Third draft.

1. INT. BATHROOM. NIGHT.
Shown in an extreme close up, there are various pink things knocked over in LILY's bathroom.
In an in-and-out of focus shot, a more masculine LILY's chipped pink nail polish can be seen.
Her high heels, kicked over by the side of the tub, can be seen. In a close up shot, there is a doll
on her bed. In a medium shot, LILY is seen in the bathtub, wearing a torn dress. Her chest is
flat, and her hair is short. Her makeup is smudged across her face as though she's been crying,
and her eyes are closed. She is still, and the only sound is the tap occasionally dripping. In a
close up shot, there are four dead white roses in a water glass.
INT. BATHROOM. DAY.
In the same well-lit bathroom, LILY puts her nail polish on, blowing on it as it dries. The Beatles
"Here Comes the Sun" plays. The objects knocked over are righted in this shot, and titles
appear beside them. On her bedroom walls, there are certifications and awards in the name of
Charlie Ross.
The roses are still alive in this brief close up shot. In a close up shot, she rinses out her blonde
hair. The song fades, until LILY is left humming on her own.
LILY
(humming) Here comes the sun, here comes the sun
And I say it's all right...
In a medium shot, she wraps a towel around herself. It is clear from this shot that she is flat-
chested. She runs a hand over her chest and her hands tremble slightly. When she looks in the
mirror, she looks more like a man than a woman. Her hair is the same colour, but short. When
she shakes her head, her features are the same, but on a cisgendered woman. She runs a still
hand over her chest, where the towel swells in the shape of her breasts.
She takes a can of Venus shaving cream and puts it on her face, where a man would shave.
She picks up a pink, women's razor to her face, getting rid of some very short stubble. She
brushes her hair - almost shoulder-length - and puts it in to a matching towel, then walks across
to her bedroom. There is a close up shot of her running her hands over the various fabrics of
her closet. Most of them are men's clothing, but two or three are clearly women's. Her hand
lands on a pink dress. She pulls it out of the closet and rests it on her bed.
LILY sits down in front of a mirror and, looking around like she's afraid someone might see, she
pulls a small bag of makeup from a man's backpack. She brushes her hair hurriedly, drying it
with the towel. She puts on makeup like someone who's only done it once or twice, nervous
around her eyes. She slips the dress on. We finally see all of her in a medium shot, from within
the mirror and she smiles at herself, twirling and giggling quietly. A door opens and closes
somewhere downstairs and she startles, putting her things away hurriedly.
MIRANDA
Charlie? Where are you?

2. She can be seen grabbing the feminine things from the bathroom and stuffing them in this same
bag. Nervously, she puts on a pair of silver high heels. She takes a calming breath and opens
the door. Outside her door, MIRANDA is facing with her back to LILY. LILY takes a deep breath
and smoothes down her dress anxiously.
LILY
Mom?
MIRANDA turns around and when she sees LILY, gasps quietly and puts her hand over her
mouth. From MIRANDA's perspective, it is the more masculine LILY, the one who looks like a
man in a dress and makeup rather than a woman.
INT. BEDROOM. NIGHT.
The more feminine LILY is sitting on her bed. She chips at her nail polish anxiously, tapping her
feet nervously. She starts crying quietly, sniffling a little. She wipes at her eyes, smudging her
eyeliner as she does. She closes her eyes and thinks back to an hour ago.
INT. KITCHEN. DAY.
MIRANDA
What did we do wrong, Charlie? What's wrong with you? How do we fix this?
LILY
(mumbling)
My name is Lily. And you didn't do anything wrong, mom, it's just...me.
In a close up shot, a car's tires come to a gentle stop on a driveway. A car door opens and
shuts and the sound of a car alarm locking is heard.
MIRANDA
(shouting)
This is not my sweet boy!
LILY
(shouting)
Neither am I!
MIRANDA
I can't handle this, Charlie, you're not my son, you're not -
LILY

3. I AM NOT CHARLIE!
MIRANDA
YES YOU ARE!
There is a close up shot of BILL opening the front door with a key, the many keychains jingling.
LILY
My NAME is Lily. Lily. LILY.
BILL stands at the door of the kitchen and when LILY turns around, he drops his keys, seeing
the more masculine LILY. LILY starts crying and storms back upstairs.
INT. BEDROOM. NIGHT.
From her room, LILY can hear BILL and MIRANDA arguing.
BILL
Where do we take him, Miranda? There has to be a doctor, to fix him, someone -
MIRANDA
Someone to help our son -
BILL
He can't stay like this forever -
MIRANDA
Wrong -
BILL
Freakish -
MIRANDA
Abomination, it isn't...
LILY screams and covers her ears, crying hard. The masculine and feminine LILY blur in to one
another as she wipes at her makeup, scratching her nails and ripping her dress angrily. She
kicks off her shoes and she looks as though she's trying to tear off every piece of herself,
anything that defines either her male or female personality. The feminine LILY smashes the
picture of herself holding a diploma, and the masculine one tears down an award with the name
"Charlie Ross" printed in bold. The masculine LILY clips her nails down to stubs, the clipping
sound harsh. The sounds of arguing downstairs rise and, distracted, she accidentally clips her

4. nail too short and winces. The feminine LILY is seen sucking on her injured finger, her eyes shut
tightly.
In a medium shot, both the more masculine and feminine LILY are back to back curled up on
the bed, mirror images of each other. They sob quietly, unaware of each other and unable to
take comfort in the other.
The audience can see a quick succession of shots of LILY as a little boy, playing with a doll in
an empty room, the same one on her bed. There is a shot of her crying as MIRANDA cuts her
hair, then to the pink things from the opening scene. The masculine LILY pulls on her short hair,
looking angry, and then all in a rush, the feminine LILY stands up and goes to her closet, pulling
out a large white handbag.
In it, she puts a variety of girl things, including the makeup case from earlier. From downstairs,
she can still hear MIRANDA and BILL arguing. As they get louder and start shouting, she puts
clothing in the bag, then her wallet, her phone and a charger. She goes to the bathroom and
grabs a perfume bottle and the feminine LILY catches a glance at herself in the mirror, a brief
thing, like she hadn't really meant to look. She puts her shoes back on and stops, looking at the
doll on her bed. The masculine LILY's eyes water at the sight of it and she picks it up and holds
it, observing it quietly. She hears MIRANDA yelling downstairs, and makes a decision. She goes
to the desk and quickly writes out a note. She folds it and writes "mom and dad" on the back of
it.
Footsteps can be heard going up the stairs and the masculine LILY looks around her room, then
she walks towards her bedroom window.
MIRANDA
Charlie, we need to talk to you, we've found this wonderful doct - Charlie?
The room is empty, and the window is open. Her curtain is billowing with the wind. On her bed,
the note she left for her parents is by the bear. MIRANDA goes towards it and opens it.
EXT. NIGHT. TRAIN STATION.
The feminine LILY runs towards a train station, her high heels clicking. It is pouring rain and she
shivers. She is still wearing the torn dress. She runs down the stairs towards the platform. She
pauses at the edge of the tracks and starts crying again, folding in on herself. She runs her
hands through her hair, looking hurt and lost. The train pulls in on an empty platform, surprising
her. She pauses and takes a deep breath before stepping on to the train.
Sitting on the train, she observes her nails, only to see that they are impeccably groomed and
that she is dry. She pulls a mirror out of her bag and her makeup is not smudged, her hair is
curled gently. She looks at herself and sees the cups of the dress filled more naturally. She
startles and looks up. In the aisle across her, MIRANDA and BILL are sitting.
MIRANDA

5. Wrong
BILL
Freakish
MIRANDA
Abomination
LILY covers her ears, looking afraid.
LILY
I am not WRONG!
INT. NIGHT. BATHROOM.
Shown in an extreme close up, there are various pink things knocked over in LILY's bathroom.
In an in-and-out of focus shot, a more masculine LILY's chipped pink nail polish can be seen.
Her high heels, kicked over by the side of the tub, can be seen. In a close up shot, there is a doll
on her bed. In a medium shot, LILY is seen in the bathtub, wearing a torn dress. Her chest is
flat, and her hair is short. Her makeup is smudged across her face as though she's been crying,
and her eyes are closed. She is still, and the only sound is the tap occasionally dripping. In a
close up shot, there are four dead white roses in a water glass.
She opens her eyes and sits up, then looks at nails. They are still chipped, like she's been
picking at them. There is a bit of blood at the bed of one. She takes a deep breath, sniffles once
or twice and smoothes back her hair. She steps out of the tub, the ruined dress pooling at her
feet. She dries herself off and looks in the mirror and with a small, sad smile, the masculine
LILY starts reapplying her makeup.
EXT. NIGHT. TRAIN STATION.
The masculine LILY walks calmly towards a train station, her high heels clicking. Instead of her
short blond hair, she is wearing a blond wig that falls a few inches past her shoulders. She is
wearing a different dress, a better fitting one with an unbuttoned pink rain coat on top. It is a
clear, dark night and she walks slowly down the stairs towards the platform. She pauses at the
edge of the tracks and looks upwards towards the stars, smiling peacefully. The train pulls in the
on an empty platform, she pauses and takes a deep breath before stepping on to the train.
BILL leaves LILY's room, slamming the door behind him. The wall trembles with the force of it.
MIRANDA is kneeling on the floor, crying. Because she is so close to the bed, she could almost
be praying. Her hands are clasped around LILY's doll and the note is discarded on the floor. It
reads "My name is Lily".
MIRANDA
(whispering) I'm sorry, Lily.

6. On the train, LILY smiles, and looks out the window contentedly. In a brief close up shot, her
nails are chipped and she frowns at them. Pulling the pink polish out of her bag, she fixes it
quickly and smiles at them.
On the train, both the masculine and feminine LILY sit across from each other. They are
wearing identical dresses. There is a brief close up shot of the masculine LILY's nails chipped
and the feminine one frowns, pulling a bottle of pink nail polish from her bag. She pulls at the
masculine LILY's hands and fixes the smudges. The masculine one smiles at the feminine one.
When she steps off the train, there is a pan shot going up her body, but is stops just below her
face, making it unclear to the audience whether the masculine or feminine one got off the train.