Because The Internet [Telegraph Ave. Scene Abridged]
CUT TO:
EXT. MANSION - NIGHT
Swank, Steve, and Fam are asleep in the car. The Boy sits down in the driver's seat. He pulls out his phone and texts someone named NYALA:
im driving up now
...(that moment you know exactly what they're typing and how they look doing it)
She writes back:
DONT
The Boy looks at this. Then starts up the car and turns on the radio and speeds out of the driveway.
A moment passes...
Then we see the girl that was in bed with Fam walk out in the Mansion doorway.
THAT GIRL FAM KNOWS FROM THAT ONE PLACE
Fam?
EXT. I-5 - NIGHT/EARLY MORNING
Everyone's asleep in the car except The Boy who's driving (AJ is there too. They picked him up.). Lloyd's "Oakland" is playing on the radio. The Boy turns it up so he feels like he's in a video. He pushes his seat back so he can lean.
SWANK
Ow, ow!
He slammed Swanks knees. Sorry.
The Boy speeds through the empty highway. It's really pretty. I'm not sure what those factories are in the middle of nowhere with all the lights on them. They're probably horrible for the earth, but they look really magical at night. He passes one of those factories.
There's a lot of rolling hills. Lotta farms. There's a slaughterhouse. Smells and looks grey and awful. All the cows look really sad. Maybe I'm just making them sad. Maybe they're fine.
Looking at the rows of crops criss-cross on farms as they pass.
There's a billboard. It says: ROSCOE'S WETSUIT
EXT. OAKLAND STREET - DAY
Everyone looks a little bummed. Silence. More silence.
THE BOY
We're here.
They pull over to a row of brownstones.
MARCUS
Great. Why are we where is this?
The Boy gets out of the car and walks up to the door. As he's about to knock, the door opens. Nyla is standing there. Her face is a mix of anger and strange sympathy. Like she refused to cry like...an hour ago?
THE BOY
Hey-
NYLA
There's a point you reach when you're no longer able to feel like you did. Not about a person, not with a certain place, you just can't feel like you did because that muscle or whatever is just...dead. Or gone.
THE BOY
Hi, Nyla.
NYLA
When you're alone, you might be able to remember it. You might even hear a song that makes you question it. But you don't have it. It doesn't exist anymore. It's dead. Do you understand?
THE BOY
Yes. Absolutely. But Nyla-
NYLA
I AM AT THAT POINT, [EDIT].
Tears. She's not crying. She's just that mad.
A dude pokes his head out from the hallway in the brownstone. The Boy and him make eye contact.
THE BOY
This isn't what you think it is. I didn't come here to...look, I saw this dude die and-
NYLA
And you're scared. So you came here.
THE BOY
I'm not scared. I just wanna be with someone who knows me for a little.
NYLA
I don't know you. We're not together. I have company. Go home.
THE BOY
Okay, you're being mean now.
NYLA
"Mean?" Who cares? You're an adult.
Also, you embarrassed me.
THE BOY
(to the dude in the hallway)
We were planning on having a kid together. She offered and we had a whole plan. Like adults or something. Then I backed out. So...
(then)
You're second at best is what I'm saying.
The guy goes -__- [SIDE EYE EMOJI].
NYLA
What is wrong with you?
THE BOY
I don't know.
NYLA
Me neither.
This is really sad for both of em. They really wanna know. Nyla closes the door.
NYLA (CONT'D)
(through the door)
Please grow up.
The Boy stands there...then Swank walks up to him on the stoop of the brownstone.
SWANK
Can I use her bathroom? That double-double's makin moves.
The Boy walks away and gets in the car. Swank stands there for a moment. Then tries to cut off a fart with his hand as he walks to the car.
