FATE GETS A PUSH by Larry Postel

Transcription

1 FATE GETS A PUSH by Larry Postel Fortson Avenue Dallas, Texas [email protected]

2 FADE IN: EXT. DOWNTOWN STREET - LATE NIGHT A shot of a full moon. Hold a moment, then pan down to reveal a deserted downtown street. A lone figure walks in the distance on the sidewalk. The figure gets closer. It's a handsome man in his mid-30's. This is. Hands in his pockets, Ron wears a forlorn expression. Ron continues to walk slowly and aimlessly down the street. EXT. BUILDING - A FEW MINUTES LATER Ron comes to a building and suddenly stops. He gazes at something off-screen. 'S POV: A bright red neon sign on the building's second floor reads: PSYCHIC. Ron hesitates, then goes to the front door and cautiously enters. INT. HALLWAY - NIGHT Ron comes to a door and stops. A tattered sign on the door reads: Madam Marie Cureall - Psychic Readings. Ron glances a moment at the sign, then turns and starts to walk away. But he turns back around with a strange expression on his face -- as if there's some mysterious force drawing him to the door. He enters. INT. CUREALL'S PLACE - NIGHT Ron enters. The reception area is actually a converted living room. The room and its furnishings are bathed in a dim red light. There is nobody else in this room, but we can hear muffled voices coming from a back room. Ron takes a good look around. He seems apprehensive, nervous. A short elderly WOMAN with a handbag comes out of the back room. She stops at the door and turns back around. WOMAN Thanks, Marie. I'll see you next week. She turns to leave, but sees Ron standing there. She holds her chest and lets out with a big smile.

3 2. WOMAN (CONT'D) Oh, that woman. She's a god-send! Ron politely nods and smiles back. The woman leaves. 'S VOICE (O.S.) Anyone else out there? Uh, yeah. 'S VOICE (O.S.) Well, come on in. Ron does. INT. MADAM CUREALL'S PARLOR - NIGHT This room is exactly what one would expect to see in a psychic's place: a cheap card table in the middle of the room, covered by a plastic tablecloth. A single folding chair for the customer. And an old leather high-back office chair for the psychic, who presently has her back to us. Uh, are you Marie? The chair swings around, revealing CUREALL, an attractive woman in her late fifties. Marie doesn't look or dress at all like your typical psychic. In fact, her fairly conservative appearance makes her look more like a suburban real estate agent. Ron takes a good look at Marie, obviously surprised by her appearance. Yes, I'm Marie. You're the psychic? That's right. You were expecting a toothless old gypsy wearing a scarf? I guess maybe I was. Stereotypes of the trade. Get it all the time. Ron continues to nervously stare at Marie.

4 3. (CONT'D) Well? You ready? Uh, yeah -- I guess so. Ron takes a seat as Marie opens up an old cigar box. That'll be thirty dollars up front. Up front? That's right. In this line of work, you collect in advance. You never know what kind of kooks you're gonna get. Ron reaches into his pocket and pulls out his wallet. He opens it and counts his money. I only have eighteen. Well, I guess I can give you a discount. It's kind of a slow night. Ron hands her the money and she places it in the cigar box. Marie reaches behind her and grabs a deck of Tarot cards. (CONT'D) Ever had your cards read? No, can't say I have. I didn't think so. She shuffles the deck, then places it on Ron's side of the table. Cut. (CONT'D) He does. Marie then takes the cards and holds them in her hands. (CONT'D) When's your birthday?

5 4. October 15th. Marie gets a strange look on her face. Libra, huh? Yeah -- although I'm really not into astrology. We'll see about that. Marie takes a card and places it face up on the table in front of her. She concentrates hard as she gazes at it. (CONT'D) I see a recent change in your life. A major change. She places another card on the table. (CONT'D) Possibly a relationship. Yes, a divorce. A combination of surprise and sadness registers on Ron's face. By Ron's expression, Marie can tell that she hit the nail on the head. (CONT'D) Your wife left you for another man. Someone she worked with. Her boss. Yes, her boss. You were a very loyal and devoted husband to your wife -- and you were deeply hurt when she left. Ron nods. Marie flips another card.

6 5. (CONT'D) Being the family man that you are, you wanted to have kids -- lots of kids. Maybe three or four. Ron puts his head down and gazes at the floor. As Marie continues, we can see that she feels sorry for Ron -- almost in a maternal way. (CONT'D) And you now feel that you'll never have the chance again to find true love -- or have the family that you so want. This last comment strikes a nerve in Ron. He looks up at Marie with a hurt, almost defiant expression. Look, can we talk about something else? Like maybe the future? I'm fully aware of my past. Very well. But to get to the future, you've got to understand the past. No verbal response from Ron, but he suddenly seems even more depressed than before. As Marie stares at him, we can see the concern and compassion in her eyes. (CONT'D) You're a good soul, aren't you? Pardon me? I mean you're a trusting person. You're the type that lets others take advantage of you. Ron appears hurt and even defensive by Marie's comment. He starts to get up to go. Look. Maybe this wasn't such a good idea after all. Maybe I should be seeing a shrink instead of a psychic. No. You came to the right place, Ron.

7 6. Ron freezes in place. (startled) Ron? How'd you know my name? I'm a psychic. Remember? After a moment of silence, Marie breaks the ice... (CONT'D) May we resume? Ron sits back down in the chair. (CONT'D) And now for your future... She flips another card. (CONT'D) I see things turning around for you. You do? Yes. Especially in the romance department. I'm afraid I can't see that. Well, I can. It's right here in the cards. Marie flips yet another card. A confused expression registers on her face as she stares at it. (CONT'D) Does the Moonlight Cafe mean anything to you? No -- never heard of it. (continues to stare at the card) How about blackberry pie? No -- nothing.

8 7. Marie shrugs. Well, for some reason those two images are coming to me. Are you absolutely sure they don't have any significance in your life? I'm sure. Marie lets out with a deep sigh. Ron gets up to go. Well, unfortunately that's all I see right now. I'm sorry, Ron. That's all right. You gave it your best shot. Thanks for your time, Marie. Thank you, Ron. As Ron leaves, we hold on the concerned expression on Marie's face. EXT. DOWNTOWN STREET - A FEW MINUTES LATER Ron meanders down the sidewalk again. About ten feet in front of him is a HOMELESS MAN leaning against a building. As Ron approaches him, the man reaches out a hand. Ron stops. MAN Can you help me out, buddy? I'm down on my luck. (mutters to himself) Join the crowd. Excuse me? MAN Oh, nothing. Ron reaches into his front pocket and pulls out some change. He hands it to the man.

9 8. Ron forces a grin. (CONT'D) Here. This is all I have. Madam Marie got the rest. MAN Madam Marie? (winks) Well, I hope she showed you a good time. Uh, right. Ron starts to walk away. Hey, buddy! MAN'S VOICE (O.S.) Ron turns around. The homeless man pulls out a cup and holds it up for Ron to see. MAN You want some of my coffee? Thanks to the eery light of the moon, we can make out two words printed on the cup: MOONLIGHT CAFE. Ron stares incredulously at the cup. No...thanks. He turns and starts to walk off, but turns back around to the man. (CONT'D) Say, where'd you get that cup? The man glances curiously at the cup, then back at Ron. MAN Same place I got the coffee. (points down the block) The Moonlight Cafe. Like a man on a mission, Ron takes off in the direction the man pointed. EXT. STREET - A FEW MINUTES LATER Ron walks down the block.

10 Suddenly, a bright blue light flashes on Ron's face. He looks up to see a neon sign on the front of a small diner. It reads: MOONLIGHT CAFE. As if in a trance, Ron enters the cafe. INT. MOONLIGHT CAFE KITCHEN - NIGHT In the cafe's kitchen -- with its large open window overlooking the adjacent dining room -- we see two waitresses talking. In her late forties, WILLIAMS is a toughtalking and tough-looking transplanted New Yorker. CIVILETTO, on the other hand, is a soft-spoken, delicatelooking woman in her early thirties with soulful, compassionate brown eyes. So then I tell the guy that he can hold the toast right between his freaking knees! Brenda bursts out laughing. Wait a minute -- haven't I heard that line before in a movie? Leave it to freaking Hollywood! Now they're stealin' lines from poor waitresses! You just keep thinking, Brenda. That's what you're good at. They glance out at the empty dining area. Looks like another big night, huh? Yep. Another big one. Cindy reaches over and grabs a paperback novel from the counter. (CONT'D) I'd say it's a good time to catch up on my reading. Brenda grabs the front of Cindy's book. It's a romance novel. 9.

11 10. You call this reading? What's wrong with it? Oh, nothing -- if you'd rather read about romance than experience it... (motions with her pelvis)...with a real man. Brenda, that's not romance. That's lust. Yeah, well I'll take good old lust any day over three hundred pages of masturbation. When's the last time you had a date anyway? I saw a movie with Bennett last week. You call that a date? Hell, I'm more man than Bennett. I know what you need, Cindy. Brenda grabs a foot long sandwich roll and holds it up in front of Cindy's face. Brenda, you're unbelievable. No, kid -- what's unbelievable is that you sit here and read those ridiculous novels, thinking that one day Prince Charming is going to waltz through that door and carry you off... INT. DINING ROOM - NIGHT As if on cue, Ron enters the diner and takes a look around. Taking a seat in a window booth, he still appears to be in a deep funk.

12 11. INT. KITCHEN - NIGHT Cindy gazes at Ron as if there is some immediate, mysterious connection. Uh, oh -- will ya' look at the puss on that guy? He has stiff written all over him. Cindy continues to gaze at Ron. That's okay, Bren. I'll take it. Cindy takes a menu and heads out the kitchen. INT. DINING ROOM - NIGHT Ron stares dazedly out the window at the full moon. Menu? 'S VOICE (O.S.) Ron turns to see Cindy standing beside him. Their eyes hold a moment; it's clear that there's a connection. Ron pauses. Uh, no -- I think I know what I want already. And what might that be? A slice of, uh...blackberry pie. Cindy seems startled. Really? What's wrong? Don't you have blackberry pie? Oh, we do. In fact, it's our specialty. I make them myself. Really?

13 12. There's an awkward moment of silence. I'll be right back with your pie. She starts to walk off. Oh, miss... 'S VOICE (O.S.) Cindy turns back around. Yes? I...uh...almost forgot. I don't have any cash on me. I don't know where my head is tonight. Well, then -- what if I spotted you the two dollars? And you bring it back tomorrow. You'd do that for me? You don't even know me. Let's just say I'm the trusting sort. (touched, softly) Okay. I'll take you up on your offer... (noticing her name tag)...uh, Cindy. Cindy smiles and starts to walk off again, but stops and turns around. I'll throw in a cup of coffee, too. Sounds good to me. This time she goes -- with Ron watching her every step of the way.

14 13. INT. KITCHEN - NIGHT Cindy reaches the kitchen to find Brenda smoking a cigarette. So? Cindy takes a slice of blackberry pie and puts it on a plate. She then pours a cup of coffee. Blackberry pie and a coffee. He'll pay me tomorrow. Brenda shakes her head and lets out with a big groan. (CONT'D) What's wrong with you? No, Cindy -- it's what's wrong with you. When are you going to stop letting people take advantage? (nodding at Ron) The guy's obviously a stiff. Maybe. (with a mischievous grin) Maybe not. INT. DINING ROOM - NIGHT Cindy arrives at Ron's table with the pie and coffee. Here you are... Ron. Ron. Ron takes a bite of the pie. This is great! And to tell you the truth, I've never even liked blackberry pie before. Then why'd you order it tonight?

15 14. I don't know. Actually, I do. Someone recommended it. And who was that? Oh, just someone I met. Cindy stares at Ron as he takes another bite of pie. Are you all right? Pardon me? I mean, it's none of my business -- But you look so unhappy. Is anything wrong? Oh, no -- I'm eating a wonderful piece of blackberry pie. And talking to you. What could be better? Cindy is clearly touched by Ron's comment. Ron is clearly surprised that he was bold enough to make the comment. Suddenly, the lights inside the diner grow dim -- leaving Cindy and Ron bathed in the light of the moon from outside. The juke box mysteriously turns itself on. Toploaders' classic "Dancing in the Moonlight" begins to play. INT. KITCHEN - NIGHT Brenda is literally and figuratively in the dark about what's going on. What the hell? INT. DINING ROOM - NIGHT Cindy and Ron gaze longingly at one another. Ron stands up.

16 15. Would you care to dance? I thought you'd never ask. The two embrace and start to dance throughout the diner together. A mirrored ball on the ceiling starts rotating, adding to the romantic atmosphere. INT. KITCHEN - NIGHT Brenda, who has located the circuit breaker, tries to fix it. INT. DINING ROOM - NIGHT Ron and Cindy continue to dance like a couple in love. And the full moon from outside continues to glow. INT. KITCHEN - NIGHT The song ends just as Brenda locates the right switch and turns the lights back on. INT. DINING ROOM - NIGHT With the lights back on and the music off, Ron and Cindy awkwardly separate. Searching for an easy segue, Cindy glances at her watch. Oh, my god! Look what time it is! (tearing off her apron) We're closing soon. Ron glances at his watch. You're right. It is getting late. EXT. SIDEWALK IN FT OF MOONLIGHT CAFE - SLIGHTLY LATER Brenda locks the door to the diner as Cindy and Ron stand to the side. Brenda finishes locking up and turns to Cindy. You need a ride home, kid?

17 16. (glancing at Ron) Naw -- it's a nice night out. I think I'll walk. Brenda glances over at Ron. Yeah, right. Brenda shoots them a parting glance, then heads across the street to a parking lot. After she's gone, Cindy turns to Ron. (pointing to the right) I go this way. So do I. They head down the sidewalk. The moon is bigger and brighter than ever. After a few more moments, Ron stops and turns to Cindy. (CONT'D) Cindy, I know it's kind of late, but would you consider joining me for a cup of coffee? Really? I mean, sure. I'd love to. All right, then. Uh, there is one thing... What's that? You'll have to spot me a couple more dollars until tomorrow. No problem. Ron glances up and down the street. Where's a good place around here?

18 17. Well, there's an Irish Pub a few blocks down. Coffee's a bit on the strong side, but it's good. That's okay. I'm suddenly feeling kind of stronger myself. They exchange a warm glance, then head down the block again. After a moment, Cindy notices a telephone booth. Oh, Ron -- would you mind if I made a quick call to my mother? I want to tell her that I'll be late. Uh, oh -- a possessive mother. No, she's nothing like that. She's actually very modern. Maybe you'll even get to meet her one day. Maybe. Cindy shoots Ron a wink, then goes into the phone booth. Ron remains outside the booth. INT. PHONE BOOTH - NIGHT Cindy dials a number on the pay phone. We hear a ringing, then a woman answers. Hello. MOTHER'S VOICE (V.O.) Hi, Mom -- it's me. MOTHER'S VOICE (V.O.) Where are you? In a pay phone booth. MOTHER'S VOICE (V.O.) A pay phone? Is everything all right?

19 18. Everything's fine, Mom. I just got off work and I'm going to have a drink with someone. MOTHER'S VOICE (V.O.) Someone I know? No, Mom. I just met him. MOTHER'S VOICE (V.O.) You just met him? Do you think it's safe to go out with him? Cindy glances at Ron, who smiles back. I'm sure. Don't worry. MOTHER'S VOICE (V.O.) All right, then. Have a good time. Oh, Mom. Yes. MOTHER'S VOICE (V.O.) You know what you always say about fate? MOTHER'S VOICE (V.O.) Of course, dear. It's my business. Well, I'm beginning to think maybe you have something there. I love you. INT. 'S MOM'S ROOM - NIGHT Finally, we see Cindy's mom at the other end of the line: it's Madam Marie Cureall. I love you, too, Cindy. EXT. STREET/PHONE BOOTH - NIGHT At her end, Cindy hangs up -- then joins Ron as they head happily down the street together.

20 19. INT. 'S MOM'S ROOM - NIGHT At her end, Marie hangs up and lets out with a big smile. (proudly, to herself) Sometimes fate needs a little push. She swings back around in her chair as we: FADE OUT