"Give it up. The pretty boys always end up with each other. Who wants to be seen in public with you, much less sleep with you?"
Harris, a flamboyantly gay young man in his late teens/early twenties, has just gotten the brushoff from Linc, a handsome athletic young gay man who simply looked right past him - right over to Harris' friend Spencer, in a dog suit. Granted, the dog suit is a life-size recreation of Skippy the Wonder Dog, a popular cartoon character that gave Linc a welcome flashback to his childhood, but still, Harris gets overlooked a lot by the "straight-looking, normal" gay set. The fact that Harris knows Spencer within the dog suit is another of those regular guys doesn't help any either. While Linc goes off to find comfort with Spencer, Harris retreats to the men's room to try and pull himself together.
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copyright 2001 by Matthew A. Everett
Emphasis shifts to HARRIS in a pool of light meant to represent a men's restroom.
The sound of a toilet flushing should be the main thing that establishes this space.
The most set-wise that would be needed is a paper towel dispenser of some sort. The sinks, mirrors, stalls and urinals can all be indicated either by the movement of the actors in the space, or with the barest framework suggesting where the items might be located in the space. Actual urinals, sinks, stalls and mirrors will only get in the way. They aren't the point of the scene, and they shouldn't be on stage.
HARRIS has been crying a little but is pulling himself together as the light finds him. He stands downstage, at what would be the sinks and mirrors, the paper towel dispenser nearby, and looks out toward the audience as if looking in a mirror.
He finishes wiping his eyes. He grabs a towel and blows his nose with an enormous honking noise.
He mimes getting some water from the sink to fix his face, and does so. He looks himself over in the mirror again.
HARRISPull yourself together, man. He's just a guy. Another guy. Just the death of possibility, and hope. You've been here before.
The light changes to something not quite real.
LINC and SPENCER, strangely not in the dog suit - appear in separate pools of light on either side of the rest room area.
LINCPlease. You didn't honestly think you stood a chance with me, did you?
HARRISA girl can dream.
LINCYou're a throwback. An embarrassment.
HARRISOK, so I like Judy Garland and Patsy Cline. They seem to understand what I'm going through.
SPENCERWhat are you, The Homo That Time Forgot?
HARRISAND they're good singers.
LINC snorts derisively.
HARRIS (cont'd)I can't stand Barbara Streisand and I know almost nothing about showtunes. Don't I get points for that?
LINCWell, maybe if you didn't have this prancing act of yours going on all the time --
HARRISThis is not an act. This is who I am.
LINCWell, good luck with that.
LINC fades into the dark.
SPENCERMaybe if you were a real man.
HARRISI am a man. A little more in touch with my feminine side than most, maybe, but --
SPENCERGive it up. The pretty boys always end up with each other. Who wants to be seen in public with you, much less sleep with you?
HARRISHey, I can get sex, no problem.
SPENCERYeah, but does anyone hang around long enough to actually date you?
HARRISI'm working on that.
SPENCERSet your sights a little lower and maybe you won't wind up spending the rest of your life alone.
HARRISIngrate. I helped you get this job.
SPENCERJust because you wanted to get in my pants.
HARRISA fleeting thought. Very fleeting.
SPENCERKeep telling yourself that.
HARRISEven in the same dog suit, they like you better.
SPENCERCan you blame them? Dump "politically aware" and "culturally savvy" and just get a friggin' gym membership.
HARRISThis isn't you. I know you're my friend. I know you like me.
SPENCERWell, good luck with that.
SPENCER vanishes into the dark.
The light returns to normal.
HARRIS shakes it off.
HARRIS (cont'd)I gotta stop eating cold pizza for breakfast.
copyright 2001 by Matthew A. Everett