yesterdays_HTG
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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
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Script created with Final Draft by Final Draft, Inc.