Roman candle features presents
A PINK MOON PRODUCTION OF
A david gordon green film.
FadE IN:
EXT. Gas station - southern oregon - 3:04 PM (present)
Brown eyes. Dark and tired brown eyes. The tired face of young EFRAM REED (Emile Hirsch) is slowly revealed to us, hair stretched out over his forehead and a patchy beard growing on his face. Reed wears a flannel shirt, cuffed at the wrist. An old pocket watch dangles from his pocket.
Reed stares at a 1980s model Toyota with a red hood and an ugly tan colored paint job. Inside there is a man wearing a backpack, apparently taking a nap. In Reed's hands are several different treats from candy bars to chips to sunflower seeds. 
Slowly moving towards the automobile he cracks open an energy drink and takes a sip. The PASSENGER (Ryan Adams) is stretched out across the backseat. Reed enters the car and turns it over. We watch from the back window as he takes one last look back at the Passenger. 
"The Fairest Of The Seasons" by Nico plays.
EMILE HIRSCH
Yesterdays.

Martha MacIsaac
Alison Lohman
Matt O'Leary
Zach Gilford
Jermaine Clement
Kelli Garner
James Marsden
and Peter Sarsgaard.
INT. reed's car - Country Road (Present)
The Passenger doesn't seem bothered by the movement of the car as sand and rocks fly into the air behind the beaten Toyota making it look like there is a storm constantly following.
Reed now wears aviator sunglasses and every so often eats a potato chip. His cellphone rings. The caller ID reads "Lydia." Reed opens and shuts the phone
Reed flips the stereo knob, turning up a calm classic rock song playing on the radio. The Passenger finally wakes up. 
He sits up, his hair a mess and his mouth dry. Reed instinctively hands the man a bottle of water. The Passenger is surprised and grateful of Reed's calm kindness. 
Passenger
Where are we?
Reed
I don't know. We're going high. I hope you don't mind.
PASSENGER
No man, wherever is fine.
REED
(Nods)
Okay.
EXT. country road (present)
The car comes to a stop just outside a sealed off bridge that towers over a shallow river below. It looks rather unstable and is so high up it's no wonder another one wasn't built in its place.
EXT. The Bridge (Present)
Night has fallen and Reed now lies on the windshield of his car looking at the stars in the bright night sky. The Passenger is once again asleep, the rest he is receiving clearly the most he has had in some time.
Reed's phone rings. The name is seen to be "Lydia" as it begins to vibrate. Reed tosses the phone to the river below.
EXT. park - day (flashback)
There is a rather disheveled looking man drinking from a can of cheap beer, this is WALCOTT (Peter Sarsgaard). Behind his overgrown facial hair and long hair draped across his forehead there is a charm in his eyes. 
Reed is standing next to a few family members being interrogated. He looks over to Walcott who smiles with gracious warmth. They exchange facial expressions like two teenage boys at mass.
INT. bedroom - Night (flashback)
Reed lies in a large bed staring up at the ceiling of a random bedroom. With her head rested on Reed's stomach we see little of LYDIA'S (Martha MacIsaac) face. Her eyes closed, Reed leans forward to kiss her on the head.
A smile drapes across Lydia's face, showing she is still half-awake.
EXT. the bridge - moments LATER (Present)
The Passenger rises in the backseat. Reed is nowhere in sight now.
As he rubs his eyes the figure of Reed flashes by the screen, sprinting towards the edge of the cliff. A loud thud is heard. The Passenger quickly rises and runs to the edge. He looks down.
INT. Reed's apartment - living room - morning (Past)
Reed loudly exhales, finding himself lying down on a couch. He sits up, alert that someone is unlocking the front door. Reed wraps the blanket around himself and stands. In to the house comes NORM (Zach Gilford), a young prep with a buzz-cut and a very subdued demeanor.
Norm looks at Reed confused. He puts down his backpack and takes off his flip-flops at the door. Only at this moment do we notice that the apartment has two bedrooms but rather small.
REED
(Wild-eyed)
Hey...
Norm begins fiddling with a Nintendo and browsing through some games.
NORM
You know...
Norm finds an acceptable game.
NORm (CONT'D)
You have a bed. And a room.
(Beat, looks back at Reed)
You have a bedroom.
REED
I...
(Reed looks down the hallway)
We've talked about this, I don't like it in there.
NORM
There's no ghosts in there.
Reed's eyes wander away at the different corners of the room, with a look like he is reminiscing on his face.
REED
What time is it?
NORM
About noon.
REED
What day - uh - what's the date?
NORM
The seventh.
REED
Of...?
NORM
September - what is wrong with you?
REED
(Grinning)
I'm not quite sure yet.
Reed stands up, we now see he is fully dressed from the night before. He looks at a work schedule posted on the refrigerator.
ExT. apartMENT COMPLEX - PARKING LOt (past)
As Reed slowly shuffles his feet towards his car a flurry of crows can be seen shifting from house to house, following him. He stops and looks towards the crows, who stay put.
Inching his way the last stretch to his car, Reed notices the crows move with him. He steps back, they oblige with a movement backwards. Reed shakes the phenomenon and gets in to his car.
EXT. outside pricemart - employee parking - later (Past)
The beat up automobile that Reed drives pulls in to the lot, next to the rather distressed and angry looking FAYE, who in her mid 40s and in a Pricemart uniform appears very unhappy.
Reed exits his car and waves at Faye.
ReED
(Aggravated)
Hi Faye.
Faye
(Quietly)
I don't like you.
Reed pays no notice to Faye as he walks slowly towards a back door to the building.
Rested at the edge of the roof are the crows from before. Reed shakes off the odd occurrence again as he jogs to the door.
INT. pricemart - continuous (Past)
Reed enters through the employee door and tucks away his card in his pocket. 
He makes his way through the "Home" section of the store where tools, bedding, and storage containers can be found. 
Reed stops dead in his tracks as he sees Blue (Matt O'Leary), in uniform, helping a customer on the phone.
Blue
(Speaking to the customer)
No sir. 
(Beat)
Can't say I've ever seen anything like that before.
(Beat)
No.
(Beat)
Alrighty.
Blue hangs up the phone and chuckles.
REED
What as that all about?
BLUE
He was looking for a flask that could also be used as a parachute in the case of an emergency.
Blue shrugs as if he has nothing else to say to Reed. Reed nods and begins walking towards the apparel section.
He ducks behind displays and racks of clothes, inching his way through avoiding someone. 
Finally he reaches a station at the end of a row of registers. He takes out a card to clock on.
Lydia
(Awkwardly quiet)
Hi.
Lydia reaches across and clocks in. She leaves as quickly as she appeared.
INT. pricemart - hardware aisle (Past)
A customer stands behind Reed trying without words to consider the best way to get his attention. Reed pulls out a packaged item that looks a out like a tennis racket and begins swinging it about.
Customer
(To Reed)
Excuse me?
Reed drops the racket and turns his attention to the confused Customer.
REED
Yeah?
CUSTOMER
(Sighs)
Nevermind.
The customer leaves the aisle as JOE, a large blonde-haired man who looks much more professional than Reed walks up to Reed.
Joe
(Loudly)
Efram?
Reed is annoyed by the presence of Joe but does his best to maintain a fake smile.
REED
What's up?
JOE
I heard you boys had some fun in the stock room while I was gone.
Reed genuinely has no idea what Joe is speaking of.
REED
I don't know what that means, boss.
KEITH (Thomas Hayden Church), a man with a constant smile and general happy demeanor enters the scene and stands between Reed and Joe.
Keith
Hey guys!
Looking at Keith as backup, Reed is excited by his presence.
REED
Keith!
JOE
Let's not get off-topic.
REED
(Sarcastically)
What was the topic again?
INT. priCEMART - stock room (flashbacx)
"My Friend" by Dr. Dog plays.
There are several bases set up in the large stock room. Reed stands at the home plate with a whiffle ball bat. Blue is pitching.
Blue tosses the ball towards Reed who bashes it upwards in to the high roof of the stock room. It careens in to a fluorescent light and smashes it open, spraying glass and debris all over the place.
INT. prICEMART - harDWARE AISLE (PAST)
Joe stares at Reed as it occurs to Reed what exactly he is in trouble for. Keith chuckles nervously.
KEITH
I'm sure that didn't happen.
JOE
(To Reed)
I have eyes and ears around here. Next time you decide to have a tournament I'll hear about it.
REED
(Interested)
Aren't you dating some chick in apparel?
JOE
(Shakes his head and sighs)
I knew eventually this would become an issue.
(Beat)
You two get back to work.
Joe does his best to leave the aisle with a shred of dignity.
KeITH 
Low blow, Reed.
REED
I wasn't sure if that was happening yet...
KEITH
It does appear to be a trend in his work life.
REED 
It never really ends well.
KEITH 
I'm sure he won't make that mistake again.
REED
It would be the fourth time. 
(Beat)
At the fourth different Pricemart.
(Beat)
And I'd put money on it.
EXT. neighborhood street - day (past)
Surrounded by trees is the home of Walcott. At a curb across the street Reed's car sits parked. There is a newspaper sitting on the welcome mat of the house.
Reed is scoping out the home with some interest. He sits and waits for movement, looking down at his watch every few moments. 
The front door opens. A very pale and unwashed Walcott exits the house and picks up the newspaper. He looks up the street and down with little interest. 
Walcott disappears in to the house.
EXT. OUTSIDE movie theater - CONTINUOUS - night (PAST)
As smoke is exhaled from Reed's mouth Blue paces around Reed with a sense of anger and frustration.
BLUE
And it isn't even that I don't go to the movies just to be impressed by crazy special effects. But I swear to God, if I see Vin Diesel on the street anywhere I'm going to powerbomb him through a table.
REED
But he's huge, I'd have to help you.
BLUE
Naturally. We'd have to toss a handful of salt in to his eyes before we executed this.
REED
Or chloroform him.
BLUE
Yes! Excellent idea!
Blue is knocked off track by something he sees at the ticket booth. Reed on the other hand again notices a flock of crows perched atop the building, very close to him.
BLUE (CONT'D)
(Pointing)
Hey, the twins.
The cigarette falls from Reed's lips and hits his shirt forcing him to wildly smack himself until he sees it has hit the ground. 
Lydia and Kirstin are seen laughing at the ticket booth.
BLUE (CONT'D)
(Disappointed)
You have the charisma of a young Vin Diesel.
Reed gathers himself and begins to walk towards the ticket booth with Blue.
At the end of a long line stand Lydia and KIRSTIN (Kelli Garner). Blue and Reed make their way to Lydia and Kirstin. Blue wears a smile as wide as a hunter that has a Buck in the crosshairs.
BLUE (CONT'D)
Ladies!
Reed awkwardly waves towards Lydia.
REED
Hi.
BLUE
(To Kirstin)
We're having a sweater party tomorrow night. The whole gang is going to be there.
Lydia
(Looking at Reed)
That sounds like fun.
REED
(Shrugs)
As long as there's no fireworks this time.
BLUE
(Angered)
I told you, our business! Pipe it!
Reed motions an explosion with his hands and mouth.
Kirstin
(To Blue)
We might check it out.
BLUE
You remember the address?
KIRSTIN
I think we can find it just fine.
BLUE
Maybe if we exchange numbers...
KIRSTIN
(Interrupting)
Bye, Blue.
Blue nods and turns to leave.
REED
What are you seeing?
LyDIA
The Notebook.
Blue turns back.
BLUE
Don't get me started on -
REED
Have a great night. I hear it's a terrific movie.
Reed drags Blue away from the twins and leaves the scene.
INT. inside REED'S CAR - night (past)
Gliding through the wilderness on a quiet drive, Reed smokes a cigarette and takes drinks from a soda bottle. 
A small sign is viewed that says "City Limits" in large block letters. Reed notices the sign and smirks.
Reed glances down to put out his cigarette in the ash tray and as he looks up he finds himself PARKED at a red light in the middle of town.
In a burst of anger he begins hitting random things hanging in his general and peripheral vision.
Int. REED'S APARTMENT - LIVING ROOM - nIGHT (PAST)
Reed is closing eyes exhaustively. Every few seconds, he opens them back up and looks around. Finally he gives in to sleep.
INT. Hospital room - morning (Present)
Reed's eyes open alertly and he looks all around but is unable to move. We see he is in several casts and on life support, a tube down his throat making it very hard to speak. Sitting and watching TV beside him is Lydia, looking very tired.
Reed slowly closes his eyes.
INT. HOSPITAL ROOM - later (Present)
Lydia is now asleep with the TV on a sports network and showing highlights. Reed's eyes open, it is dark outside. He does his best to squeeze out a word. It comes out merely as a loud breath. Reed slips out of consciousness again.
INT. REED'S APARTMENT - LIVING ROOM - moRNING (past)
Reed sits up alertly from his slumber as a loud bunch of voices can be heard congregating outside his building. He stands up, he wears only a white shirt, boxers, and socks.
Reed takes a look out the window. His awe is seen as he makes his way to the front door.
EXT. outside reed's apartment - moments LATER (PAST)
Blue is staring upwards, but he isn't the only one. Surrounding him are several onlookers. Reed looks up. A MAN WITH A PARACHUTE is seen dangling from the building.
Reed walks to Blue, who is eating a popsicle.
BLUE
You look haggard.
REED
You're eating my frozen foods.
BLUE
Some dude is hanging from your building.
REED
I noticed.
BLUE
Do you think he landed there on purpose?
REED
His demeanor suggests he doesn't want to be hanging there so...
BLUE
No.
REED
Exactly.
BLUE
This guy was obviously high.
REED
He did jump out of a plane.
BLUE
He was high at one time, you're saying. Now he's coming down from his high.
REED
He's at the level of high that he's text messaging ex-girlfriends and eating peanut butter sandwiches.
BLUE
It's embarrassing to watch.
REED
Yes. Yes, it is.
Blue and Reed again look upwards, watching the man struggle and squirm.
BLUE
I bet that started off being a cool idea.
REED
The universe has a funny way of altering plans.
A fire truck pulls in to the complex, siren blazing, cutting out all other sound.
INT.  rEED'S APARTMENT - LIVING ROOM - day (Past)
An old-fashioned game of Duck Hunt is being played by Norm as Reed looks on from the couch. Norm is almost inches from the TV screen, sitting on the floor.
Norm
How is the job treating you?
REED
It's getting old, but what can you do?
NORM
Go back to college?
Reed shrugs.
REED
In time. 
NORM
I'm going to the dorms later with Alissa, you want to join us.
REED
That dorm hates me.
NORM
I asked them to give you a second chance.
REED
What did I do wrong?
Norm drops the Duck Hunt gun and glares at Reed.
INT. christian church - morning (FLASHBACK)
The church band plays a rather slow song meant to be moving as the crowd of church-goers sings along. Reed is suddenly very noticeable as the only guy laughing hysterically. On-lookers are shocked and appalled.
INT. reED'S APARTMENT - LIVING ROOM (PAST)
Norm is still giving Reed the evil eye.
REED
Okay, okay. I get it. I haven't outgrown that trait. I laugh at church. 
(Beat)
There's a party, I'm going to that. You should come along.
NORM
(Shrugs)
I have some homework to do.
Reed's mood shifts to him feeling rather guilty.
REED
We'll hang out some time soon.
NORM
(Smiling)
We've hung out for eleven years. We don't have to hang out as much as we used to.
Reed nods but does not appear to agree with Norm. Norm goes back to playing the game.
REED
(Dry)
You suck at Duck Hunt.
INT. prICEMART - BREAK ROOM (past)
Reed is looking over advertisements in a very low budget weekly free newspaper. He sees an ad for "Jermaine The Majestic's Psychic Emporium" and looks only half-interested.
REED
(To himself)
Worth a shot.
EXT. Suburban street (past)
Reed stands on the sidewalk staring at the advertisement from before. The address from the flyer and of the house in front of him match up. 
One blind is stretched down inside and a pair of eyes peers out. From inside we hear a loud shuffling of feet going down stairs. The front door opens and Reed begins to walk towards it.
INT. random house (past)
Reed is greeted as he enters the house by an older woman wearing with two oven gloves on her hands and holding a rather large pan of gypsy biscuits.
Woman
(Points to stairs leading to a basement)
He's down there.
REED
Jermaine The -
WOMAN
Yes, he is down there.
INT. Jermaine the majestic's psychic emporium (past)
"Walk Through A Cloud" by The Donkeys is heard throughout the scene.
We see JERMAINE THE MAJESTIC (Jermaine Clement), a rather hairy man wearing large sunglasses and a large hat with a feather attached to it. Reed sits across from him in awe. 
JERMAINE
Did you meet my mother?
REED
Yes...
JERMAINE
What is she making?
REED
(Sarcastically)
Shouldn't you know that?
JERMAINE
(Laughing nervously)
Of course! I was testing you.
REED 
I don't think this is going to work out.
Jermaine
It rarely does.
(Beat)
You still have to give me 10 dollars.
Reed pulls out his wallet and puts a ten dollar bill on the table. He stands up.
REED
Thanks anyway.
Jermaine looks at Reed and turns his head sideways, suddenly enamored with him.
Jermaine
If you feel the need to return, the next visit is free.
Reed is confused.
REED
Why?
Jermaine
There is an aura around you. It is purple.
REED
And?
Jermaine
Purple is...
Jermaine begins shuffling through a book titled "Auras." Reed turns to walk away.
Jermaine (CONT'D)
Will you be returning then? I could tell you about your aura!
Reed turns back.
ReED
Maybe.
EXT. nEIGHBORHOOD STREET - day (pAST)
Parked at the same spot as before and smoking, Reed stares towards Walcott's house with a strange sense of wonder. He puts out the cigarette and begins walking towards it.
Scattered about the lawn are toys, a swing set, and a bike with training wheels is parked near the front door.
Reed reaches the front door and knocks. The door creaks slightly open, one latch lock still locked from the inside. The left side of Walcott's face is seen through the small space of the open door.
REED
Can I come in?
Walcott
(Nervously)
I'm actually writing right now.
(Beat)
 "Misplaced Objects." 
REED
I remember the idea, it sounded...
(Beat)
We should hang out.
Walcott half-smiles through the door.
WALCOTT
We'll hang out. I'm just...
(beat)
My hands are tied. I have to - it's important, I think.
Reed is not struck by Walcott's discombobulated presence, but acting as if he's seen it one too many times.
REED
(Leans forward)
I'll check up on you again. Soon.
WALCOTT
(Nods)
Okay.
Walcott awkwardly shuts the door, trying to hide the weirdness of his actions.
Reed sulks, his head hanging low. He turns to his car. He looks upwards with a questioning demeanor. Reed is taken by a lone dark cloud on a sunny day. 
Several miles away the small cloud is seen to be forming rain as the sun beats down on everything else.
Int. Thrift store - contiNUOUS (past)
Reed and Blue look over a large ping-pong table, checking the give on it and how stable it is.
BLUE
The foot casts, the video tape evidence, the DNA. This is not all circumstantial.
REED
I'm not saying Sasquatch isn't real, I'm just saying some of the evidence is faulty.
BLUE
No, Reed. You will lose friend privileges if you speak any further on this subject.
As he chuckles, Reed's eyes wander towards EMILY (Alison Lohman), a young woman with a stack of records in her hand. She glances back towards Reed, who looks away quickly.
REED
(Referring to Emily)
Who is that?
BLUE
Oh, that's Emily. 
(Beat)
That was my first strike out here in town.
REED
You didn't get anything?
BLUE
Not even a hug.
Reed laughs.
REED
Sorry, buddy.
BLUE
The joke is on her, though...
A silence passes as Blue abandons the sentence.
REED
What's the joke?
BLUE
I don't know, but it's on her.
(Beat)
Her Mom works at the store. She's really let herself go.
Emily passes by Blue and Reed, raising her hand and waving at Blue and muttering "Hi." Blue rolls his eyes as she passes.
REED
She seems nice. Emily, I mean.
Reed and Blue position themselves at either side of the table. They fold it up and walk it to a register that is nearby. Emily stands a few feet away.
An album slowly slips from her grasp. Reed notices. As it is almost about to fall and collide with the ground, Reed jumps forward and catches it.
Emily delivers a smile that can only be described as glowing. Reed can not manage any words so he makes his way back to Blue, who seems disappointed that Reed helped her out. 
BLUE
(Whispering)
Wuss.
INT. Blue's house - livING ROOM - night (past)
Several party going young people are spread across a large living room area as the music being blasted from a stereo is muffled by conversation. 
Blue and Reed stand with beers in hand and ridiculous Christmas themed sweaters on. Blue's sweater is just a rather large portrait of Santa Claus's face with a large beard made of white fabric hanging separate of everything else. Reed's seems to have a portrait of several elves ice skating on a rink.
The front door opens across the way and Lydia enters with her sister Kirstin. Reed's eyes are attached to Lydia. Blue finally looks over to see the twins.
BLUE
Kirstin is mine.
REED
(Unimpressed)
Good luck with that.
INT. BluE'S HOUSE - Garage - momENTS LATER (past)
A tag team game of beer pong is played as Reed and Lydia stand in the corner conversing. Reed is kind of distant but this seems only to motivate Lydia's almost overflowing admiration for him.
LyDIA
(Referring to the game)
Why aren't you competing?
REED
I'm not much of a drinker. Unless something troubles me.
LYDIA
(Nods)
Same.
Lydia takes a rather large chug of the beer in her hand.
REED
(Smirks)
Something troubling you?
LYDIA
Normal stuff. My parents visited. That's been getting more and more awkward.
REED
I know what you mean.
LYDIA
(Interested)
Do tell.
Reed seems to gather a list of things in his head he needs to spout out.
REED
Well, my real mother was a war activist in the Vietnam era. My father was a P.O.W.
(Beat)
They own an adult video arcade somewhere in Tallahassee last time I heard.
LYDIA
(Not convinced)
Really now?
REED
Yep. It's a hard, strange world.
Lydia brushes up against Reed lovingly and smiles.
LYDIA
That's a pretty good story.
REED
That's what the people tell me.
Lydia's light chuckle is muted mostly as the excitement of the game is heard loudly.
INT. BLUE'S HOUSE - kitchen (past)
"A Simple Twist of Fate" by Bob Dylan reverberates from the garage.
The party is done and only Reed and Blue sit at the small table in the corner of the room. Blue is only half conscious while Reed is telling a very long winded, drunken series of events.
REED
(Rubbing his face)
So it's the - uh - like I'm time traveling and I don't know what to do. If they - I - don't live it right what will happen, you know? In the - uh, future days of the - uh - thing.
Reed looks over to see Blue is now passed out with a small bit of drool rolling out of his mouth and on to the table.
Reed sighs, shrugs, and lies his head down.
Suddenly Blue jerks his head up and looks around, confused. As he puts down is head he manages a sentence.
BLUE
(Mumbling)
I like those twins...
INT. reed's house - bedroom - morning (PRESENT)
Reed's eyes slowly open as a fan above him blows crisp morning air on him. He sits up in the darkened room, confused. He gets out of bed and shuts a nearby window. On his way back to bed, he sees it. Lydia is lying asleep on the other side of the bed.
Reed quietly lies down next to Lydia. She rustles about for a moment and then lies down with her head on his chest.
Lydia
Thanks baby.
Reed kisses Lydia on the head and goes to sleep.
INT. reeD'S House - Kitchen - later (Present)
Lydia is seen sitting silently and reading a chapter of a large college textbook in between taking spoonfuls of cereal. 
Reed wanders in with his hair going five different ways, clearly fresh out of bed. He takes a seat across from Lydia and watches her for a moment. She barely notices his appearance.
REED
You look dashing today.
Lydia keeps her head in her textbook.
Lydia
(Occupied)
Thanks.
Reed takes a look around. The kitchen is a mess. There are beer bottles scattered out on the counter.
REED
How are you doing?
Lydia
(Stressed)
I need to read this whole chapter in the next five minutes.
(Beat)
I'm sorry, it's just... I have a responsibility to myself here. I can't mess this up.
Reed nods and gets out of his chair. He approaches the kitchen counter and starts cleaning, making a lot of racket.
Lydia (CONT'D)
(Annoyed)
Can you do that when I leave?
REED
Oh.
(Beat)
Yeah, of course.
Lydia
Thanks.
Reed leans in and is greeted by a bright smile and kiss from Lydia. As he backs away he sees a picture frame in the corner of his eye. It shows Lydia and another man holding each other and staring deeply in to the other's eyes.
REED
(Quietly groans)
Here we go.
INT. prICEMART - STOCK ROOM - afterNOON (present)
Reed is now fully dressed in his work attire and feverishly looking at the 10 minute chart that shows the employees working that day. All the names are that of people he does not recognize. 
He reaches above the chart and takes out a schedule book. Again, all the names are different. 
REED
(To himself)
Where are you, Blue?
KEITH (O.S.)
What?
Reed turns and sees Keith, taking a bite out of a sub sandwich.
REED
Oh, nothing.
KEITH
Here.
Keith hands Reed a yellow phone.
KEITH (CONT'D)
Someone needs a key cut.
Reed nods and walks away.
EXT. neiGHBORHOOD STREET - day (Present)
Reed sits inside of his car, staring across the street. A CAR pulls in to the driveway across the street. Out walks a middle-aged couple. They are caught up in a conversation as they make their way to the front door and enter it.
Reed pulls away from the scene disappointed.
EXT. College campus - Day (Present)
Aimlessly wandering about a walkway that combines every corner of the large college campus is Reed. He takes a seat at a small bench and pulls out a small campus map, looking around and hoping nobody notices how lost he is.
Emily takes a seat next to Reed without him fully noticing her presence. She pulls down a bag of books and fiddles around with a pair of headphones that are tangled beyond comprehension.
Reed turns his head to see her knee-deep in this struggle.
REED
(Smiling kindly)
I'll help you with that if you help me with something else.
EmILY
It obviously depends on what I have to do for you. 
REED
I need to find the uh - I don't know, admissions building?
(Beat)
Somewhere I can talk to a counselor?
EMILY
Like a psychiatrist or a guy that tells you what classes to take?
REED
We'll start with the second one. If we find success there, we'll try the other one.
EMILY
Alrighty. 
(Beat)
You first.
Emily smiles wide and hands Reed the headphones. He begins to untangle them as she looks on.
REED
Is this place worth the hole in my wallet?
EMILY
Probably. Any college can be worth your time if you find some sort of passion that guides you.
REED
You find that passion yet?
EMILY
That's an awful personal question, don't you think?
REED
I thought all we did in this city was talk about what we do.
EMILY
(Slightly insulted)
Maybe we're not all the same, new guy.
(Beat)
You know... we work together.
Reed tilts his head in confusion.
REED 
I've been very forgetful lately.
EMILY
That's fine. Most things aren't worth remembering. Some are actually worth forgetting.
REED
Like high school.
EMILY
I was thinking more along the lines of what drunk people tell you at 2 AM via text message. You know the type, nothing spelled right. Just endless dribble.
REED
I know the type.
Emily shoots Reed a glare, picking up that he may be that type. She shoots to change the subject.
EMILY 
I love the city. That's the reason for going here. It has something pure and untouched and seedy and raped about it.
REED
(Shrugs)
I kind of get what you mean.
EMILY
We're like a raped virgin.
REED
That's a funny way to say it.
EMILY
I always say things in a funny way, it's a talent. 
(Beat)
If it doesn't make sense, just let me know. It's all scattershot.
Reed hands over the headphones, untangled. 
REED
Done.
EMILY
Good work, new guy. 
Emily points just to her right, at a building that has "Admissions" written in big block letters on it.
REED
You know... it makes sense.
Emily stands up.
EMILY
As much as anything can, I guess.
Emily smiles and waves goodbye. Reed stands and begins walking towards the building. He stops and looks back at Emily as she puts the headphones on.
Just as he does this, she looks back, grinning. She waves goodbye one more time.
INT. rEED'S APARTMENT - LIVING ROOM (Present)
Dressed in nothing much more than a old bathrobe Reed sits on the couch with a laptop computer resting on him. The website that he is surfing is an archive of old Powerball numbers.
INT. ReED'S APARTMENT - BEDROOM - night (present)
Lydia lies on Reed's bed, her pajamas on and reading from another textbook. Reed enters, taking off his work shirt at the door and smiling at Lydia, waiting for her to look his way. He becomes bored doing so and gives up. 
Reed slowly walks to the other side of the bed, eyeing her the whole way, becoming more uncomfortable with her presence. He climbs in and ducks under the covers. Lydia still has not acknowledged him. Reed leans over to kiss Lydia on the neck, she pushes him away.
REED
What's wrong?
LyDIA
I'm not in the mood.
(Beat)
Sorry.
Lydia begins to fidget with her cell phone. As she texts she makes sure to ever so slightly slant the phone away from Reed so he does not see her words.
Lydia giggles as she reads a message.
Reed motions a gun blowing his brains out as he lies his head down and sleeps.
INT. ReeD'S APARTMENT - LIVING ROOM - morniNG (past)
Reed wakes on the couch again, this time suffering from a rather nagging headache. He rubs his head and groans.
Suddenly he bolts up to attention. Reed jumps up and begins scrambling through drawers located in the kitchen area. He finds a pen and paper.
Reed writes down a sequence of not unlike numbers we saw before on the website. Though these numbers to appear to have the same sequence, the umbers are all different than the ones we saw before.
Reed fist pumps the air in belief he is about to win a large sum of money.
Int. Jermaine THE MAJESTIC'S PSYCHIC EMPORIUM (past)
Jermaine is consoling a crying house wife on the "Psychic Love Seat" located to the right of the table Reed got his first attempted reading at. Reed enters the room.
Jermaine snaps to attention, shocked at Reed's arrival.
Jermaine
(Yelling)
Vamanos, Shirley!
The shattered house wife jumps up, wipes away the tears, and leaves the room. Reed looks at Jermaine perplexed. 
Jermaine (CONT'D)
That's my sister. She's an amateur actress.
ReeD
Got ya.
Reed takes a seat at the table. Jermaine takes the time to take off his hat and cape. He now looks half normal.
Jermaine
No acts.
Jermaine sits across from Reed.
REED
Okay.
(Beat)
What do you know about me?
Jermaine
You know things. That's obvious. How or why you know these things is fuzzy.
REED
That's all you got?
Jermaine
Help me out, Reed.
Reed is taken back by Jermaine knowing his name.
REED
Huh.
Jermaine
You are a lost soul.
REED
(Not impressed)
Too easy.
Jermaine
Tell me what you know.
Reed sits in silence, gathering his thoughts.
Jermaine (CONT'D)
I am your only friend, Reed! Let us be psychic amigos. Like Siegfried and Roy, Bush and Cheney, Affleck and Damon. A true team.
REED
Those are horrible examples.
JERMAINE
You obviously have not seen Jersey Girl.
REED
Okay.
JERMAINE
Lay it on me, soldier.
REED
I've been on earth at this time and date before. 
Jermaine
Go on.
Jermaine's sister enters the room and grabs her purse off the couch. She looks at Reed and Jermaine awkwardly.
Jermaine (CONT'D)
(Yelling)
Out! Out! Out!
Jermaine's sister sprints out of the room.
Jermaine (CONT'D)
(To Reed)
Go on.
Reed shakes off the event that has taken place and continues.
REED
I'm re-living a time in my life. I don't know why. Or if I'll snap out of a coma and this will all be some odd lucid dream.
Jermaine
Bare with me here.
Jermaine reaches across the table and flicks Reed on the forehead. He grimaces and holds his head in pain.
REED
What the hell, man?
Jermaine
So you are not an immortal. But rather a petty time traveler.
REED
I'm not sure what I should be doing. The obvious things that one would do are not possible.
(Beat, Reed's tone changes from indifferent to serious)
There's a lot going on. I can't figure out who I'm supposed to save. Or if I can save anyone.
The small piece of paper that Reed wrote the Powerball numbers on is hanging ever so sightly out of his right pant pocket.
JERMAINE
There has to be restrictions on wrong doing. This is why the American democracy has risen to such amazing heights.
REED
What?
JERMAINE
Nevermind that. 
(Beat)
Did you do anything wrong your first time around?
REED
(Abashed)
More than I can count.
JERMAINE
Well here's your chance to do it right.
A middle aged woman enters the room with a ten dollar bill in her hand.
Jermaine (CONT'D)
Keep me posted.
INT. PRICEMARt - hardware aisle (past)
Reed is tidying up the aisle, bringing things forward and making things look good for the next morning. He looks at his watch and sighs. He looks up again and sees Lydia at the end of the aisles, looking at him.
REED
Hey.
Lydia
Hi.
REED
What can I do for you?
Lydia
Someone needs help in Seasonal.
REED
Okay.
Reed morosely makes his way past Lydia. She quickly turns and stops him.
Lydia
Reed.
REED
Yeah?
Reed continues walking, his back turned to Lydia.
Lydia
(Playfully)
Stop!
Reed stops walking and turns back.
REED
Yeah?
Lydia
We should hang out.
REED
When?
Lydia
Tonight, after work. 
(Looks at her watch)
That's in like 15 minutes.
Reed looks towards the Seasonal aisles and back at Lydia. He shifts his head and cracks a smile, as if a light bulb has gone off in his head.
REED
(Exuding excitement)
I'm busy tonight. Maybe another time.
Lydia
(Disappointed)
Oh. Okay.
Reed grins as he walks away. Lydia stands stuck in place, as if Reed had said something she hadn't heard in a very long time, if ever.
INT. REED'S APARTMENT - LIVING ROOM - night (past)
Reed takes off his shoes at the door. The lights are off. He plops his whole body down on the couch, ready for sleep. The phone rings. Reed reaches for the phone but then pulls back.
REED
(To himself)
Nope.
Reed picks up the remote to the stereo and turns on a very mellow record. He closes his eyes.
INT. REED'S House - BEDROOM - morning (Present) 
The sun is barely rising in the after. A loud meow is heard. A cat with black, red, and brown patched jumps on to the bed and rubs up against Reed, waking him. He smiles and looks to his left: Lydia isn't there. He pets the cat and takes a look at the tag around its neck.
REED
(To the cat)
So. Your name is Beer. 
(Chuckles)
I clearly have time on my hands.
"16 Days" by Whiskeytown plays.
INT. REED'S House - KITCHEN - moMENTS LATER (Present)
Reed takes a look at his work schedule and notices he is off. His demeanor is noticeably different. He is radiant and looking very well, still wet from a shower. He opens up the fridge and takes out some milk. There is a bag of cat food on the fridge, he grabs that as he shuts the door.
INT. REED'S house - LIVING ROOM - momENTS LATER (Present)
Reed pets Beer as he fills up the bowl with cat food. Time lapses forward as Reed watches TV, plays video games, and uses his computer. After a long while he notices there are two rather large laundry bags near the door.
Reed grabs his car keys and heads out, a bag on each shoulder.
INT. 24 hour Laundry mat - nIGHT (present) 
Reed sits on a bench reading a magazine while listening to music in his headphones and waiting for his clothes to finish drying in a rather rundown, sketchy looking laundry mat. 
Out of the corner of his eye he spots Emily, who enters quietly and gives him a smile. She sets down her hamper next to a washer and begins loading it.
A beeper goes off beside her signaling some of Reed's clothes are done drying. Reed doesn't notice. Unbeknownst to Reed, Emily makes her way over. When he doesn't notice her presence from a foot away, she takes off his headphones delicately and holds them for a moment.
Whiskeytown can be heard playing quietly on them.
EMILY
I think your clothes are done, dude.
Reed smiles at the use of the word "dude," it hitting him funny for an odd reason.
REED
(Smiling)
Thanks, man.
EMILY
No problem, bro.
Emily hands Reed his headphones and goes back to loading her clothes.
Now folding his shirts, Reed stands next to Emily. He shakes off whatever shyness is overtaking him and speaks.
REED
How's things in the jewelry department?
EMILY
(Cheerful)
You recognized me.
(Beat)
Funny, I don't think we've met.
REED
We haven't?
EMILY
I would've remembered.
REED
Yeah. My memory has been fuzzy lately.
EMILY
Maybe you're getting Alzheimer's.
REED
You think?
EMILY
(Sarcastically)
Well yeah. It looks like you forgot to shave too.
Reed grins and runs his hand across the stubble on his face.
REED 
I need to get on using that aluminum free anti-perspirant.
EMILY
You know, that may be the reason for your failing memory.
Emily subtly winks at Reed.
REED
Maybe I should seek you out next time I'm at work.
(Beat)
I may even be clean shaven and know who you are.
EMILY
(Excited)
The possibilities are endless.
REED
Don't cross your fingers, it's happening.
Emily pokes Reed in the shoulder.
EMILY 
Then we can meet formally.
REED
Yeah. Don't even tell me your name. We'll wait for that.
EMILY
My lips are sealed. Let's take things slow.
REED
Good idea. I mean, we have a long future of washing clothes together. Why ruin it by getting caught in rushed introductions?
EMILY
Exactly. So we'll meet every day, give each other a small but important piece of information about each other, then go our separate ways. 
REED
Sounds like a plan.
EMILY
I did have a question... what was it you were hearing in your ear noise teleportation mugs?
REED
Old folk songs about flashy ladies who come around and complicate every part of living.
EMILY
(Suggestive)
Great taste there, junior.
Reed pulls out a load of whites that contain a rather large amount of underwear.
EMILY (CONT'D)
Wow.
REED
(Shrugs)
It's how I keep myself smelling like the snuggle bear.
EMILY
You do exude a snuggle bear like excitement towards all things laundry related.
REED
(Chuckling)
Thank you.
EXT. Outside the laundry mat - city street (Present)
Emily has her hamper and Reed has his two large bags. They stand outside, letting a moment pass before they speak.
REED
So this is goodbye.
EMILY
Nah. This is hello. We just met.
REED
But we didn't meet.
EMILY
Technically, no. But we'll see each other in the future.
(Leans in)
If you see me, say hello.
Reed does his best to work up a response, taken back by Emily's overt personality.
REED
Okay.
Emily nods very cheerfully and leaves the scene. Reed is stuck on the word "future," as she walks away.
INT. ReeD'S house - BEDROOM - later (present)
Lying comfortably draped across most of his bed is Reed. Beer (the cat) rushes up to him and rubs against him looking for attention. Reed eyes the alarm clock at the side of the bed.
REED
(To Beer)
You think if I stayed up all night and never slept I could stay in the world I liked?
(Beat)
I mean, I like the old world. I'm all alone in this one.
(Beat)
At least I don't have to dodge someone I know will hurt me.
(Beat)
How do I fix this?
Reed again looks at the alarm clock.
Reed jumps up and sets the clock to go off at 2:30 A.M.
REED (CONT'D)
Lets try this out.
Reed turns off the light beside his bed and closes his eyes.
EXT. The Bridge (in-between)
"Pale Blue Eyes" by The Velvet Underground is heard during the scene.
Reed's bedroom is now set up in the middle of the BRIDGE. The alarm clock is ringing incessantly. Reed sits up and attempts to turn the clock off. He hits it repeatedly before tossing it off the bridge.
The sun is making beautiful colors of the clouds surrounding it. Blue is sitting on the ground and playing video games with a beer resting between his legs. Reed moves his hands in front of Blue's face, Blue doesn't notice.
Lydia is sitting on the side of the bridge and smoking a cigarette. Reed takes a seat next to her, his feet dangling off the edge. It's thousands off feet to the valley below.
REED
You don't smoke.
Lydia
Don't you remember the time we smoked together?
REED
Yeah. I came back to see you. You said you wanted to hang out with me. Only you neglected to mention your boyfriend would be there. Your new boyfriend. The one I didn't know about.
Lydia
Yeah, sorry about that.
REED
It's okay.
LYDIA
(Embarrassed)
I never mean to do that.
REED
Sorry I put you in that situation.
LYDIA
Don't worry about it.
(Beat)
I'm always in love. It just never lasts as long as I wish it would.
REED
Maybe it's better that way.
Lydia 
How's this going to end?
REED
I don't know.
Lydia
Can't I get a second chance?
Reed thinks over the question. In the corner of his eye he sees Walcott standing next to a dresser, looking over several different medications.
REED
Here, one second. I need to take care of something.
Reed gets up and disappears out of frame as Lydia flicks her cigarette off the side of the bridge. Reed suddenly enters the frame and jumps off the bridge.
EXT. SHALLOW riverbed (In-between)
Reed is only slightly nicked and scratched from the fall. Lydia is lying down beside him. The small amount of water that is there to begin with seems to float around their bodies, leaving them dry.
Lydia
(Grinning)
Was that a yes or a no?
INT. REED'S APARTMENT - LIVING ROOM - morning (past)
Reed bolts upwards from the couch and takes a quick look around in the before. The room is vacant.
ReED
(Bewildered)
Huh.
INT. PRICEMART - HARDWARE AISLE (past)
Reed and Blue both have palettes and are stocking shelves on opposite sides of each other.
BLUE
So you're dropping her before you guys start dating?
REED
Yes.
BLUE
That's stupid.
REED
Thanks for the input.
BLUE
Well, she's attractive. 
REED
Yes, and crazy -
Lydia appears beside Reed quite suddenly.
Lydia
Hey, how are you guys?
Lydia isn't dressed in work attire and is holding a purse.
REED
We're alright.
Lydia
You should take your break.
REED
Oh, sorry. I already did.
BLUE
No you -
REED
(Interrupting)
I gave my phone to Tara. 
BLUE
Oh, yeah. I remember now.
Lydia
Oh...
Lydia's eyes wander for a moment, awkwardly.
REED
Well I'll see ya around then.
Lydia nods and leaves, insulted. Reed immediately punches Blue in the arm.
BLUE
(Grimacing)
Okay, I deserved that.
INT. prICEMART - break room - later (Past)
As the Powerball results flash on the TV screen in the Break Room Reed crashes in with the same small piece of paper in hand from before.
He looks down at his numbers, up at the TV. With a frustrated look on his face he looks down at his numbers again.
Reed does his best to violently rip up the piece of paper and leaves the room with a quick slam of a door.
INT. pet store - continuOUS (PAST)
Browsing the small cages filled to the brim with small kittens Reed appears to be in a kid-like heaven. He peruses about, tapping cages and doing his best to play with the small animals.
A male employee who seems disinterested in the fun Reed appears to be having enters the scene.
Employee
(Tapping Reed's shoulder)
Sir?
Reed turns to the Employee who wears a disappointed frown.
REED
What's up?
The Employee points at a small sign about the cages that says "No Provoking The Animals."
EMPLOYEE
(Stern)
Read it.
The Employee turns and walks away before Reed can say a word back.
INT. reeD'S APARTMENT - LIVING ROOM (PAST)
Reed and Norm have a game of Battleship going as we join them. Norm is completely obliterating Reed who has only one ship left.
REED
B-4. 
(Quickly)
We should get a cat.
NORM
Miss.
(Quickly)
No. G-8.
Reed looks over his game, sighting that the hit would take down his last ship.
REED
Miss.
(Beat)
Why not?
NORM
I'm allergic. And you can't take care of a cat.
REED
I beg to differ, my friend. There's a lot you don't know about me.
NORM
You know that's not true. I know more than I want to know about you.
REED
Really, what have I ever done that's so awful?
NORM
(Chuckling)
You peed in a whole block worth of mailboxes in one night.
REED
(Not very convincing)
That's a rumor.
NORM
Oh, that's not a rumor. But I could mention some great ones I've heard about you though.
Reed slams his game shut and gets up to walk away.
REED
(Exasperated)
You won.
As Reed visits the nearby bathroom Norm yells in his direction.
NORM
Let's order some pizza!
INT. walcott's house - living ROOM - night (PAST)
Scattered about a rather minimally decorated room are boxes of Chinese food and beer cans. Reed is climbing through a nearby window, keeping as quiet as possible.
Footsteps. Walcott. Reed falls to the ground as Walcott looks on. Reed knocks off random bits of debris from his shirt and nods at Walcott.
REED
You look like you need a housekeeper.
WALCOTT
(Concerned)
You need a place to stay?
REED
Yes.
WALCOTT
(Bewildered)
You could've knocked.
INT. walCOTT'S HOUSE - bedroom (PAST)
Walcott hands Reed a box of Chinese food as they both sit on a futon and watch television. Reed shoots Walcott a concerned glare every moment or so, not able to make words.
WALCOTT
You okay, son?
REED
(Smiles)
You know, you haven't called me that in a while.
WALCOTT
(Shrugs)
It fits.
REED
How exactly?
Walcott does not respond.
REED (CONT'D)
I mean, I've heard things in my mother's doped up rants, but I never knew what to believe.
WALCOTT
(Sighs)
You don't want me as a father. 
(Beat)
I can barely manage myself. 
REED
I don't need managing.
WALCOTT
(Chuckling)
I thought this ran in the family. Hey, maybe you can break the trend.
REED
Burn outs?
Walcott takes Reed's words with a sense of dread and disappointment in himself.
Walcott stands up as Reed looks on with guilt.
WALCOTT
I'll let you get some sleep.
REED
I didn't mean to -
WALCOTT
It's fine.
Walcott pats Reed on the shoulder.
REED
I'm hitting a wall, here. I need you around.
WALCOTT
I'll only shelter such a crisis. I'm no good at guidance.
Walcott leaves the room. As the door is shut Reed's face is overcome with dread, pale as if he's seen a ghost.
INT. reED'S house - BEDROOM - morning (present)
A loud exhale is heard as Reed puts both his arms behind his head as a cushion and smiles. Beer (the cat) jumps up on to the bed.
Reed begins to sniff the air with a revolted look on his face.
REED
(To Beer)
What did you do?
Loud footsteps can be heard. Reed jumps out of bed and grabs a baseball bat resting against the wall. In walks Blue, a bowl of cereal in his hands. He takes a bite and looks at Reed as if Reed is a complete moron.
BLUE
I let myself in.
Reed is relieved but suspicious at the same time as he looks Blue over.
REED
Is that my shirt?
BLUE
Oh, yeah, something weird happened when I was in the kitchen.
INT. Reed's house - kitchen - earlier (Present)
Blue is entering the kitchen. As he gets close to the refrigerator he slips and falls violently.
INT. reED'S HOUSE - bedroom (present)
Blue has turned around and his trying to peer over his shoulders and at his back.
REED
(Amused)
You slipped on cat shit after you broke in to my house.
BLUE
I didn't break in, the door was unlocked.
REED
I have a hard time believing that, Blue.
BLUE
Fine.
(Beat)
We close tonight.
REED
Wait, you work at Pricemart?
BLUE
(Overly dramatic)
For the last two years. Thanks for reminding me!
Blue storms out of the room. Reed shakes his head and chuckles, noticing Blue's obvious attempt to change the subject and leave.
INT. PRICEMART - jewelry department (present)
Emily is leaning against the case looking bored, playing with the bubble-gum in her mouth. Reed's feet move quicker than ever as he makes his way to her.
EMILY
(Refreshed)
Well.
Emily reaches her hand across the case.
REED
My name is Reed. Efram Reed. People call me Reed.
EMILY
Because your first name sucks?
REED
I wouldn't say my first name sucks.
EMILY
I wasn't either, I mean... I just hear these things. Did it strike a chord?
REED
From what I hear Efram is easily in the top eighty as far as most popular first names.
(Beat)
I doubt your name even cracks the top one hundred.
Reed shakes hands with Emily.
EMILY 
I'm Emily.
Reed gains a sense of comfort through Emily's interest.
REED
I've got a party to hit tonight.
EMILY
That sounds like fun.
REED
You have any plans?
EMILY
(Thinking)
Uh...
(Beat)
Oh! I do need to hit up the thrift stores and find some white blazers.
REED
(Perplexed)
Well, we could always do that before. I was going to go pick up some music.
EMILY
(Excited)
Great!
EXT. City street - downtown - day (Present)
Reed stands at the corner of a main street, his eyes wandering in search of a certain someone.
Emily is suddenly standing behind Reed. She taps him on the shoulder. Reed turns and smirks.
EMILY
Wonderful day, don't you think?
REED
Yes.
(Beat)
What were we going to a thrift shop for?
EMILY
I need some costumes for a play a few friends are doing in the square.
REED
(Interested)
Oh, sounds awesome. What's it about?
EMILY
(Cocksure)
It's an adaptation.
REED
Of what?
EMILY
Twins.
REED
The uh... Arnold Schwarzenegger movie?
EMILY
(Excited)
Yes! Except they turned it in to a musical.
Reed puts out his arm and waits for Emily to interlock hers with his.
REED
(Amazed)
Sign me up.
INT. thRIFT STORE - later (PRESENT)
Surrounded by the most random of crowds of shoppers Reed and Emily look over a rack of blazers.
Reed notices a denim jacket and takes it off the rack. He chuckles to himself as he raises it to his chest and looks at Emily for approval.
EMILY
If you were a gutter punk who owned several patches, maybe.
Reed shrugs and puts it back on the rack. A HIPSTER with a very well groomed beard and whatever ironic shirt that he found in his closet this morning glares at Reed as he takes the denim jacket off the rack.
REED
(To the man, quietly)
I think it's awesome.
EMILY
(Loudly)
Yes!
Emily is holding two white blazers and smiling with child-like anticipation.
REED
One of those is definitely smaller than the -
(Beat)
Oh, got it.
EMILY
I know a guy who looks exactly like Danny DeVito.
REED
Who's playing Arnold?
EMILY
The backup center at the college.
(Beat)
I don't know much about basketball, he answered the ad on Craig's List... is he going to be tall?
REED
Does he play basketball?
EMILY
Yes.
REED
I imagine he will be much taller than you or I.
EMILY
Awesome.
INT. record store - night (Present)
Browsing through a seemingly endless line of CDs at separate ends of the store are Emily and Reed. 
"Red Moon" by The Walkmen plays.
There are a series of time lapses as they are seen slowly moving closer to each other in their browsing until they finally stand back to back.
Emily turns her head and gets a quick look at Reed as he brings a CD very close to his face, having trouble reading the tracklisting.
Emily laughs quietly. 
REED
Hey. I'm far sighted.
(Beat)
Does that mean I can't see things up close? I didn't go to college.
Reed turns and is face to face with Emily. Emily takes hold of both of Reed's hands. She moves one to her shoulder and interlocks her fingers with the other. 
Emily smiles as she rests her head on Reed's shoulder, swaying back and forth with him to the music.
EMILY
(Intimately)
Nothing like a good slow-dance, right?
REED
I feel like the drunken nature of the parental slow-dance sessions I was around to see may not have helped me along the way.
EMILY
Weird family life?
REED
Well, to start things off they weren't meant for each other.
(Beat)
Her a lowly dry-cleaner and him a secretary of state.
EMILY
(Chuckles)
I get it, not a subject of discussion you enjoy.
(Beat)
Just don't lie to me.
REED
(Nods)
It won't happen again.
Emily pirouettes with the guidance of Reed and comes back to him, again resting her head against his chest.
INT. house party - CONTINUOUS - late night (Present)
As loud noise rock blares from the stereo Blue is seen in the living room embracing a woman in her mid 30s, lustfully kissing her.
In the kitchen Reed and Emily stand so close that it is as though they are overlapping as people. They watch in amazement.
EmILY
I think I dated that guy.
REED
(Chuckling)
He's one of my better friends, actually.
EMILY
Oh, sorry...
REED
(Lovingly)
He's harmless.
The same hipster from the thrift store walks up to Reed and Emily.
HIPSTER
(Nodding his head, in love with the music)
I love this song!
REED
(Shrugs)
It's not indie enough for me.
The hipster is shocked at this statement.
EmILY
(Sarcastically)
It's actually too indie for me.
The hipster rolls his eyes and walks away. Reed raises his hand and is met by a high five from Emily.
REED
(Impressed)
Well played.
EMILY
I dated a guy like that.
(Beat, sighs)
For a while.
REED
Oh. Sorry.
EMILY
It lasted too long. 6 months since that experiment...
REED
Aren't they all experiments?
EMILY
I don't know, was your last one?
REED
(Shrugs)
It was very, very... forgettable.
(Beat)
Uneventful.
Emily chuckles slightly as her eyes again roam to Blue.
INT. inside reed's car - later (present)
Lazy country rock plays as Reed, Emily, and Blue sit in the car parked outside of a set of townhouses. Blue sits in the back of the car mauling a late-night cheeseburger and stuffing his face with french fries.
Blue
(In heaven)
Oh - oh -
(Stuffs his face, mouth filled with fast food)
Oh my God. It's so good.
ReeD
(To Emily)
Which one is yours?
EMILY
The one at the end.
REED
I'll walk you.
EMILY
(Smiles)
Deal.
Ext. outside emily's townhouse - sidewalk (present)
Reed and Emily swap a large plastic fast food cup back and forth, talking.
ReeD
(Kindly)
Did I do a good job wasting your time tonight?
EMILY
(Grinning)
You certainly could have done much worse.
REED
(Laughing nervously)
That's a a whole-hearted endorsement if I've ever heard one.
Reed and Emily stop at a porch.
EMILY 
(Awkwardly)
Well then.
REED
It's been worthwhile.
Emily leans in and hugs Reed. She steps away for a moment. Emily leans in once more and delivers a soft her clumsy and rushed kiss. The two both laugh at the graceless nature of the rushed kiss and step back.
REED (CONT'D)
(Smiling)
Should we try that again?
EmILY 
Next time.
REED
Next time?
EMILY
(Suggestively)
There's always a next time.
Emily walks up the steps. She looks back at Reed. She pulls out her keys and drops them. She looks back again and Reed is gone.
Int. inSIDE REED'S CAR - moMENTS LATER (present)
Reed enters the car and looks to the backseat where Blue is half alive.
ReeD
Too much to drink?
Blue
(Grunting)
Too much to eat.
(Beat)
I think I'm in love.
REED
(Turns over the car)
We'll talk about it tomorrow.
Int. PriCEMART - HARDWARE AISLE - afterNOON (past)
Lydia walks the aisles in obvious search of Reed. He turns and hides behind every display, a very untalented ninja. Lydia finally sees him.
Lydia
(Irritated)
Reed, key!
Reed embarrassingly comes out from behind a blender display, almost knocking over three boxes as he does so.
Lydia rolls her eyes and leaves the customer. Reed puts his hand out and the customer hands him what looks like a antique key from about the mid to late 1700s.
Reed
(To the customer)
Yeah...
(Beat)
Can't copy that.
Int. walcotT'S HOUSE - livING ROOM (PAST)
The television from the bedroom shoots light through an open door and in to the living room as Reed roams around with a trash bag. He takes a look down the hallway to a shut door.
The sound of the door being locked can be heard resonating from the door down the hall.
Int. ReeD'S HOUSE - BEDROOM - early morning (present)
Reed finds himself completely bare of any bedsheets as his eyes slowly open. He blindly grabs the bedsheet and tugs it hard to cover himself. There is a female groan of displeasure.
Reed turns his head. Lydia is lying next to him. Reed covers his face with his pillow and attempts suffocation for a few moments. He takes the pillow off his face.
LyDIA
(Half-awake)
What are you doing?
REED
(Disgusted)
Sorry, honey.
Reed feels a rush of anger come across him as the voice of Lydia echoes in his head.
REED (CONT'D)
(Doing a high-pitched impression of Lydia)
What are you doing?
Lydia elbows Reed, knocking the wind out of him.
Int. diner - afterNOON (Present)
Lydia stares across the booth at Reed with disdain in a mock 1950's diner with a broken jukebox. Reed downs a beer and gets the waitresses attention by waving to her.
LyDIA
Should you really be drinking at 1:30 in the afternoon on a Monday?
Reed
Should I really not be drinking at 1:30 in the afternoon on a Monday?
Lydia rolls her eyes and pulls out her cellphone to begin texting. The waitress brings Reed another beer.
LYDIA
(To the waitress)
Don't serve him, he needs to drive.
Looking very much annoyed the waitress leaves the beer behind and walks away.
REED
(To the waitress)
You're an angel.
InT. ReeD'S house - BEDROOM - night (present)
Lydia puts on her glasses in bed and looks over a college textbook as Reed sets his alarm clock. He looks back to make sure Lydia isn't paying attention. He sets the clock for 2:30 AM. 
After this he puts on a big set of headphones and pushes play on a iPod and blares "I Tried To Leave You" by Leonard Cohen. As Reed closes his eyes Lydia begins to speak to him rather unhappily. With his eyes still closed he manages to click off the bedside lamp.
EXT. The Bridge (in-between)
The sky is beaming down green light on everything as Reed is awakened in the strange world again. He lies on his car with Walcott, staring upwards at quickly shifting clouds.
REED
(Quietly)
Strange sunrise.
WaLCOTT
I'm liking it.
REED
So what is this place?
WALCOTT
(Sits up and looks to his left and right)
I don't know... purgatory?
REED
Your guess is as good as mine.
WALCOTT
I'm not sure what I did to end up in such an odd place.
REED
Maybe they're just prepping you for your future time travel.
WALCOTT
(Nods)
Maybe. 
(Beat)
I don't know if we all get the chance you are getting.
REED
It feels more like a punishment at this moment.
WALCOTT
Living twice?
(Smiles)
I wasn't fit to live once. So I may be inclined to agree.
Reed wipes away a spare tear that trickles down his cheek as Walcott stares in to the sunset without noticing.
REED
(Defeated)
Why did you do it?
WALCOTT
I don't know.
(Beat)
Some of us survive with the character every moment of despair brings us. Some people drown in it.
REED
I know the feeling too well.
WALCOTT
(Shrugs)
It's important to learn how to keep your head above the water.
(Beat)
I guess...
(Chuckles)
I got hit by one too many floods. Watch out for that.
EXT. catholic church - contINUOUS - early morning (flashback)
Reed walks down an aisle leading up to a large crucifix. A coffin rests below the large monument. 
The coffin is flanked by a picture of Walcott. An expressionless look comes takes over Reed's face. Behind him several morose onlookers sit uninterested on the pews that make up the church's seating.
EXT. the BRIDGE (In-between)
REED
(Quietly)
That was hard.
The car begins to rise a few feet off the ground. Reed doesn't take note of it, indifferent to the movement.
WALCOTT
It was selfish, but at the time I didn't know there was anything else I could ruin.
REED
Any advice?
WALCOTT
Maybe.
(Beat)
I guess the stronger among us would say that in some situations you can't burn every bridge you cross. In fact, sometimes you have to turn around and do another lap over the same bridge you were so attached to burning at first glance.
(Beat)
Maybe fate will reward you. Maybe fate is a callous bastard. 
REED
Does it matter?
WALCOTT
I don't know, shouldn't we both know the answer by now?
A moment passes as the car gets noticeably higher in the air.
REED 
(Uninterested)
The car's flying.
WALCOTT 
You wouldn't be an adequate time traveler without a flying car, kid.
Reed nods in a agreement as the car flies in to the green sunrise. Walcott and Reed both put on 3-D glasses as they head towards the sun.
INT. coffee shop - day (past)
Reed enters a hipster hot spot of a coffeehouse walking with insane purpose. He spots Lydia sitting alone and almost sprints to the table and crashes awkwardly against the seat.
LyDIA
(Confused)
Reed?
Reed catches his balance and sits across from Lydia.
ReED
(Grimacing)
Yes, it's me.
LYDIA
What's up?
REED
I think we should watch a movie tonight. Your place, my place, any place.
Lydia smiles.
LYDIA
It took you long enough.
REED
Yes, I apologize.
LYDIA
My place.
REED
When?
LYDIA
Eight.
REED
I will see you then.
Reed gets out of his chair.
LYDIA
(Chuckling)
See you soon.
INT. lydia's apartment - lydia's bedroom - 9:30 PM (past)
Reed and Lydia sit on a bed watching a rather below average teen comedy that is muted as "You're Gonna Make Me Lonesome When You Go" by Bob Dylan plays lightly. Reed lies down. Lydia follows.
REED
(Coy)
So what do you like?
LyDIA
Lots of stuff. I don't know.
(Beat)
I bore myself most of the time. 
REED
You're not boring to me.
LYDIA
(Smiling)
We just met.
REED
Maybe we've known each other much, much longer. For all you know, this might be a daydream. We might be married or even divorced when you wake up. We might be sixty.
LYDIA
(Chuckling)
God, I hope not.
Lydia turns her body to face Reed. Reed turns his head and is face to face with Lydia. 
A flurry of raindrops is suddenly heard slamming against the window beside Lydia's bed. Reed and Lydia sit up.
REED
I don't think I rolled up my windows...
EXT. apartment complex - parking lot - moments later (PAST)
Through the wild storm run Reed and Lydia, shielded only moderately by a rainbow colored umbrella. Reed jumps in to his car and rapidly rolls every window while letting out a hectic yell.
"You're Gonna Make Me Lonesome" becomes louder as the two scatter about in the rain.
He is met on the driver's side by Lydia. Both soaked by the rain, they stare back at each other under the umbrella.
LyDIA
(Breathing heavily)
That was fun.
Reed's eyes are noticeably attached to the same flock of crows from earlier that now sit on a ledge on the side of the complex. Lydia turns Reed's head gingerly with her right hand, smiling.
REED
(Lovingly)
I've missed you.
LYDIA
(Interested)
What?
Reed leans in and kisses Lydia.
Int. ReeD'S APARTMENT - BEDROOM - morninG (present)
The sun shines on Reed's face. An alarm clock radio goes off and Reed springs up out of bed like a madman.
REED
(Yelling)
Beer!
(Beat)
Beer!
Reed walks back to the bed and takes off the covers to discover his cat sleeping soundly. Reed fist pumps and does a dorky white man dance.
MONTAGE:
"Which Will" by Nick Drake plays during the montage.
EXT. outSIDE EMILY'S TOWNHOUSE (present)
At the front door stands a well-dressed Reed with a bouquet of daisies in his hand. Emily opens the front door and accepts the flowers with a hint of embarrassment and blushing. 
To only Reed we go. As we look back to see Emily...
EXT. Outside LYDIA'S APARTMENT (past)
LYDIA reaches forward and hugs Reed, holding a bouquet of red roses in her hand.
INT. diner (Past/present)
Across from Lydia sits Reed as he tells a long-winded story. She seems enamored in him nonetheless and interested in what he has to say. Lydia begins to chuckle as a punch-line is hit. Reed smiles as he watches Lydia. 
Suddenly across from Reed sits Emily, who shrugs indifferently to Reed's story. He delves in to another tale.
EXT. city STREET (Present/Past)
Enjoying a night walk are Reed and Emily. As they make their way closer to each other Reed puts out his hand. Emily grabs hold of it with vigor. 
As we focus away from the hands we see Lydia has replaced Reed and kisses him lovingly on the cheek.
INT. lYDIA'S APARTMENT - LYDIA'S BEDROOM (past)
Lydia sits on her bed with only a bed sheet covering her nude body. Reed takes off his shoes while standing up, stumbling a bit as he does so.
He rips off his shirt and tosses it to the side. We focus on the shirt lying on the floor as he embraces Lydia.
INT. 24 hour laundry mat (present)
The same shirt from before lies on the floor at the laundry mat. Emily's arm enters the screen and picks it up. As she stuffs it in to a hamper Reed goes in for a kiss.
Emily backs away momentarily. She runs her hand across Reed's facial stubble and stares deep in to his eyes. Finally she leans in and rewards Reed with a romantic, passionate kiss.
EXT. neIGHBORHOOD STREET (Past/Present)
Reed is standing by his car and watching Walcott check his mail. Walcott seems indifferent to anyone or thing that should exist around him.
Walcott speedily makes his way through his front door and slams it shut.
A moment later the old couple is seen exiting the house with a pet Chihuahua. 
Reed is standing next to the same car in the present, this time with sunglasses and smoking a cigarette.
END MONTAGE.
INT. lyDIA'S APARTMENT - LYDIA'S BEDROOM - night (past)
Reed and Lydia lie closely to each other in the buff, hair looking distressed from sex. They watch a rather bad action movie.
Reed begins to shut his eyes.
LyDIA
(Sits up)
Hey!
Reed snaps awake.
ReED
Yeah?
LYDIA
You're still mine for another hour.
REED
Do I really have to finish watching this?
LYDIA
(Smirking)
Do I really have to sleep with you?
Reed opens his eyes as wide as possible and stares at the screen. Lydia laughs hysterically.
REED
What are we watching?
LYDIA
What do you think of me?
REED
That's a vague question.
Lydia elbows Reed in annoyance.
LYDIA
Honestly.
REED
(Breathes in)
Okay.
(Beat)
I think you're great. I think...
Reed looks Lydia over, a sudden weight to his words being noted by Lydia.
REED (CONT'D)
I think you're funny. I think you're cute. Not in a completely infantile way either, just like you have trouble believing the time you have is enough.
(Beat)
I think you're confused. Mostly in good ways. I think you're trying to figure out if all the compliments and niceties given to you from guys like me are merely tricks or if they're coming from somewhere true. I think if I stick around too long, you're destined to break me in two.
(Beat)
I think I'm too cynical to survive in the world you occupy.
LyDIA
(Staring a hole through Reed)
I don't want to hurt you.
REED
Someone always ends up hurt. I'd rather it be me than you.
LYDIA
(Smiles)
Well maybe if you occupy my world long enough you'll find a nice little spot to hang out for a while.
Lydia smiles weakly, looking almost embarrassed.
LyDIA (CONT'D)
I've never been good at these things.
Reed kisses Lydia on the forehead.
REED 
That's fine. I'm a champion at this. You won't be able to live without me.
Lydia refrains from responding and rests her head on Reed's stomach.
LYDIA
I love you.
Reed shuts his eyes and runs his hands through Lydia's hair.
REED
(Crushed)
I love you too.
InT. priceMART - HARDWARE AISLE - night (present)
There are only the occasional sparse customers rolling by the aisles as Reed performs cleanup on an aisle. Reed concentrates on almost nothing else but still is lagging in his execution of everything.
Keith appears next to Reed and begins to help. Reed merely acknowledges his existence as he does this.
KEITH
Tough day?
ReED
You could say that. Two women in my life and neither seems interested in allowing me happiness.
KEITH
You know what may be worse?
REED
What's that?
KEITH
One woman in your life that doesn't seem interested in allowing you to be happy.
REED
(Chuckles)
Good point.
KEITH
(Leans closer to Reed)
Here's the thing.
(Whispery)
My wife and I schedule sex.
Reed is taken back by Keith's open nature.
REED
Okay then.
KEITH
Reed, she's very religious. And I'm only half interested in that part of life. I'm a simple guy. I don't need a grand plan.
(Quietly)
I need sex. With my wife. I need a break from my kids every once in a while.
REED
I understand where you're coming from.
KEITH
I doubt you do.
Keith takes a solid stock of how many people are around him. He sees only Reed.
KeiTH (CONT'D)
I have to find time to look up a good porn website, find a good video, do my business, clear out the browser history, make sure I get no viruses, and make sure my wife thinks nothing of my not being around for a certain amount of time every night.
(Beat)
It's not as easy as it may sound, Reed.
REED
(Lightly chuckling)
Sorry, man.
KEITH
Yeah. And she keeps getting more and more software to block porn and check browser histories even after you've deleted files.
(Sighs)
It's never ending, man.
REED
Do you still love her?
KEITH
What kind of question is that? Haven't you been listening?
(Beat)
I wouldn't go through this trouble if I didn't love her more than anyone I've ever known.
REED
So long term relationships are all about dishonesty?
KEITH
No. In some matters, it's about patching up a ship that's about to sink. Halfway through your life you stop having sex. So why would I drop someone that is perfect for me for such a stupid reason?
Reed has no response.
KeITH (CONT'D)
You're only young for so long. The rest is a long slow goodbye. It's nice to have a solid companion riding shotgun on that ride.
An announcement about Pricemart closing in five minutes can be heard over a loud speaker.
REED
Well this has been eye-opening, Keith.
KEITH
(Puts on a goofy smile)
Any time, buddy.
Keith pats Reed on the shoulder and walks away in his happy go lucky way of moving.
Ext. OutSIDE pricemart - night (present)
Reed takes off his name tag as he approaches his car. He pulls out his cell-phone and checks for text messages. The first one to hit him is from Emily. 
"You were supposed to take me out this morning."
INT. Emily's townhouse - living room (Present)
There is a knock at the front door. Emily sits in pajamas using a laptop computer. There is another knock. Emily rolls her eyes and gets up.
She looks through the peep hole and sees Reed. Instead of opening the door she just speaks through it.
EmILY
It's late, Reed. I need to do some homework.
REED (O.S.)
We should talk. I'm sorry, I overslept. 
EMILY
You've been distracted for a few days now. I'm used to people losing interest, Reed. I notice these things.
REED (O.S.)
Can you just open up the door?
EMILY
Okay.
Emily opens the door halfway, not giving Reed room to enter. Reed is barely seen through this small space.
REED
I want this to work.
EMILY
I did too.
REED
I've had a rough few months.
EMILY
I have too.
REED
Can I at least come in?
EMILY
I don't think that's a good idea, babe.
REED
(Angered)
Why are you so afraid of human contact?
EMILY
(Insulted)
You've been giving me half truths for too long, maybe? Is it in you to tell someone a story of substance? Or is everything just a clever anecdote?
(Beat)
I know you wanted to keep up your reputation of fucking in and out of every relationship of your life, I'm just not in to participating.
REED
What did I lie about?
EMILY
Lydia.
(Shakes her head)
We work in the same store, Reed. How long did you think it would take me to find out that she crushed you?
REED
(Annoyed)
How is that lying?
EMILY
It isn't, but it's a lack of backstory. Like everything else behind you. You're so afraid of confronting your past... what does that say about future prospects? 
(Beat)
Like us.
Reed steps back.
REED
Okay. I'll go.
Emily looks as if she feels guilty as Reed turns and walks away. She slams her door shut. She puts her head in her hands. Once she raises her head back up, noticeable tears fall from her eyes.
INT. LydIA'S APARTMENT - LYDIA'S BEDROOM (past)
Reed lies in Lydia's bed waiting for her to finish up in the shower. He looks to the wall to his right and sees pictures of SKYLER, Lydia's ex-boyfriend. 
Lydia enters the room with a towel covering her. She sends a text message on her phone, giggles, and leaves the room.
Reed notices the cell phone was left behind. A hair dryer is being blasted at full power in the bathroom.
Reed jumps in to action and leaps at the phone, quickly scrolling to the text messages. There is an anger and jealously in Reed's face as he reads this message.
"Can't wate 2 c u again." The message is from Skyler. Lydia enters the room and catches Reed off-guard.  The hint of an explosion coming from Lydia is in the air.
Reed flips the phone shut and hands it to Lydia.
LyDIA
Find anything?
Reed
Just messages from the guy you said you were done with.
LYDIA
Yeah.
(Beat)
Well, he's visiting.
Reed sighs and shakes his head.
REED
What am I here for then?
LYDIA
I don't know what that means, Reed.
REED
Is that your way of saying you don't want to see me anymore?
LYDIA
No, Reed. You invaded my privacy after I trusted you. You don't get to lecture me.
REED
And Skyler?
LYDIA
What of him?
REED
I'm guessing I should be threatened.
LYDIA
No. You shouldn't. I know him too well to make that mistake again.
Reed stands up.
REED
I know what you mean.
Reed attempts to walk past Lydia. She stops him and gives him a kiss on the neck. Reed leaves.
The sound of a phone number being dialed and ringing is heard. Lydia takes a seat on the ground and continues texting.
BLUE (V.O.)
Blue's Recreational Center, this is Blue, what can I help you with?
REED (V.O.) 
Blue.
Blue (V.O.)
Yes?
REED (V.O.)
I have a problem.
BLUE (V.O.)
Which is?
REED (V.O.)
I need to be hammered right now.
BLUE (V.O.)
I'll be over in five minutes.
INT. reeD'S APARTMENT - LIVING ROOM (past)
A huge cloud of smoke hovers over Blue, Reed, and Norm.
There are two recliners and a three person couch in the room but for whatever reason they are all piled on to the couch and passing around a glass pipe.
Norm looks particularly out of his element, trying to avoid the smoke by blowing it away as it comes towards him.
Reed holds the pipe in his hand and turns to Norm.
NORM
No, I know what you're getting at.
REED
It's been like three years.
NORM
No!
Norm moves to one of the recliners.
REED
You're doing this, Norm. Because we do not have endless time together to experiment.
(Nods)
All we have is tonight. Here. Now.
BLUE
You'll be way cooler if you do it.
NORM
(Exhales loudly)
If I smoke, then what?
BLUE
We hit the town.
REED
(Excited)
Like old times.
Norm mulls over the question for a moment.
NORM
Just like old times, huh?
(Beat)
Do you remember what I was like three years ago?
Reed smiles. Blue seems lost in the conversation.
BLUE
Oh shit, son.
InT. vibes dance club - bar - later (past)
Reed, Blue, and Norm make their way through a crowd of drunken white people dancing on their endless walk to the bar area. Norm gets hit in the face with a blonde's big, flowing locks and looses his footing.
All three sit at the bar.
BLUE
(Lost)
Why are we here?
Norm can be heard off screen laughing hysterically at a drunk woman dancing alone against a pole.
REED
We'll figure it out.
BLUE
Let's get trashed.
Reed high fives Blue.
REED
Yes.
Reed and Blue's first drinks arrive. 
A time lapse occurs and it is seen that the empty drinks have been multiplied by seven. Reed is now arguing with a Puerto Rican bartender.
Blue and Norm escort Reed away from the bar.
INT. The rusty nail - bar area - later on (past)
Reed has calmed himself and now drinks a beer at this new bar with 4 more empties to his name. Blue laughs as a sad chubby man sings "Creep" by way of karaoke. Just as he finishes up Norm is nowhere to be found.
Norm
(Belligerent)
That sucked!
The chubby man tackles Norm. 
Blue
Who the hell is this guy? He's awesome!
REED
(Slurring)
I whole arted feed a need.
BLUE
Excuse me?
Reed shakes his head and slaps himself around a bit.
REED
(Smirking with confidence)
I wholeheartedly agree.
Blue pats Reed on the back.
BLUE
Good work.
REED
I need to visit the resting room.
Reed almost falls as he gets off the stool. He gathers himself and wobbles towards the bathroom.
INT. The rusty nail - bathroom (Past)
All stalls urinals are either broken or not working so Reed begins attempting to open stalls. The first one is locked, with two sets of feet inside.
Reed enters the next stall and begins urinating.
Female voice (O.S.)
Okay! No! This is too disgusting!
The stall next to Reed opens and a woman exits the bathroom. Reed finishes up and exits the stall.
As Reed washes his hands the other set of feet exit the stall. It's Keith. Reed doesn't notice him until he's standing next to Reed washing his hands.
ReED
What the - ?
Keith
(Embarrassed)
I'm not proud of myself, Reed.
REED
You have a wife, Keith!
KEITH
(Shrugs)
I'm a sex fiend, man. What else can I say?
REED
(Disgusted)
A fiend for dirty bathroom sex?
KEITH
Wherever I can get it.
Reed leaves the bathroom in a rush.
INT. the RUSTY NAIL - BAR AREA (past)
Reed signals to Blue that it is time to leave. Keith enters the bar just after this happens, which perplexes Blue. Norm follows.
ExT. City street - day (past)
Every member of the group puts their hands over their eyes as they leave the bar and the sun beats down on them. They all look rather strange in the sunlight, like vampires ready to disintegrate.
ReeD
(To Blue)
We can't continue this until I see my psychic.
Blue
(Quizzical)
Your what?
Norm
I'm driving!
Reed
(Yelling in a very parental tone)
No!
Norm kicks a soda can on the sidewalk and walks towards the car.
InT. Jermaine THE MAJESTIC'S PSYCHIC EMPORIUM (past)
Reed enters alone. Jermaine is lying on the ground staring at the colorful ceiling. He is caught off guard and appears quite nervous. He jumps to his feet and looks around with a sense of incredible paranoia.
Jermaine
What the hell, man?
ReeD
You want my story?
Jermaine
Well, yeah...
REED
Here you go.
(Beat)
I go through a shitty relationship, I lose my job, I move back home. I attempt suicide. Ever since I jumped from a cliff somewhere near fucking Gold Hill -
Jermaine
Gold Hill?
REED
Yes, Gold Hill. Listen, I wake up in the past. I go to sleep, wake up in the present.
Jermaine
Why aren't you doing something relevant here? Like changing things?
REED
Because I can't remember national disasters. Names, dates. I can't remember lottery numbers. I know things are going to happen but have no capacity to change them.
(Beat)
And when I do...
Reed is exhausted.
REED (CONT'D)
It all seems to go to shit. So what now?
Jermaine
Then you are simply re-living a bad situation. Something holy or unholy is trying to teach you something.
REED
Teach me what? I'm done with this lesson. I get it. Suicide, not an answer. 
(Waves his hands in the air)
Pardon me! Please!
Jermaine slowly steps back from Reed.
Jermaine
Weird.
REED
(Annoyed)
What's wrong with you now?
Jermaine
I may have taken some psychedelics. 
(Jermaine stares at his hand for a moment)
And they may be turning on me.
REED
(Frustrated)
Perfect.
Jermaine
What's her name?
REED
Which one?
Jermaine
There's two?
REED
Yes.
Jermaine
Pick one.
(Beat)
The one that didn't crush you?
REED
It isn't that easy.
Jermaine
Making a choice is the easiest thing in the world to do. Following through is harder.
REED
I'm sorry for bothering you.
Reed turns to quickly to leave and trips on a chair. He doesn't pick up the chair, which seems to bother Jermaine quite a bit even after Reed is gone. Jermaine picks up the chair and places it perfectly where it was before. He lies back down.
EXT. City street - night (past)
Norm is vomiting outside a local bar as Blue falls out the front door. Reed soon follows with an incredible sense of anger in his eyes.
REED
(Mumbling)
I - I don't even - I don't even care, man.
BLUE
(Slurring)
Let's break something.
Norm appears to stop vomiting just to cheer the idea on. 
REED
What did - who do we -
(Reed looks around)
What do we break?
MONTAGE:
"Fool's Life" by Dr. Dog plays during the montage.
Ext. city STREET - continuous - late night (past)
Reed and Blue burst on the scene of a phone booth and begin to attempt pushing it over. As success in the endeavor looks more and more ridiculous Reed gives up.
He reaches forward at the phone and strips it from the booth. Blue and Reed high five with passion.
At a small street that is slanted upward we see Norm roaming from car to car, looking checking for unlocked doors. Norm finds one and jumps in the air pointing at it until Blue jumps in.
Rather than attempting theft, Blue merely decides to put down the parking brake and send it careening in to the car parked behind it. The two run off laughing hysterically.
There is movement from inside the car that was hit. KEITH peeks his head out and looks to his left and to his right. Confused and inebriated he lies back down.
Outside a closed stereo store Blue is seen tossing a plastic garbage can at a big glass window. Each time he tosses the can he runs in the other direction, expecting broken glass and an alarm. Unfortunately he gets neither.
Blue
(Angrily)
This is stupid! 
Norm
I have fireworks!
EXT. wooded area - late night (PAST)
Reed, Blue, and Norm stand in a small clearing with sparklers lit. Surrounding them we see around twenty fireworks that have been previously lit.
INT. inSIDE REED'S CAR - early morning (past)
As Reed drives the crew back in to town we notice that no one else is awake. There is blood on Blue's shirt, Reed's knuckles are cut, and Norm has a busted lip
EXT. country road
Reed's car passes by and we see a large dent on the side of it and a broken headlight to go long with it.
END MONTAGE.
Int. PriCEMART - STOCK ROOM (present)
Reed walks by Keith, who tries his best to avoid eye contact with Reed.
Reed
(As he passes by)
Sinner.
INT. lydiA'S APARTMENT - LYDIA'S BEDROOM - day (past)
Light, old country music plays from a bedside radio as Reed sits next to Lydia on her bed. There is a noticeable distance between the two.
LyDIA
What are you thinking about?
REED
I'm sorry. 
LYDIA
I am too. 
(Beat)
You should know about these things.
REED
But have you declared us to be dating yet or am I in the same situation I've always been in?
LYDIA
(Sighs)
I was in a really long thing before. He burned me, Reed. I just want to have some fun.
REED
Then why are you letting him visit?
LYDIA
We're the same people, Skyler and I. He's the type that occupies my world.
(Beat)
You deserve better than that.
Reed softly touches Lydia's face.
REED
I'm not giving up on you yet. Even if you are.
Reed stands.
LYDIA
Where are you going?
REED
Should I be here?
LYDIA
(Smiles)
You're invited.
REED
I'll keep that in mind.
INT. lauNDRY MAT - night (present)
In an empty laundry mat Reed divides his time between reading music magazines, listening to music, and looking out the window every so often in hopes a certain faces shows.
Just as he begins to bow out and close his eyes, Emily weasels her way quietly to within a foot of Reed's face. She takes off his headphones.
Reed doesn't jump but rather smirks in embarrassment.
EmILY
You should probably switch over your clothes.
REED
I'll consider it.
Emily takes a seat next to Reed. There is a noticeable distance between the two.
EMILY
I overreacted.
REED
(Indifferent)
Maybe.
EMILY
My cat died.
(Beat)
This is stupid.
Emily lets out a heavy hearted chuckle. Reed does his best to console her.
REED
No, it's not.
EMILY
I don't normally date. I just... I've been through a few things.
(Beat)
My last little going steady experiment ended in distrust and me being alone and staring at a cell phone for hours on end. 
REED
These things happen.
EMiLY 
The thing is, I see something in you. I don't know what it is yet.
REED
Same here.
EMILY
(Sarcastically)
In me or you?
REED
(Pointing at Emily)
You.
EMILY
Good to hear.
REED
I just don't know what's going on in my life anymore. I have some stuff to figure out.
EMILY
Well, you figure that stuff out.
REED
I will.
EMILY
Call me the second your master plan comes to fruition. We'll drink wine and celebrate.
REED
(Discouraged)
I'm hoping that's how it ends.
EMILY
(Runs her hand through Reed's hair)
Let's just hope it ends the right way. 
(Beat)
I can be content with us both being happy.
REED
I like the sound of that.
(Beat)
You still want that truth?
EMILY
No, you don't have to -
REED
You can be the first to hear this.
(Staring in to Emily's eyes)
I want you to be.
EMILY
(Weakly)
Okay.
REED
My mentor for the last 20 or so years of my life. My...
(Choked up)
My possible father, my constant friend, my only real need in this world.
(Reed lets out a defeated laugh)
He was an emotional cripple.
Noticeable tears form in Reed's eyes.
REED (CONT'D)
And he swallowed about thirty sleeping pills not long ago.
(Beat)
I'm not religious. I have no great aspirations. I'm twenty-one years old and all I have is a list of failures.
Emily wipes away the single tear that drops from Reed's eye.
EMILY 
No matter how far wrong you've gone, you can always turn around.
(Beat)
That looked difficult.
REED
(Smiles)
It's a first.
EMILY
There's a first time for everything.
(Looks around)
Now.
(Beat)
Let's finish that laundry.
"Piazza, New York Catcher" by Belle & Sebastian plays.
Emily gets up, holding Reed's hand. She guides him to the washer. Reed stares outside the window, lost in his own body. She leans in and kisses him on the cheek.
INT. house PARTY - living ROOM (PAST)
Holding a bottle of wine and wearing sunglasses Reed stares blankly at a DRUNK HIPSTER who is having issues holding his head up straight. Every moment or so Reed glances at his cell phone, oblivious to the rest of the events around him.
Blue opens a nearby window, catching Reed's eye. Blue waves for Reed's presence outside the window.
EXT. city apartment building - fire escape - night (PAST)
"Hell Is Chrome" by Wilco echoes through the window.
Blue has several small brown bags and is lighting them on fire and dropping them to the ground below. They ever so slightly float in the air, illuminating the windows on the floors below.
Reed peaks over the side of the railing and stares out to the city, alive with light.
BLUE
I had an interesting thought today.
Blue looks to Reed for interest. Reed is again staring at his cell phone. Blue doesn't seem bothered by Reed's lack of attention.
BLUE (CONT'D)
Right now, 9/11 is like the mother of all depressing subjects. But, in twenty years... maybe it'll just be another drinking holiday.
REED
That's usually how we salute tragedy.
BLUE
Twenty years from now we'll be barbecuing and lighting off fireworks and getting hammered on 9/11. 
(Chuckles)
I love the natural order of everything.
Reed lights up a cigarette and for the first time looks directly at Blue. 
REED
Nothing like a little bit of heartache to put a damper on a beautiful night.
Blue pats Reed on the back.
BLUE
(Smiling)
I'd tell you to ignore it, but I know you won't.
REED
(Nods)
You know me well.
A flock of crows suddenly fly overhead and disappear in to the dark sky. Reed smiles as he watches their elegant exit.
InT. bLUE'S HOUSE - living room - later on (past)
Everyone but Reed find themselves passed out in many different positions on the living room floor. Reed sits comfortably on the couch. He pulls out his cell phone and sees he has one voice mail.
He dials up his voice mail and listens.
LyDIA (V.O.)
Hi. This is Lydia. I'm in bed. I love you and I miss you. I just thought you should know that. 
(Beat)
Don't call me back.
Reed flips the phone shut and lets out an exhausted groan.
InT. rEED'S house - morning (present)
An old folk record plays quietly as Reed opens his eyes to notice Lydia's head resting on his chest, her blue eyes staring up lovingly at him.
LyDIA
Morning, sunshine.
ReED
Mornin'.
Reed focuses his eyes upward and away from Lydia.
LYDIA
What are you thinking about?
REED
You and me.
LYDIA
That's awful vague, don't you think?
REED
When Skyler visited.
LYDIA
Which time?
REED
There was more than one?
LYDIA
You think you might want to get some more sleep?
REED
Tell me.
Lydia's mood seems to change a little, towards suspicious.
LYDIA
We agreed that sometimes I have to see him. We have a past. He's like my brother.
REED
And what am I?
LYDIA
You're my lover, babe.
(Beat)
I couldn't ask for anyone better in the world.
REED
(Smiles weakly)
Thanks.
Sits up.
LYDIA
Well?
REED
Well what?
LYDIA
What am I to you?
Reed chuckles for a moment.
REED
A fuckin' mystery. That's why I love you so god damn much.
Lydia playfully laughs as she climbs on top of Reed and kisses him with desire.
LYDIA
You know I'd never hurt you, right?
REED
Yeah, I know.
LYDIA
Get up, lazy bones. Take a shower so we can go get some coffee.
REED
Okay.
INT. coffEE House - afternoon (present)
Reed stares over a coffee and straight at Lydia as she speaks. He appears to take none of this information in but rather pays attention to subtle movements. 
The way she tests out the temperature of her coffee. The child-like lack of eye contact, easily distracted by the movements of others in the coffeehouse. 
Lydia gracefully moves the hair from her eyes and smirks towards Reed.
LyDIA
You awake yet?
ReeD
Yeah. I just missed this.
LYDIA
Missed what?
REED
I don't know. I feel like we haven't been happy in a while.
LYDIA
We've had our moments. We've had fun. It's been interesting.
REED
How did we come through?
LYDIA
In some weird way it was meant to be.
REED
When did you know?
Lydia takes a sip of her coffee and considers the question.
LYDIA
When you gave me my space. 
REED
How do you mean?
LYDIA
I don't know, Reed. You've stuck it out with me. And I with you.
(Beat)
You should never have to forgive someone for being who they are. You accepted me.
REED
Did I demote your dream girl status?
LYDIA
Maybe, wouldn't you know better?
(Beat)
You always thought a little higher of me than I did.
Reed leans forward and gives Lydia a kiss.
REED
How long do you think we can make this last?
LYDIA
Anything is possible. Right?
Lydia kisses Reed.
INT. reeD'S House - BEDROOM - night (present)
Lydia lies asleep with a book on her chest and Reed's headphones on her head. Reed stands in the doorway looking her over. He turns off the light.
INT. rEED'S APARTMENT - livING ROOM (Present)
With the TV muted Reed looks through old vinyl. He finds an old picture book complete with love letters and personal pictures. 
Reed sees his relationship has gone far. A sneaking doubt to the legitimacy of the relationship seems to haunt him as he does this.
INT. outSIDE EMIly's townhouse - later (present) 
On the steps leading up to Emily's townhouse sits Reed, black circles sinking in to his eyes. He seems cloudy on why he is where he is at the moment, but comfortable in the choice.
Suddenly the front door opens and out walks Emily with a pack of cigarettes in hand. She is perplexed by Reed's presence. She looks back at the door just as she is about to close it. She finally notices who Reed is.
EmILY
Don't I work with you?
REED
(Chuckles)
Yeah, Emily, right?
Emily is overly happy about Reed knowing her name, not off putted at all. She happily takes a seat next to him.
EMILY
You remembered my name!
REED
(Smiling)
I'm good with names.
Emily lights a cigarette.
EMILY
So now the question becomes... why are you sitting outside my building.
Reed shrugs.
REED
Not sure at this moment. Right place at the time I took a seat.
(Beat)
Should I leave?
EMILY
Nah. You sound like you're thinking some important things over. Better my steps be the first step in your personal journey towards happiness and well-being.
(Beat)
It's practically metaphorical.
Reed is shocked at Emily's outgoing nature to a near stranger.
REED
That's very nice of you.
EMILY
I try.
REED
How does a person stay nice in this world, Emily?
Emily re-positions herself in a way Reed notices the odd cute nature of. He stores it away and laughs to himself.
EMILY
You see...
Emily draws a blank on Reed's name.
REED
Reed.
EMILY
Yes, Reed.
(Beat)
Sorry.
REED
Not a problem.
EMILY
You see, Reed. I had a pleasant enough childhood. I mean, we were poor and my parents divorced and I'm not on particularly good terms with anyone in my family but...
Emily sort of trails off, not knowing where to go next.
REED
Moving on...
EMILY
Yes. You can either embrace your past failures and plan on doing better the next go around or you can forget they ever happened. Something always ails you. Isn't it about time, as the human race, we all get used to our psychology and quit trying to medicate our problems?
REED
Solid point.
Emily puts out her cigarette and puts her hair behind her ears.
EMILY
Thanks, Reed.
Reed stands up. Emily does the same. Reed puts out his hand for a shake. Emily wholeheartedly shakes and smiles.
REED
It's been informative, Emily of Pricemart.
EMILY
Glad I could help.
REED
You think we'll meet again?
EMILY
Sure. 
Emily leans forward as if to tell Reed a secret.
EMILY (CONT'D)
(Whispering)
Come find me when your master plan comes to fruition, we'll drink wine and celebrate.
Reed leans back and tilts his head in amazement.
EMILY (CONT'D)
Get that head straight there, partner.
Emily walks back to the front door and leaves Reed standing and adoring her every move.
EXT. outside walcott's house - day (Past)
There is an immediate pounding on Walcott's door. Reed is not holding back until the door is open. There is a loud slam inside the house. Reed stops for a moment and listens.
WALCOTT (O.S.)
(From inside the house)
I can't baby-sit you anymore, Reed.
REED
(Angry)
Just open the door!
The sound of a dead-bolt being locked can be hears. Footsteps are heard in the creaking of the hard-wood floors. Reed looks to the side of the house.
Walcott goes from window to window, locking up and closing blinds.
INT. vIBES DANCECLUB - BAR - night (past)
Reed enters the stage of his last bout of shenanigans with a sketchy look on his face, looking around to see if anyone recognizes him.
At the bar sits Lydia next to SKYLER (James Marsden), a frat boy from head to toe with popped polo collar and cargo shorts. Lydia jumps from her stool and embraces Reed with excitement.
LyDIA
I'm so glad you came!
Skyler looks half angered at this but none too worried. Lydia lets go of Reed who looks at Skyler. Skyler stands up as Reed puts out his hand for a shake. Skyler attempts to make something of a secret handshake attempt and fails miserably.
Skyler
I've heard a lot about you, dude.
REED
(Worried)
Oh, cool. 
SKYLER
Lydia tells me you're the brother she never had.
Reed nods at this statement with sarcasm and glances at Lydia with the evil eye.
REED
I guess you could say we know each other fairly well.
Skyler puts his arm around Reed with a hint of intimidation and walks him to the bar.
SKYLER
Let's chug.
REED
(Puts his hands on his stomach)
I just ate some Mexican food, so...
SKYLER
(To Lydia)
Tell your friend to quit being a fag.
Reed leaves Skyler's grasp with a bit of aggression and looks towards the bartender.
REED
I'll take a pint. Keep 'em coming.
Reed and Skyler clank their pints together and proceed to chug. Skyler holds the advantage the entire time and finishes much sooner than Reed.
SKYLER
Fuck yeah!
Skyler puts his arm around Lydia and kisses her on the neck. Lydia ever so gently pushes him away.
REED
Guess you're the king of drinking beer fast.
SKYLER
Damn straight.
Skyler blatantly slaps Lydia on the ass. 
LyDIA
(Frisky)
Knock it off!
Skyler laughs loudly and starts drinking another beer.
Reed turns his back to Lydia who attempts to make eye contact with him.
REED
(To the bartender)
Got anything more stiff?
Int. VIBES DANCECLUB - dancefloor - later on (past)
Lydia and Skyler now ridiculously bump and grind against each other to the tune of rather bad generic hip hop music. They have the dancing style of sex deprived bunnies. Reed is looking on from the bar area with a half-drunk disgust.
INT. vIBES DANCECLUB - BAR (past)
Reed pounds down the last drink of a Jack and coke and puts his head in his hands. Kirstin sits next to Reed, looking on at his morose nature. She rubs his back and smiles.
KirSTIN
He'll be gone in 24 hours.
REED
(Sits up)
Oh, no -
(Beat)
I don't hate him.
KIRSTIN
Are you sure?
Reed motions about an inch with his fingers.
REED
Maybe about that much.
KIRSTIN
(Sighs)
He hits on me too. I just had an insane amount of trouble falling in love with...
Kirstin looks towards the dancefloor at Skyler dry humping Lydia.
REED
That.
KIRSTIN
Yes, that. 
INT. vibes DANCECLUB - bathroom entrance (past) 
Reed exits the bathroom and is greeted by Lydia tucking him away from sight. Reed opens his mouth to speak and Lydia begins to open mouth kiss him, though maul would be a more appropriate term. 
Reed pushes Lydia away to catch his breath.
REED
What is this?
LyDIA
What?
REED
You told him I was your friend.
LYDIA
(Laughing nervously)
I didn't want him to kill you, Reed.
REED
Seriously?
LYDIA
No, no.
A silence passes in which Lydia does a horrible job admitting what she said was true.
REED
Have I stuck around long enough, can I go?
LYDIA
What do you mean?
REED
Do I need to be here as your brother?
(Beat)
I'd rather just go home, pop one out, and forget you ever existed at this point.
Lydia becomes almost instantly emotional.
LYDIA
I'm sorry, Reed. I'm drunk.
REED
No you aren't, Lydia. You just like the attention.
LYDIA
Why are you being so mean to me?
Lydia begins to hint she may shed a tear. Reed forcefully turns her against the wall and kisses her.
REED
Let's leave, right now. 
LYDIA
Why?
REED
Because if you don't leave with me right now, you'll never see me again.
Lydia kisses Reed.
LYDIA
He has nowhere to stay.
REED
He'll pass out in about an hour.
LYDIA
Okay.
INT. kirsten's car (past) 
Kirsten drives while Lydia sits in the front. Reed is stuck in the back seat with a belligerent Skyler. Reed sighs in annoyance as Skyler puts his head out the window and begins howling.
SKyLER
(Screaming out the window)
Hey! You! Suck my cock!
Kirstin begins to roll up the window, trapping Skyler's head in it as she does so. He screams helplessly.
KiRSTIN
Are you done?
SKYLER
Yes! Yes!
Kirstin rolls down the window and Skyler falls back in to the car.
LyDIA
(To Skyler)
Just calm down, Skyler. Rest.
SKYLER
(Laughing)
I can't calm down, I'm a soldier!
Skyler positions himself an inch away from Reed's face.
SkyLER (CONT'D)
Right, buddy? Huh?
REED
(Bland)
Yeah, you're a soldier.
Skyler sits down in his own seat nodding his head.
SKYLER
Damn straight.
INT. lYDIA'S APARTMENT - living ROOM (past) 
As Reed and Lydia sit together on the couch Skyler stumbles to the DVD player with a copy of "The Fast & The Furious" in hand. As he figures out how to put the DVD in the drive, Lydia and Reed watch in amusement.
ReeD
(Whispering)
Was he any better at finding the clitoris than he is at finding the play button?
Lydia laughs uncontrollably.
SkyLER
(Yelling)
I got it!
LyDIA
(Whispering)
No one does that quite as good as you, babe.
Lydia and Reed now notice Skyler has passed out at the TV. They quietly make their way off the couch and disappear down the hallway to Lydia's room.
INT. LyDIA'S APARTMENT - LYDIA'S BEDROOM (past)
Lydia is fast asleep with her arms around Reed. He is not close to nodding off but appears spent nonetheless. He runs his hands through her hair and closes his eyes.
INT. reED'S house - BEDROOM - morning (present) 
A cell phone vibrates on the table next to Reed's bed. Without fully committing to waking up he retrieves it and flips it open. A voice faintly speaking. Reed finally puts it against his ear.
REED
Yeah?
There is a muffled voice speaking at the other end, Reed nods.
REED (CONT'D)
I'll be there in an hour.
Reed flips the phone shut and looks to his right. Lydia is fast asleep. He kisses her on the forehead and gets out of bed.
EXT. apartment complex - parking lot - nooN (present)
Norm hands Reed a box of random things. Reed nods and loads the box in to his car. Norm checks out the car with a suspicious eye.
NoRM
New car?
ReeD
(Chuckling)
I really don't know where it came from.
NORM
(Confused)
Huh.
Reed takes out a pack of cigarettes and a lighter.
REED
Sorry I didn't come sooner.
NORM
It's fine.
REED
Why is that?
Reed lights up his cigarette, Norm doesn't get his meaning.
NORM
We go back.
REED
Far, I know.
NORM
I can deal with you being an asshole. You're like the brother I never wanted to have.
Norm lightly chuckles as he pats Reed on the shoulder.
REED
Thanks.
NORM
I love you, buddy.
REED
Will you answer me a question then?
NORM
Sure, anything.
(Beat)
As long as it isn't about my masturbation regimen again.
REED
Which you claim not to have...
NORM
I don't. 
(Beat)
Go on.
REED
How do you make it work, you and Alissa. You guys have a 2 year thing going. Without sex. You guys are really taking it for the man upstairs, aren't you?
NORM
(Indifferent)
Yeah, maybe we are.
REED
That didn't sound like I imagined it would sound.
NORM
It's not about that.
REED
What is it about?
NORM
Well. How long did it take for us to get to know each other to the point of brotherhood.
Reed takes a drag and considers.
REED
Senior year, high school. 
NORM
Yep.
REED
How long was that?
NORM
8 years.
REED
So you're going to wait 8 years to have sex?
NORM
No, Reed. But it's an intimate act. I've done enough fooling around. I want to keep this one around.
REED
Is that it? No sex?
NORM
No. We're honest with each other. I don't suspect anything in the arena of wrongdoing on her part. It may be wishful thinking, but after two years, I just trust her.
REED
Is that what it's about?
NORM
Trust, I guess.
REED
I see.
NORM
Do you trust her yet?
REED
Lydia? 
(Beat)
I don't think I do.
NORM
Maybe that's for your better interest. She's hurt you one too many times.
REED
Has she?
NORM
You know she has.
Reed puts out his cigarette.
NORM  (CONT'D)
You'll know it when the one comes around. It's just different.
REED
(Smirking)
Thanks for the heads up.
Norm punches Reed on the shoulder. Reed pushes Norm away.
NORM
Have a solid... life?
REED
(Reassuringly)
I'll catch up to you somewhere down the line.
Reed and Norm spare no time for clumsy manliness. They hug like brothers quick and to the point. Norm exits the scene. Reed enters his car, turns it over, and drives away. 
INT. lyDIA'S APARTMENT - LYDIA'S BEDROOM - morning (past)
Reed lies asleep as sunlight beats down on him through the cracks in the blinds. Lydia sits on the bed right next to him, showered and all made up. Reed opens his eyes.
LyDIA
(Quietly)
I'm going to go get coffee with Skyler before he leaves.
The statement hits Reed harder than it normally would any other human being.
REED
Okay.
LYDIA
I'll call you later.
Lydia kisses Reed on the head.
INT. bluE'S HOUSE - LIVING ROOM - night (past)
Blue holds the cases to three bad action movies in his hands and shows them to a morose Reed as he sits on the couch. He shrugs.
BLUE
(Excited)
Judge Dredd it is.
Explosions flicker on the screen as often as cheesy lines from wooden actors as the hours slowly pass by. Reed looks down at his phone quite often.
Blue delivers beer and popcorn to Reed, noticing his demeanor of complete unhappiness. 
Reed dials Lydia and gets no answer. He leaves a message on her voicemail. As Blue puts in the third film Reed gives up on his phone, tossing it in the nearby garbage can.
BLUE (CONT'D)
About time, man.
ReeD
No more use for it, I guess.
BLUE
This one's really got you down.
REED
They're all that way.
BLUE
Now that you mention it... yes.
As the TV screen flickers and tense music plays, Reed sits up.
REED
You think we'll lose touch?
BLUE
Who?
REED
You and I.
BLUE
No, of course not.
Reed doesn't seem as confident as Blue.
REED
I feel like I've seen what I wanted to see in the world in the past few months. Only now I am seeing what I don't want to see.
BLUE
It isn't all peachy, man.
REED
Yep.
BLUE
It takes more than one of these broads to completely take you down.
REED
I disagree. I think it just takes one really good one.
BLUE
Or one really bad one.
REED
Or both.
BLUE
Why are you talking to me about this? I'm not an authority.
REED
Neither am I.
BLUE
You've done better than me. You fall too hard, I don't fall enough.
REED
We'll strike a balance eventually.
BLUE
So what is tonight's problem?
REED
The one I love is with the biggest douchebag in the world and there's nothing I can do about it.
Blue reaches for his beer.
BLUE
I can't believe you hung with that guy for a full night.
REED
I just needed to keep the natural order of everything aligned.
BLUE
(Chuckles)
There's no needle in that haystack, my friend.
REED
You're probably right.
BLUE
You want to strike that balance though, right?
REED
Sure.
BLUE
Then confront your problem.
REED
How?
BLUE
Don't let her get away with it. Either you let her make a fool of you or you can make a fool of yourself.
REED
That sounds illogical.
BLUE
I'm 8 beers in.
(Beat)
My last name is Ball.
Reed can not conjure up the brain energy to figure out the statement.
REED
Okay.
EXT. outside Lydia's apartment - night (past)
Reed pounds on the front door. There is movement inside but no answer. Reed notices the sliding glass door only feet away. 
Being on the second floor, Reed decides to climb over the railing and over to the sliding glass door on the mini balcony. 
Reed stumbles as he makes his way to the second railing, almost falling. He breaths harder now. He gets over the railing with no more trouble and takes the two steps forward needed.
Reed opens the unlocked sliding glass door and enters.
INT. lyDIA'S APARTMENT - livING ROOM (past)
The lights are dim in the messy living room. A goofball comedy plays on the TV. Just as Reed closes the door Skyler appears front and center. He has only his briefs on.
SkYLER
(Confrontational)
Forget something?
REED
(Sarcastically)
I left my dignity somewhere around here...
Reed laughs to himself, realizing more than Skyler the ludicrous nature of his statement.
SKYLER
You should leave now.
REED
After I talk to her.
SKYLER
She doesn't want to talk to you.
Lydia appears at the end of the hallway covered only by a bed sheet. Reed's head tilts back in disgust. He runs his hands across his face.
REED
(To Lydia)
Seriously? This guy?
SKYLER
I said the same thing earlier when you were calling while we were in the sack.
Reed throws a badly timed punch at Skyler. Skyler easily dodges it and hits Reed in the side. Reed falls to the ground in pain. Skyler takes a few steps back.
REED
(Short of breath)
That hurt.
Reed climbs back to his feet gingerly. He jolts towards Skyler who greets him with a right cross. Reed is out cold.
Ext. The Bridge (in-between)
Reed is as he was before, lying on his car flying through the air with Blue as muffled folk music plays. Only the car is not moving but hovering just over the edge of the cliff.
REED
(Relaxed)
Wasn't the greatest advice, buddy.
BlUE
Not my fault you can't take a punch.
REED
Can you?
BLUE
Yes. Yes I can.
REED
I've never seen you win a fight.
BLUE
(Smirking)
I've never lost either.
REED
(Confused)
How does that work?
The car begins to free fall out of the sky, Reed and Blue pay little attention.
BLUE
When you fight to fight, you never really lose. You just tally them all up to number of contests participated in.
REED
Before we hit the ground... I had a question.
BLUE
You should probably ask quickly.
REED
What's the secret of life?
BLUE
Well, it's quite simple. It all lies in the evolution of Pong.
REED
What?
BLUE
(Affectionately)
Don't be a stranger.
Blue leaps off the car just before it collides with the valley below.
INT. reed'S house - BEDROOM - morning (present)
Quickly kicking off his blankets and arising is the bewildered Reed. The only sound heard as Reed takes in his surroundings is a cat's meow. He lies back down and makes a cocoon out of his blankets.
ReeD
(To himself)
Okay...
(Beat, nods)
Okay.
Reed's cat climbs on top of his homemade cocoon and begins to knead on his ribs. Reed doesn't shoo away that cat but rather simply groans and sighs loudly.
INT. reeD'S CAR - Country Road - afternOON (present)
Reed sits on the side of the road smoking a cigarette. He flips open his phone and dials Lydia. It rings three times and goes straight to voicemail.
SkylER (V.O.)
You've reached my smokin' hot girlfriend's mailbox. Leave Lydia a message at the beep.
Reed flips his phone shut. He flips it back open and searches through contacts.
REED
(To himself)
C'mon, Emily.
Reed finds no trace of Emily's name or number. He flips his phone shut. 
A detached smile comes across the face of Reed.
REED (CONT'D)
(To himself)
Little too good for me, weren't you?
Reed opens his car door and looks down the Country Road that is headed for the same canyons we saw in the opening.
Ext. Country Road - later ON (present)
The beaten and bruised car that Reed rides at a slow, consistent pace passes by The Passenger from the opening who is using very little effort to hitchhike. Reed halts on the brakes and stops about twenty feet from The Passenger. 
The Passenger does not quicken his walking as he makes his way to the car. The dead nature of all that surrounds the car and The Passenger is shown. 
INT. insiDE REED'S CAR (present)
The Passenger stops and peers in to the open window of the car.
The passenger
Where are we going?
REED
High.
THE PASSENGER
(Shrugs)
Deal.
The Passenger loads his stuff in to the backseat and gingerly gets in as if he has walked much to far without finding anything.
Reed puts his foot on the gas and burns out as well as he can. Before he can say a word back to The Passenger he finds the man again asleep just as before.
EXT. The Bridge - night (present)
On his windshield Reed rests his torso and head. The Passenger is passed out inside the car. Reed takes out his phone and flips it open. Blue is calling. Reed answers.
REED
(Speaking on the phone)
What's up?
BLUE (O.S.)
Where the hell are you?
REED
Just went for a drive.
BLUE (O.S.)
(Livid)
You said you were coming over. I got every John Woo movie I could find.
(Beat, sighs)
I can't watch these alone, man. And not with Kirstin. Either one is sad and/or depressing.
REED
Kirstin?
BLUE (O.S.)
My girlfriend likes The Notebook. Not Broken Arrow.
REED
(Chuckling)
Where are you?
BLUE (O.S.)
At the twins house now. In case you're wondering, Lydia has been asking about you all night. If you want some closure...
REED
Nah, I'm good.
BLUE (O.S.)
Oh, and I had a really weird dream last night.
REED
Go on.
BLUE (O.S.)
We were flying on a car. On a bridge. It was like Back To The Future if Gus Van Sant directed it.
REED
I'll give you a call later.
BLUE (O.S.)
You're not getting away with this.
Reed snickers as he shuts his phone.
As a whistling wind glides over the canyon Reed investigates the edge of the cliff. He tosses off rocks and listens for the delayed impact at the bottom of the canyon.
Reed falls asleep on his car.
Ext. PARK - day (FLASHBACK)
Back at the family gathering seen in the opening, Reed stands next to Walcott. They both take sips of homemade lemonade and stare forward at a dispute happening between family members.
WALCOTT
(Disappointed)
Promise me you won't ever be one of us.
REED
You're a writer. Can't I be like you a little bit?
WALCOTT
(Smiles)
I think I'm having a breakthrough on the sci-fi slash paranormal comedy about people misplacing things.
REED
You think you can sell it?
WALCOTT
(Chuckles)
No.
(Beat)
It passes the hours. 
(Looks over Reed)
If you can find an actual significant other to do that, go ahead and jump at it.
(Beat)
Being a social rebel is only cool for so long.
Walcott pats Reed on the shoulder and tosses the cup of lemonade aside.
REED
You leaving?
WALCOTT
Yeah.
(Smiles)
It's been a pleasure.
"Vittorio E." By Spoon begins playing.
Walcott hugs Reed quickly and pulls away.
REED
(Grins)
I wouldn't have survived the reunion without you.
WALCOTT
Ah yes...
(Lovingly)
You could've handled it without me.
"Vittorio E." Now mutes out every other sound.
Walcott winks at Reed and slowly walks away. Reed watches on as Walcott tosses his tie in the grass and waves to Reed without turning his body.
Reed snickers as he watched Walcott slyly heads in to the sunset.
EXT. The Bridge - early morning (present)
The Passenger sits at the edge of the cliff as Reed slowly opens his sleep filled eyes. The smoke of a cigarette form momentary clouds above him.
Reed jumps off his car and gets the attention of The Passenger who only glances back.
THE PASSENGER
Did you figure it out?
REED
Figure what out?
Reed takes a seat at the edge with The Passenger.
THE PASSENGER
That which brought you to this place. You looked like you were meditating on something.
REED
The past. 
(Beat)
It's getting harder and harder to keep track of.
The passenger
There's a reason for that. It's in the past. It isn't meant to be changed, just to be meditated on for many cold winter months.
REED
What about you?
THE PASSENGER
Me? What are you asking?
REED
Are you doing the spiritual journey or is this not by choice?
THE PASSENGER
(Pondering)
I don't know. I'm on the run.
REED
(Confused)
On the run?
THE PASSENGER
Not from the authorities, that'd make everything a lot more simple.
REED
Then who?
THE PASSENGER
Myself.
(Beat)
Trying to find some sort of minimal form of freedom in my life.
REED
How's that going?
THE PASSENGER
(Giving a heavy hearted smile)
Freedom is overrated.
REED
(Chuckling)
Maybe.
(Beat)
Maybe.

EXT. Country Road (present)
Reed's car comes to a stop at near the same point The Passenger was picked up before. He simply removes his things from the car and allows Reed to drive away. 
The passenger looks north, looks south. He looks east and west. He finally decides to head towards where Reed is leaving.
EXT. suburban neighborhood - later (present)
Just outside Jermaine's house stands Reed. There is a small gathering of minivans and parents nearby. The front door opens to reveal Jermaine, decked out in a karategi with a shining purple belt around his waist.
He stands with his fists at pressed against either side of him, the sun shining on him as if he is the greatest warrior the world has ever seen.
Suddenly several children exit the house by making their way past either side of him, excited as they run towards their parental units.
One woman in particular holds her son's hand as she makes her way by him. Except as she passes, she makes a note to kiss Jermaine on the cheek.
As the families scatter, Jermaine notices Reed smiling in his direction. Jermaine exits the house and approaches him.
REED
(Smirking)
Nice belt.
Jermaine
(Marveling at his belt)
I put sparkles on it. No matter how I try I can't leave the performer in me behind.
REED
Who was the pretty lady?
JERMAINE
My other half, maybe. 
(Smiling)
Hopefully for a long, long time.
REED
So you never were a psychic?
JERMAINE
Of course I was.
(Beat)
We're all a little psychic. We know when we're doing something wrong. It was my psychic power that brought me to my first love... martial arts.
REED
Good to see you're happy.
JERMAINE
(Nods)
And you?
REED
I'm figuring out the puzzle, one piece of a time.
JERMAINE
(Leans forward)
Don't figure it out too fast.
(Beat)
You might leave the world with no character at all.
Reed and Jermaine look each other over, no longer seizing up the validity of the person standing across from them.
Reed puts out his hand for a shake. Jermaine rushes forward and gives Reed a loving hug. They separate.
REED
What's the majestic think about my future prospects these days?
JERMAINE
(Smiling)
You're on the right track.
(Beat)
Now get out there and start playing around with that puzzle. Something will fit eventually.
REED
I think I know where to start.
INT. PRICEMART - continUOUS - noon (present)
The automatic doors slowly open as Reed attempts to make his entrance. He stops just outside them and looks to his right. Keith sits in the bakery part of the store enjoying badly baked chicken at a table all by his lonesome. He notices Reed and waves.
KeitH
(Yelling)
Come over here, man!
REED
(Putting his hand to his ear)
What - I can't - ?
KEITH
Over here!
A leggy woman who couldn't be more than 21 years of age sits down across from Keith, blocking Reed's view. Keith's arm raise and gives a impassioned thumbs up.
Reed now makes his way through the hardware section with purpose. Just ahead of him Blue is seen, holding a rusty old muffler. Blue stops Reed.
BLUE
(Bewildered)
Do we carry this?
REED
No. No we do not.
BLUE
Some senile old man just handed it to me and yelled, "If it don't work, you shouldn't sell it!"
REED
(Nods)
I'll be back.
BLUE
(Understanding)
You're busy.
REED
Yes.
BLUE
(Nods)
Okay.
Reed now makes his way through the apparel section, ducking behind displays to make sure nobody notices him. Lydia pops out from a corner and smiles at Reed.
LyDIA
(Playfully)
All day I've been looking for a handsome guy to take out tonight.
REED
(Unaffected)
I'll tell you if I see one.
Reed slides by Lydia and keeps walking. She stands in a state of shock, disappointment, and anger as he gets further and further away.
INT. prICEMART - jewelry (present)
At the counter stands Emily, scribbling on a small piece of paper as a way to pass time. She looks up and sees Reed, who looks very energetic. A silence passes as Reed catches up with the rest of his body and calms himself.
Reed puts out his hand for a shake.
REED
(Warmly)
I'm Reed.
Emily grins, reaches out and shakes Reed's hand.
EmILY
(Coy)
I'm Emily.
"In The New Year" by The Walkmen plays.
The handshake continues as the two size each other up. With no words there is a chemistry that is hard to define, but is shown through random chuckles and spare moments of eye contact.

FADE TO BLACK.
directed by...                             david gordon green
written by...                                     marty poole
executive producer...                          matthew trixie