A plot-driven drama with standout acting performances.

Mona Wales leans against a wall, delivering a monologue about cheap motels while on the other side of the screen she disports herself in a bed with Ryan Driller. The monologue continues in tight close-up, Wales talking about her insomnia and musing, "A year ago, my life disappeared. I don't have a home anymore ... but I can show up in any town, any time, and find a place like this not to sleep in ... and when I'm lucky, somebody to have sex with. Because that's the only surefire way to get some sleep."

We return to Wales in bed with Driller, but there's a remoteness between them through the scene and when Wales finally falls asleep, it doesn't last. She looks directly into camera and says maybe love would be the answer to her problem. "I even thought I had it," she says, before detailing her downfall: Cheating husband, mismanaged startup, lost house, now a motel nomad.

The next morning Driller asks Wales to breakfast and instead of giving him the heave-ho like her other transient lovers, she accepts. "Please be a regular guy," she muses into the mirror. The "regular guy," it turns out, is a second-generation grifter, and he gets her to join him in his scams. "He threw out some quality charm bait, and I bit. Actually, a home run for me. I haven’t slept more than a few hours in a couple of days. And he was cute."

When Driller sends Wales to pick up a package, she goes to a remote place and gets a smallish envelope from Eden Sin and Tyler Nixon, staying longer than expected because Driller's truck won’t start. Musing, Wales flashes back to when her startup failed and she caught her husband cheating by watching him online.

Morning comes, and so do Driller and confederate Chanel Preston. "Did you fuck them after they fucked us?" Preston demands. Driller hands Wales a wad of cash and says, "Take this, buy a new car. Walk away, don't look back. Let this be one of your fucked-up dreams." Driller and Preston drive off. Yelling. Gunshots. Wales runs away, hides in a drainage pipe, saying, "Let this be a dream!"

Cut to Wales in bed with Jay Smooth, as Wales, nearby, smiling—much like in the beginning—tells the viewer, "It's not as bad as it looked before. At least I'm not running from myself." Wales beams at herself on the bed. The sex scene with Smooth that follows has an intimacy and one-on-one connection that was deliberately absent in the opening zipless let's-fuck-I-need-to-sleep Wales/Driller scene. Happy ending.

Mona Wales gives a tour-de-force performance in service of Hank Hoffman's dynamite script, delivering letter-perfect Shakespearean asides that punch holes in the fourth wall. Perfect for couples and anybody who laments that there are no stories in porn movies anymore.