I don’t know, Shane. She’s not herself right now…she’s lost…she’s very changed…

 

 

 

Scene 19: At the Youth Center, evening

 

(The Center is closed, all lights are off)

 

(Candace pulls in, parks and walks to the front door. She unlocks it and enters, walking down a dark corridor to the main room. She turns on the lights)

 

(Tina is sitting cross-legged on the floor, a tool belt with the initials C.J. in her hands)

 

(Candace, upon catching sight of her, stops short just inside of the doorway)

 

Tina:

(looking down, quietly)

 Left something?

 

Candace:

Yeah, I did.

 

Tina:

Here, take it.

(holding up the tool belt)

You’ve already got everything else.

 

(Candace doesn’t move)

 

Tina:

(stands up, eyes wide and wild)

Take it. What good is a carpenter without her tools? You can’t tear anything up without them.

 

(she takes hold of Candace’s hammer and pulls it out)

 

Tina:

You need your ***** hammer, don’t you?!

 

(she throws it at Candace)

(Candace sidesteps and it misses her)

 

Candace:

(menacingly)

 You don’t want to be doing that, Tina.

 

Tina:

Oh, a threat, huh?

There’s nothing left for you to do to me.

 

Candace:

I haven’t done a thing to you. And I don’t plan to start now.

 

(Candace looks dangerous, but is visibly restraining herself)

 

Tina:

Where does this ego of yours come from? You ***** Bette and then come here the same day and accept a job offer from little old cuckolded me just so you two can rub my face in your backroom stench?

 

(Candace takes a deep breath, folds her arms and looks away from Tina)

 

Tina:

Look at me!! Why did you say yes to this? Why did you take this job? Why won’t you just ***** disappear?

 

Candace:

It’s penance.

 

(Tina is broadsided by her answer. Her eyes well up, she drops the tool belt on the floor, slowly walks past Candace, goes through the door and down the darkened corridor)

 

 

 

Scene 20: The Planet, Radar Night, nighttime

 

(Marina emerges from her office)

 

(Shane sees her and immediately ducks out of view)

 

Shane:

Hey guys…I’ve gotta go.

I’ve got some things to take care of.

 

Alice:

(shoots Shane a knowing glance)

Okay Shane, you do that.

 

(Shane picks up her sketch book and quickly leaves the table)

 

Alice and Dana:

Bye…

 

(Now alone, Alice and Dana both look nervous and keep looking away when either one catches the other’s eye)

 

Dana:

(timidly)

Alice? Tonya’s gone. The wedding is off.

 

Alice:

What a shame.

You got that glacier of a ring back, didn’t you?

(Dana starts to squirm)

Didn’t you?

 

Dana:

(pathetically)

I tried. But she’s bigger than me.

 

Alice:

Dana…that’s so wrong. Why didn’t you give her one of your patented two-fisted backhands upside the head?

 

Dana:

(laughing)

I didn’t think of that.

But I did flip her off as the cab was leaving.

 

Alice:

Well, we’ll give you a few points for that.

You sure can pick ‘em, sweetie. She was cuckoo for Cocoa Puffs if I’ve ever seen it.

 

Dana:

I know. I just wouldn’t allow myself to see it…until last night.

Al, we’ve gotta talk…

 

 

 

Scene 21: Shane’s room, after midnight

 

(The sketch book is propped up against the dresser. Shane it sitting on the side of the bed staring at it, tears streaming.)

 

Shane:

***** you, man.

 

(Pan around and see that the sketch is of Cherie)

 

(Shane pulls a leather case from under her bed, opens it, takes out a spoon, empties a balloon of heroin into it, cooks it up, ties off her arm, loads the syringe and injects it)

 

Shane:

***** me, too.

 

 

Closing Credits

 

MLW 2004