Trisha, Mary Ann, and Roger all wait on their drug dealer to arrive in their trailer house in Lamont, Oklahoma. Trisha and Mary Ann watch the news on their old broken down TV, sitting on the couch in the exact same position as they slurp down cereal, discussing conspiracy theories about everything from aliens to the OKC bombing between bites while Roger paces in the background. They’re all high on meth, their last fix before the meth dealer is supposed to arrive, dressed as the pizza man, which they keep talking about. Trisha’s cell phone keeps ringing but she doesn’t answer it, knowing it’s just bill collectors. Mary Ann asks why she doesn’t just silence her phone or block the numbers, and Trisha says you never know who’s gonna call. She’s the hopeful dreamer type, who’s always talking about how she’s going to move to LA and be a model. Mary Ann thinks she’s crazy, even though she’s her best friend. She just wants to settle down with Roger. She’s trying to get pregnant, despite the fact that she’s on meth and Roger doesn’t want to be tied down. He’s also fucking Trisha. Roger just angrily paces, occasionally throwing a chair or whatever’s around, and worries about the cops showing up. A southern gothic/comedy/exploration of the performance of gender, exploring themes of alienation, paranoia, and rural socioeconomics. A redneck waiting for godot.
