. KALINOWSKI
Who Shelly?

SHELLY
My wife.

DR. KALINOWSKI
What about your wife has you so upset today?  Did you see her?

Shelly nods her head.

Dr. Kalinowski waits for her to continue.

SHELLY
She came by the shelter.  We had a fight and they put me out.  Now I have nowhere to go.

DR. KALINOWSKI
A physical fight?  You literally hit one another?

SHELLY
No.  We argued.

DR. KALINOWSKI
I don’t understand.  They put you out of the shelter because of an argument with your wife?

SHELLY
Yes

DR. KALINOWSKI
And that was it?

SHELLY
Yes

DR. KALINOWSKI
Would you like me to call and speak to them on your behalf?

SHELLY
No, no.  I don’t want to go back there.  Couldn’t you just find me another shelter?

DR. KALINOWSKI
TRC is the only shelter in the city that takes transgendered women.  Are you sure you don’t want me to call them?

SHELLY
(stands)
No
(grabs her purse)
I’ve gotta go.  I’ll see you next week, okay?

Shelly goes to leave.

DR. KALINOWSKI
Shelly

Shelly turns to Dr. Kalinowski.

DR. KALINOWSKI
You do know that in order for me to recommend you for surgery I have to feel confident that you’re ready for it.

SHELLY
What is that supposed to mean?

DR. KALINOWSKI
It means that I can’t feel confident  knowing that you’re keeping things from me.

SHELLY
You’re my therapist not my best friend.  I don’t have to tell you everything.

DR. KALINOWSKI
You don’t.  But you can’t lie to me either.

SHELLY
Well maybe we shouldn’t talk at all.

With that Shelly SLAMS out of the room.

INT. FAST FOOD RESTAURANT—DAY

Angela stares at Shelly as she eats her food.

ANGELA
I can’t believe it.

Shelly shrugs and continues to eat her fries.

ANGELA
I mean you’re so beautiful.

SHELLY
You don’t think I look like a slut?

ANGELA
Of course not.  If you’ve got it flaunt it right?
(and then)
Wait, so you were never married?  

SHELLY
I was married.  My wife came to the shelter yesterday.  That’s how Mama Ann found out.

ANGELA
(shakes her head)
Your wife.  So all those stories.  None of it was real.  You were never beat up.  Why did…?

SHELLY
(cuts her off)
I had to.  I had to.  I mean it wasn’t a complete lie.  She never hit me but I was abused, mentally.  She made me feel like crap.  I had to get out of there.  I had to stop pretending.

ANGELA
You should have told me the truth.

SHELLY
It didn’t matter.  I’m only a man on the outside.

ANGELA
I mean I guess I understand.  I just…I mean I don’t know what to say.

SHELLY
Ange I need your help.

ANGELA
What?

SHELLY
I need to borrow some money, just until I get a job and get on my feet.

ANGELA
You know all I’ve got is the money I’ve been saving so I can move to LA.

SHELLY
I know and I swear I’ll give it all back to you.

ANGELA
How?  You don’t even have a job.  

SHELLY
And I don’t have any place to stay either.  You don’t want me to sleep on the street do you?

ANGELA
No but Shelly I’ve been saving that for a long time.

SHELLY
Nevermind

Shelly gathers her trash.

ANGELA
Come on Shelly don’t go.

Shelly doesn’t answer.  She gets up with her trash.

ANGELA
Shelly

Shelly walks over to the trash can and tosses her trash out.

Angela turns to Shelly without getting up.

ANGELA
Shelly don’t be like that.

Shelly returns to the table and grabs her duffel bag without saying a word to Angela.

ANGELA
Shelly!

Shelly puts her sunglasses on and walks out the restaurant.

EXT. LIZ’S HOUSE—NIGHT

Shelly walks up to the dark house.  She pulls out a single key, looks around and then unlocks the front door.

INT. LIZ’S HOUSE—MOMENTS LATER

She enters the darkened house and quietly closes the door back.

She stands in front of the door and listens.  The house is silent.

After a few moments she tip toes quietly up the steps.

INT. HALLWAY—MOMENTS LATER

Shelly comes to the top of the steps.  She stops and listens.

The house is still silent.

She tiptoes down the hallway, past an open bathroom door.

She opens a bedroom door right next to the bathroom.

INT. ANDY’S BEDROOM—MOMENTS LATER

Shelly rushes into her son’s bedroom and tries to gently close the door.  Right before it closes it SQUEAKS loudly.

Shelly freezes and listens.  She doesn’t hear anything.  She takes a step forward and stubs her toe hard on something.

SHELLY
Owwooo!

Quickly Shelly covers her mouth.  She steps around whatever she tripped on and makes her way to the window.  She pulls up the blinds to let in the moonlight.

She sees what she tripped over, a set of weights.  She moves them away from the door then shoves her duffel bag under the bed.

She closes the blinds and then snuggles under the covers.  She closes her eyes.  Within moments she’s SNORING soundly.

Suddenly…

...BOOM!

The door to the bedroom flies open.

Shelly dives off of the bed onto the floor.  She covers her head.

Liz stands in the doorway holding a smoking forty-five at arms length, her hand shaking.

LIZ
(voice shaking)
Whoever you are.  I have a gun.

With her other hand she flicks on the light.

Shelly peeks over the top of the bed.

Liz swings the gun in her direction.  

LIZ
Michael?  Goddamnit I almost killed you.  
(drops the gun to her side)
What the hell are you doing here?

SHELLY
(holding her hands up)
You shot at me Lizzie.

Shelly can’t take her eyes off the huge hole the bullet made in the bedroom door.

Liz follows Shelly’s gaze to the hole.

SHELLY
What the hell are you doing with a gun?  

Liz looks down at the gun in her hand.  Suddenly she starts to sweat profusely.  She drops the gun on the dresser and rushes out of the room.

Shelly jumps up.  She grabs the gun and rushes down the hallway.

INT. BATHROOM—MOMENTS LATER

Liz’s robe and nightgown is on the floor.  Liz is in the shower.

SHELLY
(mumbles)
What the…
(calls out)
Liz?

LIZ
Get out!

Shelly hesitates.

LIZ
Now!

Shelly backs out of the bathroom and closes the door.  She looks at the gun in her hand.  She puts it on the floor next to the door and then walks downstairs.

INT. KITCHEN—MOMENTS LATER

Shelly enters the kitchen.

Liz enters the kitchen in her bathrobe.  Her hair is dripping wet.

LIZ
Why are you here Michael?

SHELLY
It’s Michelle.  My friends call me Shelly.

LIZ
So you think this is funny.

SHELLY
Funny!  Funny?  Do I look like a joke to you?

LIZ
Is that a trick question?

SHELLY
Can you try not to be a bitch?  Do you think you can do that for once?

LIZ
How dare you Michael?  How dare you?  

SHELLY
Dare I what?  You are a bitch Liz and you always have been.  A stone cold, heartless, frigid fucking bitch.

Liz glares at Shelly with hatred in her eyes.

LIZ
I’m a bitch?

SHELLY
You heard me.

LIZ
(voice cracks)
I’m a bitch.  I am.

Suddenly Liz dissolves into tears.

SHELLY
(disbelief)
Liz?

LIZ
Get the fuck out my house Michael.

SHELLY
(concerned)
Lizzie?

LIZ
Just go.

Liz rushes out of the room.

Baffled Shelly watches her.

INT. LIZ’S BEDROOM—MOMENTS LATER

Liz slams the door to her bedroom closed.  She flails onto the bed and lets loose.  She WAILS loudly.  Then after a few moments quiets down.

EXT. LIZ’S BEDROOM—CONTINUOUS

Shelly listens on the other side of the door.

INT. LIZ’S BEDROOM—LATER

Between sniffles Liz drifts off into sleep.

EXT. LIZ’S BEDROOM—CONTINUOUS

Shelly puts her ear against the door but can no longer hear anything.  She tiptoes down the hallway and then down the stairs.

INT. LIVING ROOM—MOMENTS LATER

Liz curls up on the couch.  She turns off the light.  For a while she stares into the darkness and then closes her eyes.

INT. EXAM ROOM—DAY

DR. WATTS, a burly Santa-like older man looks into Liz’s eyes.

DR. WATTS
Well you’re crying spells aren’t because something is wrong with your eyes.

He chuckles at his own joke.  Liz isn’t amused.  

DR. WATTS
Tell me, have you been under a lot of unusual stress lately?

LIZ
Yes

DR. WATTS
Well that’s it.

LIZ
(snaps)
It’s not!  
(softens)
I mean I never cry,  
(tears up)
And now I’m crying all the time.  I feel so out of control.

She lets go and cries.  Dr. Watts hands her a tissue.

DR. WATTS
There there.  There’s nothing wrong with a good cry every once in a while.  It does a body good to…

LIZ
No something’s wrong.  I’ve been having these intense hot flashes all of a sudden.

DR. WATTS
How about your cycle?  Has that been off as well?

Liz is quiet for a moment as she thinks.

LIZ
It has been erratic lately… Do you think it’s menopause?

DR. WATTS
Well what are you forty-five?

LIZ
Thirty-nine.

DR. WATTS
(blushes)
Yes of course.  Well thirty-nine is a little early for menopause but not abnormal.  

LIZ
I want a hysterectomy.

DR. WATTS
Pardon me?

LIZ
I don’t need anything down there anymore.  Let’s just get rid of it.

Dr. Watt’s laughs heartily.

DR. WATTS
Believe me you don’t want that.

LIZ
I do.

Dr. Watts sees that Liz is dead serious.

DR. WATTS
Well we don’t offer hysterectomy’s for menopause however I do understand what you’re going through and…

LIZ
How is that?

DR. WATTS
How is what?

LIZ
How can you understand what I’m going through?  
(suspicious)
Have you been through menopause before?

Dr. Watts laughs heartily again.

DR. WATTS
We can try hormone replacement therapy.  It’ll help mitigate the symptoms, balance out your emotions, and more importantly help you think more clearly.  How does that sound?

LIZ
No!
(jumps off the table)
I don’t want to take any more hormones.  No more!

Dr. Watts is alarmed almost scared by Liz’s fierce reaction.  He just looks at her.

Liz sees his discomfort.

LIZ
I’m sorry.  I just…I don’t want any hormones.

Dr. Watts uncomfortably laughs it off.

DR. WATTS
It’s okay.  There are other options.  Why don’t you sit back down and we can go over them.

Liz smiles weakly and sits back on the exam table.  

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