yesterdays_HTG
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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.
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