FATE: An Epicurean Tragedy by John Westbrook

Revisions by John Westbrook Current Revisions 3rd Revision 8/16/07 - 8/30/07

John Westbrook 1978 Charles Street Bellmore, NY 11710 516 785 7667(h) 347 803 7854(m) jwestbrook3@gmail.com

WGAE Registration# I51262

FADE IN: EXT. ALFREDOS RESTAURANT - NIGHT A re-born, turn-of-the-century building replete with ornate frescos and detailing. A DOORMAN opens the large front door for a couple walking up the carpeted steps. INT. ALFREDOS RESTAURANT - NIGHT Dim lighting and soft Italian music create a soothing ambience. The COAT CHECK GIRL hands the GARCON a thin box. He walks away as the couple walks up to check their coats. The Garcon walks up to a MAN, 30s, aloof, and WOMAN, 40s, snobby and rigid, waiting to be seated. The man isnt wearing a tie. MAN Of all the luck, to catch my tie as I closed the door. The Garcon opens the box. The Man takes the tie and hands the Garcon ten dollars. As he ties it, his eyes follow a PRETTY YOUNG WOMAN walking through the restaurant. The Woman steps in front of the Man, blocking his view. The HOSTESS escorts them through the crowded restaurant to their table. The Woman silences her cell phone and places it back in her bag. The hostess hands them each a menu. HOSTESS Your server will be with you shortly. As she walks off, a WAITER walks by, carrying a meal back to the... KITCHEN The noise and hustle contrast the elegant dining environment. The kitchen staff tend to their business as the HEAD CHEF, 50s, patrols the kitchen. The Waiter comes in and walks over to the Head Chef, who grabs the plate from him. HEAD CHEF Again?

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The Waiter nods and follows the Head Chef over to the Sous Chef stations. He stops next to PRATT GRIMES, 20s, who is cooking a fish dish, and drops the plate in front of Pratt. Pratt places the fish meal with other finished meals and turns to the Head Chef and Waiter. HEAD CHEF Your culinary skills are out matched by your insubordination. PRATT All those cross-outs? He clearly wanted something off the menu. CHRISTIAN, 20s, the Sous Chef next to Pratt, snatches a glance in their direction. HEAD CHEF (To Christian) Mind your station. (to Pratt) When theyre your specials, do it your way. Until then... PRATT Why are you so threatened by my idea? HEAD CHEF (cont'd) One more complaint and youre out of my kitchen. The Waiter smiles, sarcastically, and walks toward the exit. Pratt flips a toggle switch and the number seven lights on a board above the kitchen door. The Head Chef gives a last hard look at Pratt, then walks over to the saucier. CHRISTIAN What are you doing? The Waiter stops and comes back scowling at Pratt. the plates and leaves the kitchen. PRATT This is so repetitious. Pratt hits the toggle, turning off the number seven. CRISTIAN We dont make the menus, just the meals. He grabs

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PRATT And do you really think people want the same boring choices all the time? CHRISTIAN A restaurant with no menus is an interesting concept, but not here. Youre going to get yourself fired. PRATT Or quit if I get my loan tomorrow. CHRISTIAN Havent you been to every bank in Manhattan already? Pratt snatches up another order. PRATT Its not a very big island. The Waiter walks back into the kitchen and over to Pratt, holding a plate. WAITER What is your problem? The Head Chef rushes over to them. WAITER (cont'd) Its just your luck that the guy noticed the nuts before he took a bite. Of course. allergies. PRATT Health issues AND food

HEAD CHEF (quiet, angry) Get out of my kitchen. A WAITRESS comes into the kitchen and steps between the Head Chef and the Waiter. WAITRESS I dont know what you added, but she wants to personally thank the chef who fixed her meal. Pratt looks up at the Head Chef, hoping to be vindicated.

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HEAD CHEF Take your bows, then keep walking out the front door. Pratt follows the Waitress out of the kitchen. DINING AREA Pratt follows the Waitress over to the table where the Man and Woman sit. They talk as they walk. WAITRESS Hes not serious? PRATT Have you ever known him not to be? Touche. WAITRESS But why?

PRATT Improving his dishes. They reach the table. The same rigid Woman is now relaxed and smiling, like shes a different person. PRATT Excuse me, Mrs? The Woman looks from the Waitress, who nods in Pratts direction over to Pratt. WOMAN I needed to tell you that you make quite a dish. My mouth is alive with flavor. She holds out her hand and Pratt shakes it. wraps him in a hug and releases him. WOMAN (cont'd) Thank you, from the bottom of my stomach. The Man gets up and leans to Pratts ear. MAN (whispers) What did you put in there? PRATT (whispers) Culinary trade secret. (MORE) She quickly

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PRATT(cont'd) (to them both) Enjoy the rest of your meal.

Pratt takes off his apron and toque as he walks through the restaurant and out the front door. EXT. MID-TOWN HIGHRISE APARTMENTS - NIGHT An elegant apartment complex across from Central Park. walks into the building. INT. WENDYS APARTMENT - NIGHT Clean and tidy. Furnished in chic-minimalism. There are photos of Pratt and WENDY, 20, a svelte, upcoming model, around the room. Wendy stands looking out at the view of Central Park. Wendy sits back on the couch and sifts through the proofs of her in various outfits and poses. One is of her in a skintight shiny black outfit, a red wig and glasses, holding a P.I. Badge. Pratt enters the apartment, still holding the apron and toque. He slumps in a chair. WENDY (holds up P.I. Picture) Do I look old in this one? Pratt weakly shakes his head. and walks over to Pratt. Wendy looks up at the clock Pratt

WENDY (cont'd) Another one? I thought Alfredo liked you? Wendy gets up and kisses his forehead and holds his hand. PRATT It was Duncan. Hes so stuffed I bet he craps meat sauce. Pratt looks Wendy in the eyes and strokes her hair. PRATT (cont'd) Its a sign. WENDY To let me take care of you forever?

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PRATT Sure. When you become a world class model, youll throw me out like a pair of plaid bell-bottoms and then where will I be? Wendy pulls out her necklace. A Yin charm dangles. She pulls an identical necklace from Pratts shirt. A Yang charm dangles. WENDY We were meant for each other. Ill support us both if thats what it takes. Pratt pulls a business card from his pocket. INSERT: Fidelity Bank business card, for a Rajan Moufstappaeh. 10:00a is hand written on the front. PRATT If I dont get this loan tomorrow, you will be the bread winner. I dont think I could chef another kitchen if its not my own. Wendy coaxes Pratt up from the chair and turns him around, facing the kitchen. WENDY How about mine? Wendy takes the card and puts the toque on his head. embrace and Wendy stares at the business card. EXT. MID-TOWN HIGHRISE APARTMENTS - DAY An elegant building with a spectacular early morning view of Central Park. INT. WENDYS APARTMENT - DAY BEDROOM Pratt stirs on the bed. He doesnt feel Wendy and sits up. They

PRATT (groggy) Wen?

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Pratt puts on a robe and walks out of the bedroom. KITCHEN Pratt walks through the living room and into the kitchen. pick up the note next to the coffee maker. INSERT: Left early. See you for lunch. Wen He

Pratt starts the coffee maker and walks out of the kitchen. BEDROOM Pratt sits on the bed, lays the note next to him and checks the time on his alarm clock; it is 8:52. He takes the business card from his end table and looks at it. He drops it on top of the note and walks into the bathroom. EXT. FIDELITY BANK - DAY A prosaic, modern, glass and steel structure. fountain is in front of the building. Wendy walks out of the bank. Pratt walks around the fountain, toward the bank. Wendy walks around the opposite side of the fountain and hails a cab. Pratt enters the bank. Wendy gets in the cab. INT. FIDELITY BANK - DAY Pratt enters and sits at the desk of RAJAN MOUFSTAPPAEH, early 30s with an Americanized, Indian-Irani accent. Pratts feet and hands fidget. to shake Pratts hand. RAJAN Morning, Mr. Grimes. PRATT Morning, Raj. Am I in business? Rajan leans across his desk A large

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RAJAN We did not approve your loan. PRATT (confused) But...? Rajan hands Pratt the cancelled loan application. PRATT (cont'd) (looking at application) Please, you must reconsider. (looks at Rajan) What do I need? Who can I talk to? Ill do anything, just tell me? RAJAN I am sorry but your account is closed. PRATT (frustrated) Well un-close it! Customers turn in their direction. PRATT (cont'd) Listen, your bank is my last chance. Please talk to your boss, somebody, anybody. Please? RAJAN I am sorry. Perhaps another time we might do business. Pratt leans back in the chair, then stands up and leans on Rajans desk. PRATT Who do you loan money to anyway, people who already have it?! A mother pulls her two young children to her. RAJAN Do I need to get security? Pratt collects himself and stalks out. His cancelled application crumpled in his fist. KINGSLEY BENSON, late 30s, walks up to Rajan. KINGSLEY Another satisfied applicant?

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Rajan shakes his head. desk.

Kingsley sits on the edge of Rajans

RAJAN Whats for lunch? KINGSLEY The usual? EXT. SUNSHINE CAFE - DAY A niche, hip-set, village-type establishment. The weathered, wooden roof-to-sidewalk windows are removed opening up the cafe. Sunlight strobes inside when not obscured by clouds. INT. SUNSHINE CAFE - DAY A black El Camino slowly passes in front of the cafe. A melancholy Pratt, in a far corner booth, continuously balls up and flattens out his application. CALVIN, looks 30s, dapper, walks from the back of the cafe over to Pratt. He sidles around the shafts of sunlight entering the cafe. CALVIN Pratt, right? Pratt looks up and says nothing. CALVIN (cont'd) You and Wendy Mathers were at The Acropolis the other night for the Anti-Bulimia Campaign. PRATT Okay. Calvin steps forward, avoiding a shaft of sunlight. CALVIN You had that no menus restaurant concept, right? Pratt straightens up and nods. Brilliant! CALVIN (cont'd) May I...?

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The shaft of sunlight disappears. hand to sit.

Calvin gestures with his

PRATT Im expecting Wendy any moment? Calvin slides into the booth where the sunlight didnt hit. CALVIN Id like to hear more about it. When does it open? PRATT Never. (indicates application) Seems no one else shares your enthusiasm. Pratt balls up the application. EXT. SUNSHINE CAFE - DAY Wendy sees Calvin sit down with Pratt. She quickly enters the cafe and weaves her way over to them. INT. SUNSHINE CAFE - DAY Sunlight separates Pratt and Calvin. she walks up to the table. WENDY Whats going on here? She slides in next to Pratt and kisses him. the sunlight hits him face on. PRATT I was waiting for you and... (looks at Calvin) CALVIN Calvin. I dont believe I introduced myself earlier. apologies. He slides over, Wendy eclipses it as Calvin smiles.

My

PRATT He was at The Acropolis and wanted to know more about Fate.

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WENDY (to Calvin) And he just happened by, what a coincidence. CALVIN WENDY (enigmatic smile) (to Pratt, hoping) I prefer fate. You get the loan? Pratt flips the balled up application to Wendy and she looks at it. WENDY Not another one. PRATT The last one. Wendy caresses Pratts shoulders. WENDY Someone will see the greatness of your idea and then all the others will be jealous. Wendy opens the menu on the table. WENDY (to Calvin) We were just about to lunch. (contemplates) Youre welcome to stay. CALVIN I know its best if I dont overstay my welcome. (to Pratt) Id be interested in hearing more about your restaurant -Fate you called it? Pratt nods as Calvin pulls out a business card and slides it to him, careful not to let the sunlight touch his fingers. CALVIN (cont'd) Ive also been known to help from time to time. The sunlight fades and Calvin quickly stands. Wendy looks at him, begging him with her eyes to leave him alone. Pratt spins the card to read it.

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INSERT LaChesis, Atropos and Clotho Esqs 46 Madison Ave.

Pratt half stands up, extending his hand toward Calvin. PRATT (energetic) Thanks, Calvin. it.

Ill think about

CALVIN Handshakes are for gentlemens agreements. (tips his hat) Wendy. Calvin walks to the back of the cafe. 20s, stops at their table. YOUNG WAITRESS Are you ready to order? WENDY Ill have the Lafayette on a Baguette and a club soda. PRATT Ill have an omelet, plain and a chicken salad sandwich on wheat toast -no butter, no mayonnaise, no lettuce- and a cup of coffee. YOUNG WAITRESS (confused) Em, I dont know that one. She leans over to look at the menu. WENDY (to the Young Waitress) Hell have the Huntington on a kaiser with a cup of coffee. The Young Waitress leaves. WENDY (cont'd) What was that all about? PRATT Just frustrated, I guess. I thought I was in this time. A YOUNG WAITRESS,

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Wendy stares at Pratt playing with the business card. WENDY (cont'd) I have to be back at (checks watch) in about thirty minutes. You going to be okay? (Pratt nods) Youre not considering calling him are you? Pratt taps the card on the table and stuffs it in his pocket. PRATT Id like to hear what he has to say. Maybe all this (holds up application) was meant to be. WENDY You dont know anything about him. What if you get involved in something you cant get out of? PRATT I know Fate will be a success. I need the opportunity to prove it. Wendy leans across the table and caresses Pratts hand. WENDY Please dont continue to do this to yourself. PRATT Youre already living your dream. I need your support for mine. WENDY I have been supportive. needs... I have They pull their

The Young Waitress brings them their meals. arms off the table. YOUNG WAITRESS Enjoy.

WENDY I have needs too and at some point, you have to move on.

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Wendy takes a bite of her sandwich. Pratt watches her while feeling the business card in his pocket. EXT. MADISON AVENUE - DAY Pratt negotiates the busy street looking off the business card and the store fronts. He stops in front a lingerie shop the number 48 on the door. A prim woman pushes past him and enters with a sneer. He retraces his steps to number 44. There is only metal basement doors on the sidewalk between numbers 44 and 48. Pratt enters door number 44. INT. BUILDING FOYER - DAY Pratt stands in the tiny foyer. A door to his side has the number 44 on it and in front of him is a dimly lighted stairway. A plaque on the wall has #46, an arrow points up. STAIRWAY A dim ceiling light at the top of the stairs. The edge of the bottom two steps light up when Pratt steps on the first stair. The edge of each step lights up, then off, as he ascends the stairs. The last step is in front of the door. Pratt stands on the last step. INT. CALVINS APARTMENT - DAY The room looks too big for the building and is stuffed with an eclectic menagerie of artifacts from every century, era, and civilization. Opaque blinds cover the windows. Pratt enters and looks around the room. CALVIN Mr. Pratt. I am excited you considered stopping by. Calvin sits behind a large desk, which is prominent in the middle of the room. PRATT Quite the collection. The door opens when

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The door closes behind Pratt. CALVIN From former clients. in and have a seat. Please come

Pratt sits in the ornate chair across from Calvins desk. CALVIN (cont'd) Tell me more about your restaurant idea. PRATT You waste no time. CALVIN Life is a fleeting and valuable commodity after all. Pratt lays his hand on the carved lion head arm rest, realizes what it is and interlaces his hands on his lap. PRATT Well, the name of my restaurant is Fate and there are no menus. Diners are asked questions and there meals are prepared based on how they answer. Thats it in a nutshell. CALVIN Apt name and a unique gimmick, but there is little else. PRATT Gimmick? Fate isnt a gimmick. Its a theme. CALVIN Theme, then. (leans back in chair) Convince me, Mr. Pratt. Why should I be interested in investing in your restaurant? PRATT Its unique in that... Calvin leans on his desk. CALVIN Im getting bored.

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PRATT (anxious) I envisioned it in the lower village... Calvin climbs up on his desk and sticks his neck toward Pratt. Pratt leans back in the chair. CALVIN Try harder. Calvin is practically in Pratts face. PRATT (anxious, excited) Fate, the restaurant without menus and your meal is always a surprise. Itll be trendy set... (Calvin sits on edge of desk) trend setting. The questions will change and each meal will be unique. Calvin walks around behind Pratt and Pratt spins in the chair to follow. CALVIN Keep going. Pratt stands up and becomes animated. PRATT (theatrically) Critics will not know what to make of it. Celebs will flock to Fate. Well accept all major credit cards. Dignitaries will double park just to dine... Calvin claps Pratt on the shoulders. CALVIN Okay, you wowed me. Calvin walks back around the desk and takes a contract from a drawer. Pratts name and FATE: A Restaurant are on the front page. CALVIN (cont'd) I took the liberty. Calvin pushes the contract to Pratt and he thumbs through it.

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PRATT If you had this already, what was all that about? CALVIN I like to size up my clients, to see if they have enough passion. PRATT Before I sign anything, I want to read this. CALVIN I insist you do, but you have only twenty-four hours to decide otherwise the contact will forever be voided, never to be offered again. Pratt thumbs through the pages and smiles up at Calvin. INT. WENDYS APARTMENT - EVENING Pratt looks uncomfortable on the low-rise couch as he reads the contract. Wendy walks in and rushes over to Pratt. PRATT Its practically mine. Wendy lifts the contract and looks at the cover. WENDY You went to see him? PRATT I didnt sign anything, yet. Wendy dashes off toward the bedroom. PRATT (cont'd) Wen...All I did was talk to him. Pratt has trouble getting off the couch. walks into the bedroom. BEDROOM Wendy sits on the floor against the wall hiding her face. Pratt stands in front of her, cocks his head and leans down. PRATT Not this again. He rolls off and

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WENDY So youre considering it then? PRATT You worry like you have something to hide. (shakes contract) Ive read this twice and hes taking all the risk. WENDY If its too good to be true, it probably is. Wendy looks up at Pratt, crying. PRATT Look at you. Youre beautiful even when youre crying. Pratt holds out his hands for her, but she doesnt take them. PRATT (cont'd) Why dont you want this for me? WENDY Hes going to come between us, I know it. Pratt sits next to her against the wall. away with his thumbs. He wipes her tears

PRATT (light-hearted) Now thats real mature coming from the next cover girl. Wendy fakes at a smile and Pratt hugs her. him back. PRATT (cont'd) I wont let anything come between us. Ill do whatever it takes to keep us together. Wendy squeezes her eyes closed and more tears come. INT. CALVINS APARTMENT - DAY Calvin has his back to the door, condensing objects on a table. She doesnt hug

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The door opens and ERNGO MONTOYAN, late 50s, enters. holds a ventriloquist's dummy. CALVIN Come in, Mr. Erngo. Erngo enters and the door closes. ERNGO I cant take these age swings anymore. Can we terminate our agreement and part ways?

He

Calvin sits at his desk, Erngos contract in front of him. CALVIN You knew it didnt work that way when you signed. Please sit. Erngo sits across from Calvin and perches the dummy on his knee. ERNGO Certainly you have compassion for dedicated clients? CALVIN Fortunately, business and compassion are not friends. Calvin takes a bone carved knife and ashtray from a drawer. CALVIN (cont'd) Youve been a faithful client, Mr. Erngo, yes. Ill make this at least as unpleasant as possible. Erngo looks at his dummy. Calvin moves the ashtray in front of him and holds his hand across the desk. CALVIN (cont'd) Your right hand please. Erngo removes the dummy to reveal... A gun, pointed at Calvin. Calvin leans back in his chair.

CALVIN (cont'd) Why did you have to go and do that? ERNGO You want to renegotiate now?

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Calvin spins the knife between the palms of his hands. CALVIN (patronizing) Put the gun down before you force me to hurt you. Erngo straightens his arm and fires twice. the shoulder. The wounds dont bleed. He hits Calvin in

Calvin looks at the wounds. There is a rippling under his shirt and the two bullets pop out from the entry holes and the wounds start to heal. Erngo stares, transfixed. Calvin moves around the desk in a flash and grabs Erngos hand. Erngo YELPS as the knife slices his thumb. ERNGO (pleading) Please, Im sorry. Dont kill me. Ill stick with our agreement. CALVIN I have no tolerance for dramatic insolence. Calvin collects the blood in the ashtray and slices off one of Erngos fingernails. He puts the dummy back on Erngos hand. He slices a swatch of his beard stubble and places it and the fingernail in the ashtray, then walks back around the desk. CALVIN (cont'd) Our business has ended. You may go. Erngo walks backward toward the door, bumping into things as he does. Calvin dips a quill pen into the blood and writes CANCELLED across Erngos contract. The door opens, Erngo walks out and the door closes. Calvin opens the wardrobe flanking the desk. It is filled with ingredients to make potions, a tandoori and three statues of the Fates. He places the contract, fingernail and beard stubble in the tandoori. He opens a drawer full of statues and pulls out a statuette of Erngo.

21. He places it in the tandoori, adds some potion ingredients and drizzles the blood while WHISPERING AN INCANTATION. EXT. CITY STREET - DAY Erngo walks down a street. is set at a painful angle. His shoulder twitches, CRACKS and

INT. CALVINS APARTMENT - DAY Calvin throws in two dashes of powder and it ignites in a fiery display. The statue, liquefies and crumbles apart. EXT. CITY STREET - DAY Erngos fingers snap. His hair grows amok and greasy and some of his skin sags like wax. His legs buckle. He turns into an alley and falls against a pile of cardboard boxes. EXT. CITY STREET - DAY Pratt walks up the street, toward the alley. INT. CALVINS APARTMENT - DAY Calvin collects the ashy remains in a vial, labeled ERNGO. He places it with others in a smaller drawer. Calvin draws the curtains behind his desk. Dozens of security-like image cubes, each one a client, including Wendy, are seen through a foggy mist. Erngos image cube shows a puddle of bodily fluids, then turns black. EXT. CITY STREET - DAY Pratt passes the alley and just avoids stepping in the puddle of what was Erngo Montoyan. Pratt gives it a wide berth and continues on his way. INT. CALVINS APARTMENT - DAY The images shift to fill in Erngos gap. Calvin takes Pratts contract out and places it on his desk. The curtains close just as the door opens. Pratt stands in the doorway.

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CALVIN Welcome, Mr. Pratt. Perfect timing. Please, have a seat. Pratt enters and the door closes behind him. the contract on his lap. CALVIN (cont'd) I trust youve read the contract? PRATT I dont understand the song bit? CALVIN I give each of my clients a -binder lets call it. Something to keep them focused on our agreement. Some others have to admire a piece of artwork or solely support their significant other. Some little bit of business. I thought youd benefit from a song. Pratt fingers the contract and leans back in the chair. PRATT Benefit how? CALVIN Why by making you a better and successful person. I would not be in this business too long if I didnt choose my clients carefully. PRATT I respect your success and appreciate your selfless offer, (hesitates) but Im afraid Im going to have to decline. Pratt lays his contract on the desk and stands up. CALVIN The decision is always yours. Calvin sweeps the contract across the desk and turns his back to Pratt. CALVIN (cont'd) Our business is concluded then. Pratt starts for the door. He sits with

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PRATT Thanks for the opportunity. CALVIN (cont'd) It is too bad, though. Fate had great potential. Pratt turns around to face Calvin. PRATT (challenging) What do you mean had? Calvin looks up from behind his desk. CALVIN With all your other options gone, you decide for us not to do business. What other conclusion is there? PRATT I never said this is a last resort. CALVIN My mistake. If it isnt true, then good luck to you. Calvin turns his back to Pratt again. and sits in the chair. Pratt walks back over

PRATT It just that it seems to good to be true and that makes me nervous. CALVIN Maybe it is. But, who is taking all the risk? You. PRATT And what happens if I fail?

Calvin slides Pratts contract back to him and he flips through it. CALVIN Than it would be bad judgement on my part. PRATT No hidden clauses where family members or loved ones are killed or something? (MORE)

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PRATT(cont'd) Taking my very last penny and me out on the street in the cold and misery? Nothing like that?
CALVIN You must have me confused with someone else. PRATT Excuse me? CALVIN Ill finance your restaurant and you agree to the terms spelled out in the contract. No renegotiations, no trials, no hidden clauses. PRATT Sounds like a marriage; til death do us part. CALVIN Okay...just listen to the song of your choosing. Or not...and accept the consequences. PRATT What are the consequences? Almost seductively, Calvin produces an inkwell and quill pen and slides them over to Pratt. CALVIN Those fine details that take years of your life worrying about. Pick your song and hold to our agreement and those details will be moot. PRATT What exactly does that mean? CALVIN You have to decide on a song. Times almost expired. Pratt rubs the Yang charm under his shirt. He leans forward and picks up the quill, dips it in the ink well and looks up at Calvin. PRATT MacArthur Park.

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Pratt writes the name of the song on the line, signs his name and spins the contract back to Calvin. Calvin blows on the ink and closes it. He folds his hands on the contract. CALVIN (cont'd) Splendid, Mr. Pratt. Splendid. Tomorrow we start with finding a location. PRATT I already have the perfect location. CALVIN Now, if youll excuse me, I have some details to take care of. Pratt extends his hand and quickly pulls it back. for the door and turns back around. PRATT Did I do the right thing? Calvin looks up at Pratt, expressionless, then smiles. CALVIN If we both get what we want and deserve, then the question is moot. Pratt pensively nods and leaves. EXT. CENTRAL PARK - DAY Wendy sits at her dressing table. Her reflection and that of a FEMALE INTERVIEWER, 30s, are seen in the tri-fold mirror. FEMALE INTERVIEWER To what do you owe your overnight success? A CAMERAMAN adjusts his shot with Wendys reflection and the Female Interviewer. WENDY I had to work at it like everyone else. Years of sacrifice and patience to be an overnight success. Pratt cuts through the paparazzi and flashes a badge to a guard who points in Wendys direction. He starts

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Wendy sees Pratt in her mirror and stands up, facing them. WENDY (cont'd) Please excuse me, but my lunch date is here. PHOTOGRAPHERs FOXTROT, 20s and TANGO, 30s, snap pictures of her. Photographer Foxtrot checks a image on the back of his camera and leans over to Photographer Tango, who is reloading film. PHOTOGRAPHER FOXTROT Digital really pulls out every wrinkle. Photographer Foxtrot points to Wendys crows feet on the cameras image. INT. CALVINS APARTMENT - DAY Calvin sits in front of the tandoori, Pratts contract and a number of potion ingredients in it. He WHISPERS ANOTHER INCANTATION, throws powder onto it. It ignites in a fiery display of a different color than before and a puff of smoke. Calvin pulls a stone statuette resembling Pratt from the tandoori. He opens a drawer in the wardrobe and adds Pratts statue with others in the drawer. EXT. CENTRAL PARK - DAY Wendy and Pratt stop at the Craft Services truck. holds her at arms length and checks her out. WENDY (cont'd) (concerned) What? PRATT That is my second favorite outfit. WENDY (relieved) What is your favorite? PRATT Everything else. They take their food and eat on the edge of the fountain. Pratt

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WENDY Im sorry about yesterday. The pressure, my fear of losing you... PRATT I spoke to Calvin about the contract. WENDY How did he take it when you turned him down? Pratt just looks at her. WENDY (cont'd) You told him no. PRATT Yes -at first. A LATE MIDDLE AGED COUPLE walk past with a picnic basket. WENDY What do you mean, at first? The couple lay out their picnic and turn on a radio. MacArthur Park, by Richard Harris plays. PRATT He can be persuasive. WENDY Persuasive, how? Pratt takes her hand and lifts her up and start dancing around. Pratt jumps on and off the fountain ledge. Wendy stops dancing, while Pratt continues solo. PRATT Hes going to finance Fate. WENDY (frustrated) This changes everything. Pratt holds Wendys hands in his. PRATT Arent you excited for me? WENDY Of course I am. (gives him a kiss) (MORE)

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WENDY(cont'd) I guess I am still in shock that it finally happened for you.

Pratt squeezes her tight to her. as an afterthought. Wendy hugs him back almost

WENDY (cont'd) (breaks embrace) I have an interview to finish. INT. CALVINS APARTMENT - DAY Calvin stares at the misty wall of images. Wendy and Pratt are in two identical image cubes, one on top of the other. Wendy walks out of the bottom image cube, leaving Pratt dancing alone by the fountain. In the image cube above that, Wendy walks toward the set, away from Pratt who is no longer in the image cube. EXT. VACANT RESTAURANT - DAY Pratt and realty agent, SYLVIA, late 40s, zaftig, stand in front of a dilapidated, neglected Chinese restaurant. An overcast sky threatens rain. Sylvia fights to open the door. A black car pulls up to the curb. Pratt leans down and looks into the side window. MacArthur Park, is barely audible. PRATT Calvin, you in there? Wait til you see this place. (Calvins car pulls up behind) It may not look... The car pulls away. Pratt swoons and reels backwards and he catches himself on Calvins car. Pratt now has patches of gray and silver in his hair. Sylvia rushes over to Pratt. SYLVIA Are you alright? PRATT I think so. I must have tripped. CALVIN If the outside is any indication of the inside. Calvin steps from the car.

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PRATT Just give it a chance. Its a prime lower village location. Sylvia, Pratt and Calvin enter the building. through just as they enter the building. INT. VACANT RESTAURANT - DAY DINING AREA Sylvia flips on the lights. The few working bulbs cast shadows on years of dust, dirt and damage. The island bar looks like a termite paradise. Sunlight filters in through the boarded windows and the open door. Calvin stands in a corner away from the sunlight. PRATT I know it doesnt look like much... Pratt leans on the bar and a piece of moulding breaks off. CALVIN Mrs. Sylvia, this place is a death trap. SYLVIA I could give you a honey of a deal? CALVIN You must have something more -appealing? SYLVIA Why dont we look in the kitchen. Sylvia and Pratt enter the kitchen. The sun reflects off a passing car mirror and catches Calvin on the hand. He winces and moves out of the way. His hand smoulders, turns to gray stone. He pulls a strange leaf out from his pocket and wraps it around his hand, now more stone than flesh. Calvin sticks his hand in his pocket and enters the kitchen. KITCHEN Sylvia and Calvin watch as Pratt animatedly describes what his vision of Fate would look like. Sunlight pokes

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As Pratt pantomimes, the interior morphs into a new kitchen. PRATT We can make a quadruple island for prep, surrounded by stoves and ovens...a huge refrigerator (opens the door) Plenty of ventilation...an alley (opens back door) for deliveries... DINING AREA Pratt backs out of the kitchen. Sylvia and Calvin follow.

Now Pratt is pointing to areas and as he does the interior morphs the restaurant FATE. INT. FATE RESTAURANT - NIGHT An elegant restaurant, just on the lower edge of high class. A few tables are occupied. early 20s, greets them. A COUPLE enter and the HOSTESS,

HOSTESS Welcome to Fate. Two? MAN Yes, please. HOSTESS Follow me. As they walk by WAITRESS ALPHA, 30S... WAITRESS ALPHA ...have any food allergies? OVERWEIGHT MAN High blood pressure, if that... WAITRESS ALPHA No salt for you... They pass WAITER GAMMA, 20S... WAITER GAMMA ...favorite type of animal? DINER 1 Kanga...

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The BARTENDER, 30, finishes mixing a drink and WAITRESS DELTA, 20S, takes it over to a table. The Hostess seats them. HOSTESS Fate is a unique dining experience in that there are no menus. Your interviewer will ask you five questions and our chefs will prepare your meals based on how you answer. Enjoy. The Hostess walks back toward the greeters podium. late 50s, flags her attention. DINER 3 Miss? (the Hostess stops) Please extend my compliments to the chef. Ive never had a meal this good. I cant wait to go home to my wife. HOSTESS Ill tell him right now. Waitress Delta walks over to the Couple and the Hostess enters the kitchen. KITCHEN The SOUS CHEF, LINE COOKS, PASTRY CHEF and DISHWASHER are all working the kitchen. Pratt is busy preparing a meal when the Hostess gets his attention. HOSTESS The lonely man at table thirteen extends his compliments. Pratt gives the Hostess a huge hug and spins her around. PRATT I knew we would be a success. Ill bet we even turn a profit tonight. The Hostess straightens her outfit and walks out of the kitchen. Pratt finishes cooking the meal. kitchen. Waitress Delta enters the DINER 3,

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WAITRESS DELTA This couple is boring. A shag rug would be exciting from them. She places the Couples answers on the line and Pratt looks at it. PRATT Lets give them the meal of their life. Pratt collects an eclectic group of spices and sets at preparing the couples meal. Waitress Delta takes the meal Pratt finished and leaves the kitchen. INT. WENDYS APARTMENT - DAY BATHROOM Wendy puts down a copy of Make-up for Dummies and stares at her crows feet and wrinkled eyelids in the mirror. MacArthur Park, by Richard Harris is heard through the door. WENDY Pratt, I love you. out. You must move

She hangs onto the edge of the sink and wipes at her tears with a towel. WENDY Damn, him... She throws the towel at the sink, sending a bottle of perfume crashing into the sink. INT. WENDYS APARTMENT - DAY KITCHEN An exuberant Pratt cooks their breakfast. Pratt flips a fish omelet and whisks a sauce on the stove. MacArthur Park, continues from the kitchen radio. PRATT I will take my life into my hands and I will use it...I will win the worship... (MORE)

33.

PRATT(cont'd) (the phone rings) Wen, can you get that!?

Wendy walks into the kitchen and answers the phone. Pratt turns his nose up at the intense perfume odor. He smells the food, then sniffs in Wendys direction. WENDY (over music) Hello? She cups her ear from the music to listen. WENDY (cont'd) Hold on a minute. Wendy turns off the radio and doesnt notice Pratt almost faint. His hair turns more gray. He burns his now wrinkled hand on the stove. WENDY (into phone) Sorry, about that. (listens) Sure, one second.

Whos calling?

She turns and notices his change and him wrapping his hand. WENDY (cont'd) What happened? PRATT Burned my hand. Who is it?

WENDY Thats not like you. (hands him the phone) A Julie Kravenshaw, from that cooking show restaurant four-oneone. Wendy fixates on his age, visibly much older now, and hands the phone to Pratt. PRATT Hello? (listens) Speaking. And yes I did open a restaurant named Fate. Wendy grabs her breakfast and sits at the table, picking at it.

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PRATT (cont'd) (excited) Of course! Let me get a pen. Pratt grabs a paper towel and fumbles for a pen. PRATT (cont'd) (cups receiver) Wendy, I need a pen. Wendy doesnt move. Pratt digs one out of a drawer.

PRATT (cont'd) Got one, never mind. (into phone) Okay, ready. Pratt writes as he listens on the phone. INSERT: JULIE KRAVENSHAW Yes. 1048 BROADWAY 11TH FLOOR

PRATT (cont'd) And thank you.

Pratt hangs up the phone and lets out a WHOOP. He stands behind Wendy and dangles his arms over her shoulders and wrinkles his nose. PRATT (cont'd) A little heavy on the perfume, dont you think? WENDY What was that all about? Pratt sits next to Wendy and takes a bite of her breakfast. PRATT They want to feature Fate on their show. This is better than I ever expected. The other omelet begins to burn. Pratt grabs the pan and dumps it in the sink, dousing it with water. WENDY I never had a doubt you would be successful.

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PRATT Finally, after all those years of you supporting me, Ill be able to take care of you. Wendy walks into the kitchen. WENDY Pratt... Wendy catches her reflection in the microwave and looks away. WENDY (cont'd) This is so unfair. She runs into the bedroom and Pratt follows. BEDROOM Wendy falls on the bed and Pratt sits kitty-corner next to her. PRATT (cont'd) Whats the matter? WENDY (face buried in sheets) I need you to move out. Pratt turns her head toward him. PRATT It sounded like you said you want me to move out? Pratt and Wendy stare at each other; did she really say that? WENDY Peoples needs change. I feel were moving in different directions. PRATT Youre talking nonsense. WENDY I have my career to consider too you know. Wendy grabs her bag and at the bedroom doorway. WENDY (cont'd) Please be out by tomorrow evening.

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LIVING ROOM Wendy reaches the front door and Pratt turns her around. PRATT Lets talk about this. What did I do that hurt you so much? Wendy opens the door... INT. MID-TOWN HIGHRISE APARTMENTS, HALLWAY - DAY and steps into the hallway. PRATT Wendy, wait. This doesnt make sense. Pratt caresses her face. PRATT (cont'd) Ill do anything to keep you. WENDY You had the opportunity to do nothing, and now it is too late. Wendy turns her head away from Pratt, her eyes are glassy. WENDY (cont'd) It doesnt matter now. Whats done is done and the best I can do is move on. Pratt gently grabs her wrist. PRATT Dont do this. Pratt lets Wendy pull her hand free. He watches her walk down the hall and turn the corner. He stares after her, then closes the door. INT. MID-TOWN HIGHRISE APARTMENTS - DAY HALLWAY Wendy leans on the wall, waiting for the elevator, and cries. An OLD WOMAN, 70s steps out of the elevator.

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OLD WOMAN Dearie, crying steals your youth. Wendy enters the elevator... OLD WOMAN (cont'd) Talk to him and youll work it out. It did for my Harold, may... ...and the doors close. OLD WOMAN (cont'd) ...the angels be watching him. EXT. FATE RESTAURANT - NIGHT Pratt climbs a ladder to tie a loose corner of his -GRAND OPENING- banner. As he climbs down the ladder, a car drives past playing a Reggae version of MacArthur Park. He ages and stumbles off the final step to the sidewalk. INT. FATE RESTAURANT - LATER DINING AREA Food critics from a variety of publications. We hear Waiters, Gamma and BETA, 30s, and Waitresses, Alpha and Delta, ask diners questions such as what is your shoe size? What branch of the military were you in? What did you have for breakfast? as the Hostess leads the ZAGATS CRITIC, late 40s, to a table. HOSTESS Have a seat sir and an interviewer will be right with you. ZAGATS CRITIC Interviewer? The Hostess walks back to the greeters podium. Delta comes to the table. WAITRESS DELTA Welcome to Fate. Ill be your interviewer and waitress this evening. Let me start by asking whats your favorite type of chocolate? KITCHEN Waitress

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The kitchen staff are busy preparing the many meals. Pratt and the Hostess look through the port hole on the kitchen door. A Dishwasher turns on a radio and a salsa version of MacArthur Park plays. Waitress Delta comes in with The Zagats Critics order. WAITRESS DELTA That guys from Zagats. Pratt takes the questionnaire, on it reads High Blood Pressure, and the waitress looks hard at Pratt. WAITRESS DELTA (cont'd) You okay? (touches his hair) You look tired. PRATT Stress, Im sure. Waitress Delta and Pratt leave the kitchen. DINING AREA Waitress Delta serves a customer a drink from the bar. Pratt walks out of the kitchen and ages once hes out of ear shot of the radio. He experiences vertigo and catches himself on a vacant booth. He slowly walks over to the Zagats Critic. PRATT Good evening, sir. Im Pratt Grimes, head chef and owner. ZAGATS CRITIC You seem pleasant enough, but your atmosphere is rather ordinary. If it is a harbinger of the meal, Ill be unimpressed. A CHORUS OF OUT-OF-TUNE DINERS sing MacArthur Park. PRATT Ill just have to prove you wrong. The Out-Of-Tune Diners embellish striped pair of pants and cease singing and CLANG glasses as Pratt enters the kitchen. A METALLIC GLANG is heard from the kitchen.

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INT. CALVINS APARTMENT - NIGHT Calvin looks at his misty wall of image cubes. In one, Pratt holds onto a kitchen rack. On the floor is a bowl of spilled diced tomatoes. The Sous Chef helps Pratt to a stool. The Sous Chef points at a Dishwasher. He glances back at Pratt as the Dishwasher cleans the spill. Pratt raises his hands that hes all right and goes over to his stove. He takes a piece of fish from a salt, spice rub and places it in a skillet. In another image cube, a bored Wendy is with a MUSCULAR GUY, 20s. INT. FATE RESTAURANT, DINING AREA - LATER Pratt comes from the kitchen serves the Zagats Critics his meal. PRATT Enjoy, sir. The Zagats Critic takes a small forkful and immediately spits it out. Pratt is stunned. PRATT (cont'd) Something wrong? ZAGATS CRITIC You dont use salt for people with high blood pressure. He collects his things and gets up. PRATT Please, sir, give me another chance. ZAGATS CRITIC I think Ill do you the courtesy of not writing my review. He collects his things and leaves. Pratt follows as far as the greeters podium. Pratt rifles though the podium. He rips the red back off a pad and runs outside.

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EXT. FATE RESTAURANT - NIGHT Pratt looks around, catches the Zagats Critic getting into a car and runs over to him. PRATT Please accept this pass with my apologies. Come back whenever you like. Business or personal. The Zagats Critic looks off the red card to Pratt. lays the red on his lap and gently closes the door. Pratt

A FEMALE CRITIC leaves Fate, shaking her head. Pratt wants to follow her, but sees Waiter Beta standing by a gentleman, ROBERT SIETSEMA, 40s, motioning an exuberant thumbs up. INT. FATE RESTAURANT - NIGHT Pratt enters Fate and stops at the greeters podium. PRATT (to Hostess) Who was she? HOSTESS Crepe Cassie, from Ladys Day Journal. Not satisfied either. Pratt looks past the Hostess and sees Waiter Beta excitedly pointing at Robert Sietsema walking over to Pratt. ROBERT SIETSEMA You Pratt Grimes? PRATT (dejected) I am. ROBERT SIETSEMA (extends hand) Might I congratulate you on a fine and whimsical eatery. Robert Sietsema pumps a bewildered Pratts hand. ROBERT SIETSEMA (cont'd) This will be an enjoyable review to write. I wish you the best of luck.

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Pratt, the Hostess and Waiter Beta watch him walk out and up the street. WAITER BETA (leans in to Pratt) Village Voice. INT. PRATTS APARTMENT - DAY The place looks like a tossed salad of boxes, furniture and all. Pratt enters with an armful of newspapers. Some fall as he closes the door. Pratt closes his eyes and twitches his nose. eyes and the mess is still there. PRATT (cont'd) Wheres a good witch when you need one? He collects the papers and scans the reviews, laying them on boxes, the couch, any horizontal surface. Pratt slumps behind a stack of boxes. He reaches up and places a newspaper on the box and feels around for the TV remote. Pratt turns on the TV and a commercial for THOSE FORGOTTEN 70S HITS comes on. Pratt grabs a newspaper and reheats leftovers from the fridge. A clip of MacArthur Park plays. He opens to the food section and reads his review. The MacArthur Park clip ends. Pratts hands wrinkle further and more hair grays. He braces himself on the counter. He sweeps his hand through his hair and strands come off and fall to the counter. The microwave DINGS and he stares at his reflection in the darkened glass. PRATT What is happening to me? INT. EXAMINATION ROOM - DAY Pratt, stripped to his boxers and socks, stares at his aging body in the mirror on the door. It opens and DR. BARBARA GRAMBLE, late 30s, enters. He opens his

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She sits on her stool and Pratt climbs onto the examination table. PRATT (indicates hair and wrinkles) My hair is falling out. be cancer?

Could it

DR. GRAMBLE I seriously doubt you have cancer. You appear in good health for someone your age. PRATT I know what my chart says, but how old do I look? DR. GRAMBLE If I passed you in the street, Id have to say youd be in your late forties, maybe early fifties. Dr. Gramble looks at Pratts age -26- on her chart. PRATT Doesnt that seem odd, that a man of twenty-six would look like hes in his forties? Dr. Gramble taps her pen on the folder, sizing up Pratt. DR. GRAMBLE Have you been under any unusual stress or pressure lately? Pratt leans forward. PRATT My girlfriend kicked me out, Im the owner and head chef of a new restaurant, and Im constantly tired. DR. GRAMBLE Stress has been linked to premature aging. Once you get your life under control, your symptoms should reverse. PRATT Could it be something else? if I only get worse? What

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DR. GRAMBLE Worrying also doesnt help. Youll be fine. You may get dressed now and take this (taps folder) to the cashier before you leave. Dr. Gramble leaves the room and Pratt gets dressed. INT. CALVINS APARTMENT - DAY Calvin relaxes on the settee and trims his nails. On his misty screen of clients, Wendy, walks out of a beauty shop and down a street; on another Pratt enters the building to Calvins apartment. On other image cubes, clients occupy themselves with aspects of their lives. The curtain closes. The front door opens. A sweat soaked Pratt enters, contract in hand. He looks around and doesnt see Calvin. He walks over to the desk and... CALVIN You dont look so good, Mr. Pratt. Pratt whirls around. Calvin sits up. contract on the desk. PRATT You dont sound surprised. CALVIN To what can I owe the pleasure of your company? PRATT The hottest May day on record and you have the windows closed and arent sweating. CALVIN Cold-blooded, I guess. But lets not make this about me. Calvin walks over to his desk and sits. CALVIN (cont'd) Please, sit, Mr. Pratt before you fall over. Pratt takes the seat and wipes his sweaty brow. Pratt lays the

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CALVIN (cont'd) Now, what can I do for you? PRATT A month ago I looked twenty years younger. (wipes his sweaty brow) My doctor says its stress. But I dont believe thats the whole thing. CALVIN And what do you think I can do? Pratt paces the room and picks up an elephant statue. CALVIN (cont'd) Please...that once belonged to Mr. Gandhi himself. Pratt inspects the statue and places back on the table. He walks over to the window, fanning himself with his shirt. PRATT Mind if I crack a window? CALVIN I very much would mind. Pratt pulls back the drape, enough to peek behind it. A shaft of sunlight hits Calvin on the neck before he can move. PRATT Since Ive signed this contract, Ive been hearing MacArthur Park everywhere I go. Calvin WINCES and flinches as smoke wisps from the spot. skin grays spreading over his neck and starts to turn to stone. PRATT (cont'd) Wendy didnt want me to talk to you... CALVIN (fighting the pain) Is that so? Calvin pulls another of the same leaf from a drawer and places it on his neck. His

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PRATT Whether we fulfilled her own prophecy, were no longer toge... Pratt turns to see Calvin tie a strip of cloth around his neck to keep the leaf on. PRATT (cont'd) What the hell? CALVIN (fighting the pain) Not really. Photosensitivity. Pratt watches Calvin adjust the cloth and collect himself. CALVIN (cont'd) (recovering) Lets not let this minor setback keep us from our business. Pratt sits back across from Calvin. PRATT Minor set back? Your neck is practically on fire. CALVIN You exaggerate, Ive had worse. PRATT You should see a doctor? CALVIN Your doctors cannot help me. Pratt looks from the curtain to the elephant to his contract and back to Calvin. PRATT Who are you? What are you? CALVIN Im not who you think I am, though I do control your fate, in a way. Pratt paces the room, fingering some of the artifacts. PRATT Im getting it now. Wendy, Alfredos, the banks.

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CALVIN Coincidence intervenes with fate on occasion. PRATT You set me up. You preyed on my weakness and set me up. CALVIN I neither coerced or threatened. You signed our contract of your own volition and decided on the song without provocation. PRATT (rounds on him) I did. On Richard Harris. Calvin flips open the contract and faces it toward Pratt. CALVIN It doesnt say that here. Pratt looks at the contract. PRATT Thats what I meant. correct it? Cant we

CALVIN No alterations of any kind, Im afraid. And I dont think youd like the new terms. PRATT So what happens to me? CALVIN That is dependent on you and you alone, Mr. Pratt. Pratt darts to the drapes and grabs them. PRATT How about now? CALVIN Please, go ahead. PRATT Ill do it? I saw your neck.

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CALVIN Ive been waiting for someone to take my place. PRATT Youre bluffing!? CALVIN Call it then. Pratt wipes his forehead with the drapes. Calvin side steps the encroaching sunlight and is suddenly at Pratts side. He wrests Pratts wrists from the drapes. Calvin is nose-tonose with Pratt. CALVIN (cont'd) Do you wish to continue our arrangement? PRATT Doesnt seem like I have much choice. CALVIN There are always choices. Some good, some not so good. Thats what makes life so exciting. PRATT How would you know? Calvin releases Pratts wrists and flashes an affable smile. Calvin escorts Pratt to his desk and hands Pratt his contract. PRATT How long? CALVIN Ive helped many great turners of history. And some simple folk wanting more from their life. As Calvin escorts Pratt to the door... Pratt holds up a magnifying glass. CALVIN (cont'd) Darwins. Pratt points to the settee.

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CALVIN (cont'd) Cleopatras. PRATT (sweeps his hands) All this stuff is... CALVIN Lets call them gifts. Pratt has his back to the door. It opens.

CALVIN (cont'd) In the end, youre all the same, just your contribution to mankind differs. Calvin helps Pratt onto the first step and backs away. door closes. Calvin removes the cloth from his neck. EXT. FATE RESTAURANT - DAY Pratt tapes the positive review from the Village Voice to the front window. He comes outside to look at it. A PUNK BICYCLIST rides by, his radio blaring a punk version, ala the Sex Pistols, of MacArthur Park. Pratt runs after the punk bicyclist. Hey, wait. EXT. STREETS - DAY The Punk Bicyclist rounds a corner. EXT. STREETS - DAY Pratt slows down, breathing heavy. He rounds the corner and stands in front of the alley behind Fate. He sees the punk bicyclist negotiating through the traffic and the song fades out of hear shot. A delivery truck coasts toward Pratt. The driver leans on his HORN and stops. Pratt whirls around, aged and reeling. PRATT (cont'd) I love that song. It has healed! The

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EXT. ALLEY - DAY The TRUCK DRIVER, early 50s, pock marked, gets out and leaves the door open. A folk version of MacArthur Park drones over the cabs radio. Hey! man. TRUCK DRIVER Watch where you stand, old

Pratt braces himself against the building and the Truck Driver hustles over to him. TRUCK DRIVER (cont'd) Looks like I scared a couple of years out of you. You alright? PRATT (nods) Just winded. TRUCK DRIVER Well, alright. He walks back to his truck and turns back to Pratt. TRUCK DRIVER (cont'd) Just curious, but you wouldnt happen to know who owns... (unfolds delivery slip) The restaurant Fate? Pratt nods and walks over to him. PRATT I do. Great. TRUCK DRIVER Is he inside, do you know?

Pratt shakes his head and points to himself Its me. PRATT Im Pratt Grimes.

The Truck Driver hands Pratt the delivery slip. He walks to the back of the truck and Pratt follows keeping an ear pricked to the music. TRUCK DRIVER Let me clue you in on how this works. (MORE)

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TRUCK DRIVER(cont'd) I knock on the back door, you open the back door and I deliver to the back door.
The Truck Driver hops up into the back of the truck. TRUCK DRIVER (cont'd) (does a hand motion) None of this running around the block business. Okay, man? PRATT Sure. The Truck Driver drags three crates to the edge of the truck and jumps down. TRUCK DRIVER Havent had this location on my docket in years. (muscles a crate from the back) Used to be Chinese, Tsos Luck. Not bad either, for grab-n-go. Pratt starts to inventory the unloaded seafood crates. TRUCK DRIVER (cont'd) Want to sign, man? I got a schedule to keep. PRATT I shouldnt be but two minutes and thirty-nine seconds. Pratt positions himself to keep within earshot of the radio. TRUCK DRIVER Heres how it works. You sign, I leave. Any problem well work out next delivery. Sprenze? Pratt points to fish as he continues his inventory. The Truck Driver leans down and looks into Pratts face. TRUCK DRIVER (cont'd) I suggest you sign if you want to continue receiving fresh goods. Pratt holds the stare, doesnt flinch. PRATT I dont have a pen.

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The Truck Driver grabs the clipboard and stalks to the cab. Pratt follows. He signs the delivery slip and stuffs his copy in his pocket. TRUCK DRIVER There, now have a day. INT. TRUCK - DAY The Truck Driver gets in. Pratt jumps on the running board and holds onto the mirror and door. TRUCK DRIVER What is your problem? Get off my truck! The Truck Driver puts the truck in gear. EXT. STREETS - DAY The truck pulls out of the alley. Pratt stands on the running board, hanging on to the door, still listening to MacArthur Park. The Truck Driver swerves hard, Pratt hangs on for his life. TRUCK DRIVER Get off my truck! The Truck Driver takes a hard corner and Pratt almost flies off. He clutches the mirror, nearly colliding with a pole. The Truck Driver comes to a sudden halt, barely missing the car in front of him. Pratt tightens his grip. INT. TRUCK - DAY The Truck Driver takes the clipboard and smashes it across Pratts knuckles and he falls from view. He puts the truck in gear and moves forward. EXT. TRUCK - DAY Pratt has his arm wrapped around the mirror brace, rubbing his bruised, red knuckles. The truck lurches forward and Pratt nearly rolls off the running board. His feet drag on the street.

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The Truck Driver looks out the window. grabs the window frame again.

Pratt stands up and

TRUCK DRIVER (cont'd) Youre the proverbial bad penny. EXT. STREETS - DAY The Truck Driver cuts down side streets, trying to shake Pratt loose. Pratt is barely hanging on. INT. TRUCK - DAY The Truck Driver sees a fruit stand. Pratt struggles to hold on. He angles the truck toward the fruit stand. EXT. STREETS - DAY MacArthur Park ends as the Truck Driver swings the door open. Pratt is thrown into a display of kumquat. The Truck Driver closes the door and continues down the street. The FRUIT SELLER, 60s, comes out SCREECHING at kumquat covered Pratt. He shakes his hands of the fruit and notices his hands are less wrinkled. EXT. PROFESSIONAL BUILDING - DAY A monolithic structure of mirror and glass. Pratt, cleaned and changed, stares at the giant 1048. He folds the paper towel and sticks it in his pocket as he enters. INT. PROFESSIONAL BUILDING - DAY Pratt admires the lobby as he approaches the security desk, the SECURITY GUARD, late 50s, alert and ready. SECURITY GUARD Can I help you? PRATT (offers the card) I have an appointment with Julie Kravenshaw.

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SECURITY GUARD Name? PRATT Pratt Grimes. The Security Guard confirms his name and hands Pratt a guest pass. SECURITY GUARD Return that to me before you leave. (Pratt takes pass) Elevators are to your left. Eleventh floor. ELEVATOR BANK Pratt passes through the security check and waits for the elevators. One opens and he gets on and immediately hears a muzak version of MacArthur Park. INT. PROFESSIONAL BUILDING, ELEVATOR - DAY He looks from his watch to the floor buttons. He depresses them all. As the doors close, the TLICK-TLACK of a WOMANs heels hasten toward the elevator. WOMAN (o.s.) Hold please! Pratt makes no attempt to hold the elevator. Her shoe stops the doors from closing. Pratt leans toward the door open button. They open and the Womans shoe falls off. JULIE KRAVENSHAW, late 30s, carrying the lunch burden, hops on. JULIE KRAVENSHAW (cont'd) Could you hit.... She notices all the floors pressed and glowers at Pratt. Pratt smiles, embarrassingly, coyly. The doors close and Pratt helps her back on with her shoe. PRATT To random acts of kindness. The elevator stops at the 2nd floor. The elevator stops at the 3rd floor. of the car. Doors open and close. Pratt steps to the rear

54. A well dressed man gets on, engrossed in a financial newspaper. He blindly depresses button #7, still reading. INT. PROFESSIONAL BUILDING - DAY The elevator stops on the 7th floor and the man gets off, giving Pratt a backwards glance. Two other people rush out and down the hall. The few remaining people all stare at Pratt. The Julie struggles with the lunch bags. INT. PROFESSIONAL BUILDING - DAY The elevator stops on the 11th floor. A wall plaque reads Restaurant 411 and an arrow points to the right. Julie and three others get off, staring back at Pratt. Julie hurries down the hall to the right. INT. PROFESSIONAL BUILDING, ELEVATOR - DAY The elevator reaches the top floor and the muzak MacArthur Park still plays. Pratt depresses buttons from the top floor down when a BUSINESS MAN, early 40s, grabs his hands and throws him off the elevator. BUSINESS MAN Go back to college. The Business Man slams the door close button. The doors close and Pratt sticks out his foot to stop them closing. INT. PROFESSIONAL BUILDING - DAY The top floor. Pratts foot SLAPS the closing elevator doors and he falls on his back. He ages. INT. CALVINS APARTMENT - DAY Calvin sits back, watching his clients. breath, stretches and rolls his neck. INT. PROFESSIONAL BUILDING - DAY The elevator opens on the 11th Man repeatedly pushes the door and a few seconds later, Pratt exhausted. He pauses to catch floor, crowded. The Business close button. The doors close comes out of the stairwell, his breath. He inhales a deep

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INT. PROFESSIONAL BUILDING, RESTAURANT 411 OFFICES - DAY Pratt walks through the glass doors and up to the vacant reception desk, the name plate reads Carl Berdlow. He signs in and thumbs through Bon Appetite in the waiting area. CARL BERDLOW, late 40s, returns to the front desk and sees Pratt. CARL Can I help you sir? Pratt drops the magazine and approaches to the desk. PRATT Pratt Grimes. Im here to see Julie Kravenshaw. Carl sits and puts on his headset and dials the phone. CARL Julie, youre one oclock is here. He nods and disconnects the call. motions for Pratt to come closer. counter. Carl leans forward and Pratt leans over the

CARL (cont'd) Some juvenile in the elevator set her off. Just give her a moment. Pratt holds himself up on the counter. himself at his desk. Carl sits and busies

PRATT Maybe we should just reschedule? CARL Shell be fine, unless of course you were that guy? Carl laughs and emphasizes with a hand gesture. at a chuckle. CARL (cont'd) If you dont mind my saying, you sounded younger when we spoke on the phone. PRATT Ive been getting that a lot lately. Pratt feigns

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The phone BLEEPS and Carl punches a button. CARL Yes, Julie? (listens and nods to Pratt) Ill send him back. He punches the button again and stands up. CARL (cont'd) Down the hall, last door on the left. Pratt hesitates, then walks down the hall. INT. PROFESSIONAL BUILDING, RESTAURANT 411 OFFICES - DAY JULIE KRAVENSHAWS OFFICE Julie blots at a stain on her blouse. Pratt knocks at the open door. She looks up and her facial expression and body language changes at seeing Pratt. JULIE You! I dont know how you found me but just leave. I have an appointment. PRATT I know. Julie folds her hands and leans on her desk. JULIE Interesting first impression. Pratt slides into the seat. PRATT I apologize for that. Julie drops the napkin in the soggy salad and tosses it in the trash. She opens her folder and acts professional. JULIE Very well. I must say, Pratt, I pictured someone younger. PRATT Ive been getting that a lot lately.

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JULIE Okay. We would like you to be a guest chef on Restaurant four-oneone. Can I assume youre familiar with the show? PRATT I am familiar with your show. JULIE Youll select a member of the audience, do your thing and cook them a meal. PRATT Sounds straight forward enough. JULIE The final piece is you agree to let our camera crew into your restaurant to catch you and your staff in action. Nothing exploitative, just a spontaneous visit to round out the show. PRATT I dont see the harm in that. Julie hands Pratt a release form and a pen. JULIE Ill need your consent to use your likeness for publicity and to appear on the show. Pratt reads every letter on the form. JULIE (cont'd) Its a pretty standard form, you dont have to read the whole thing. PRATT (looks at Julie) You never can be so sure. Julie waits impatiently for Pratt to finish reading. signs the form and hands it back to Julie. JULIE Were set for taping in about a week. Carl will contact you with the specifics. Pratt

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Julie stands and walks around her desk and extends her hand. Pratt shakes it. PRATT Thank you for this opportunity. Pratt stops in the doorway and turns around. behind her desk. PRATT Mrs. Kravenshaw? (Julie looks up) I truly am sorry about your lunch. JULIE Enjoy the rest of your day, Pratt. Pratt walks down the hall. EXT. PROFESSIONAL BUILDING - DAY Pratt celebrates, throwing his hands to the sky, then grabs his back, regretting it. A jogger passes listening to headphones loud enough so Pratt can hear it. Though the song is not MacArthur Park, he becomes alert and sees all the electronic devices surrounding him. INT. PHARMACY - DAY Pratt enters the pharmacy and fills a basket with earplugs and stands on line. A BUSINESS WOMAN, mid-30s, cuts in front, listening to MacArthur Park on her headphones and heads over to the grab a water. Pratt follows. They get back on line and she cuts in front of Pratt. He taps her on the shoulder and she turns around and removes one earbud. PRATT I was in front of you. BUSINESS WOMAN (looks at his basket) Not any more. She pays for her drink and replaces her ear bud. She fixes her purse and hurries out before Pratt can pay for his earplugs. He grabs one package and follows the Business Woman. Julie is back

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The cashier picks up the phone. EXT. PHARMACY - DAY The Business Woman stops out front and opens her drink, Pratt at her heels. Pratt follows her, closely, down the street. EXT. CITY STREETS - DAY The Business Woman rounds a corner and Pratt is still on her heels. The Business Woman stops for the light, winding her way into the crowd. Pratt struggles to remain within earshot. The Business Woman takes off, Pratt barely keeps up with her as she heads for the subway entrance. The Business Woman crosses the street before the light changes. Pratt follows, against traffic, and is nearly run down by a car. Pratt follows the Business Woman into the subway. INT. SUBWAY STATION - DAY The Business Woman slows to dig out her fare card. Pratt looks from the line at the token booth, to the line at the one working automated ticket machine, to the Business Woman. The Business Woman finds her metrocard. Pratt walks in front of a MALE TICKET HOLDER, early 20s with a twenty dollar bill in his hand. PRATT Ill give you twenty bucks for your ticket. MALE TICKET HOLDER Youre the one passing fake twenties around town? The Male Ticket Holder goes to the token booth and the token booth worker looks at Pratt, who keeps within ear shot of the Business Woman. Pratt sees the reflection in the glass of the Business Woman swipe through. Pratt jumps the turn style, catches his foot, falls and picks himself up. He rushes after the Business Woman.

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A uniform police officer enters the station, flashes his badge at the token booth worker and is buzzed through the gate. INT. SUBWAY PLATFORM A - DAY The Business Woman walks along the platform followed by Pratt. The train pulls in and the Business Woman gets on and Pratt stands right next to her. INT. TRAIN - DAY The Business Woman looks off him and moves further into the car. Pratt keeps a discrete distance, still within earshot. The police officer runs along the platform as the doors close. He spots Pratt in the car as the train pulls out of the station. Pratt moves closer to the Business Woman and is jostled into her. PRATT Excuse me. He turns away from her. She gets up and walks to the car door. Pratt follows, barely keeping her within ear shot. The Business Woman continues through the car as it pulls into another station. The doors open and people shove past as she stands right at the doorway. INT. SUBWAY PLATFORM B - DAY Two POLICE OFFICERS rush along the platform. As the doors close the Business Woman jumps off the train. Pratt gets caught in the doors as he tries to follow. The doors open and Pratt jumps off after the Business Woman. Another POLICE OFFICER jumps off the train behind the other two.

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EXT. CITY STREET - DAY The Business Woman, followed by Pratt emerge from the subway. She runs into the arms of a waiting MAN and stops the music, MacArthur Park wasnt over. Pratt ages and is more fatigued. He gestures hes sorry and turns away and sees the three Police Officers coming out of the subway. He turns around... ...right into the Mans fist. EXT. POLICE STATION - DAY Pratt, bruised from the punch, and Wendy walk out of the police station. PRATT I had no one else to turn to, you know. Pratt stops on the steps. after and turns around. WENDY What? PRATT I miss how beautiful you are. Dont. WENDY I have someone else. Wendy stops a couple of steps Hes out cold!

Wendy points at a SLOVENLY LOOKING MAN at the falafel vendor. PRATT I know you need him, but do you want him? WENDY Need and want are to different coins. Pratt steps down to Wendy and grabs her hands. a kiss on the cheek. WENDY Good-bye. Wendy walks toward a Slovenly Looking Man making a mess with his falafel. She gives him

62. She grabs a napkin and wipes at the stain on his shirt and they walk off together. Pratt walks in the opposite direction. EXT. WOODEN TAROT - DAY An eccentric occult shop. INT. WOODEN TAROT - DAY Pratt enters and cautiously littered with artifacts and occult. A salesgirl, SUSAN appearance, walks up behind SUSAN Can I help you? Pratt jumps, knocking a wooden figurine of Dionysus off a shelf. Susan catches it. SUSAN (cont'd) (admiring figurine) Wouldnt want him to break. (whispers) Bad karma. She places the figurine on shelf and sizes up Pratt. SUSAN (cont'd) You dont look like our usual clientele. PRATT I have a friend who...do you really believe spirits can control your life? SUSAN If youre asking me personally yes. PRATT I think I have trouble. Its nonhuman form probably looks like that ugly guys there. (points to a figurine) SUSAN Genii Loci? navigates the narrow aisles merchandise catering to the JONES, early 20s normal in Pratt. Pratt enters.

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She smiles, exposing her sharpened bicuspids, and picks up a statue of a wrinkled squat fellow with a pitched conical hat. SUSAN(cont'd) Dont let looks deceive you. Hes one of the good guys; a protector spirit. She gives Pratt the statue and he rolls it in his hands. PRATT Maybe more like ones that pretend to help, but not really. SUSAN Youre probably looking for sprites or ariels or pixies. Come. Pratt places the statue on a cluttered shelf and follows Susan over to the book section. She hands him six or seven, one of them titled The Mythology of The Fates. SUSAN I know someone who can help. Pratt follows her to the counter. Chivacess on a piece of paper. She writes Aprile

SUSAN (cont'd) Go to the New York Public Library and use that name. Share it with no one but the information clerk. Pratt places the tower of books on the counter. Susan sticks the paper inside the top book and rings the sale. SUSAN (cont'd) Eighty-six, sixty-six. Susan recoils and grabs a cloth from under the counter and waves it over the register. SUSAN (cont'd) You cant be too careful. Make it an even eighty-six dollars. Pratt hands her ninety dollars. PRATT Thank you... (looks at name tag) Susan. Keep the change.

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SUSAN Good karma. Pratt hefts the two bags out of the store. EXT. NEW YORK PUBLIC LIBRARY - DAY Pratt climbs the stairs and enters the library. INT. NEW YORK PUBLIC LIBRARY - DAY Pratt walks up the first floor stair case and over to the information kiosk. EVELYN MANDRAKE, early 70s, long silvery hair, the clerk on duty, has his back toward Pratt. PRATT (looks off name) Excuse, Mrs., Im looking... Pratt unfolds a piece of paper with the name Aprile Chivacess and Evelyn turns around and Pratt does a visual double take. Im sorry. library... PRATT (cont'd) The hair, the

EVELYN Its my parents fault. Not everything is at it appears. (settles behind computer) Title? PRATT I dont know her title. Chivacess. Evelyn stops typing. PRATT (cont'd) I can spell it for you... Evelyn leans in close to Pratt. EVELYN (whispers) Who sent you? PRATT Susan, from the Wooden Tarot. Aprile

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EVELYN Come. Evelyn places a back in fifteen minutes sign on the counter and grabs an old key from underneath a drawer. Pratt follows Evelyn down the stairs. INT. NEW YORK PUBLIC LIBRARY - DAY Evelyn leads Pratt into the coat check room. Evelyn winks at the COAT CHECK GIRL, who winks back. Evelyn draws back a dozen or so coats in a corner, exposing a narrow sliding panel. They slide through the panel and the Coat Check Girl hides the panel again. INT. NEW YORK PUBLIC LIBRARY - DAY NARROW STAIRWELL The steps regress from new to eroded stone. bottom and a dead end. EVELYN You must never tell a soul of this place. PRATT You have my word. Evelyn activates an ancient lock system and a section of the stone wall opens. SPECIAL ARCHIVES Evelyn leads Pratt into the dark Special Archives. He depresses a light switch button. Scores of book stacks and a few desks are revealed. Pratt follows Evelyn over to the desks. He opens the drawer and among the items inside are paper, pencils, flashlight, bottled water, saltines. EVELYN Everything you need is right here. Pratt handles some of the items and holds up and tests the flashlight. PRATT Why the flashlight? They reach the

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EVELYN Its get pretty dark after hours. Evelyn walks over to a stack. Pratt puts the flashlight back, then picks it up again and sticks it in his back pocket. He walks over to Evelyn. PRATT How far does this go back? EVELYN Centuries. Put the books back where you found them. Evelyn walks through the opening and turns around. EVELYN When youre done, (pointing) hit this button and someone will be down to collect you. The wall closes. Pratt pulls down a couple of books. He lays them on the desk and pulls out paper and pencil from the drawer. SPECIAL ARCHIVES - LATER Books on occult mythologies, superstitions and ancient deities pepper the desk and floor. One book is open to a drawing of the tattoo on Calvins arm and another pictures the three Fates. He chomps at a saltine and drains more of the water. He closes the book he is reading, stretches and rubs his eyes. He grabs the stack of books on the floor and returns them to the stack and retrieves more. SPECIAL ARCHIVES - LATER Pratt is asleep on some books. The flashlight is the only light source. In the shadows of the stacks someone moves. Pratt flinches and knocks a pile of books on his head. He digs the heels of his hands into his eyes. He picks up the books and plays the flashlight across the floor looking for the one that slide away. The flashlight beam catches the shine of a pair of shoes. brings the flashlight back quickly. He

67. The book is where the shoes were. He gives a quick scan with the flashlight, then picks up the book. He re-shelves them and knocks a book off the other side. Pratt picks it up and reaches to re-shelve it, but there is no space where a book should go. Pratt inspects it. It is ancient, bound in some kind of leather, held together like a spiral notebook. There is no title, just some occult looking drawing. He sits back down at the desk and opens the cover, the tight spirals resistant. There are a few blank pages and then, written in blood, a page with ME, FOR YOU on the top and at the bottom the authors signature, HANITICUS FRINE. Pratt flips to the next page. INSERT: SCRIBED IN MY OWN BLOOD, BOUND OF MY OWN FLESH, EVERY PART OF THIS VOLUME IS PARTS OF ME, FOR YOU AND YOUR FATE. Pratt drops the book. In the echoing distance, the PWIQUE of shoes, then nothing. Pratt plays the flashlight in the direction of the sound. Hello? PRATT Evelyn, you there? He picks it

Pratt sits and stares at ME, TO YOU on the desk. up and reads aloud. PRATT (cont'd) (reading aloud) Within these covers is the means to rid your Fater, but be warned, should you fail, you shall fall. I know. Faters form many incarnations, so know yours. Rotational (Sol un Luna), elemental (terra, water, fire, air), mystical (vaporous) of but three forms.

Pratt flips through his notes and scans the open books and finds a recurring theme of Sun. PRATT (cont'd) Photosensitivity. Its sunlight. Pratt pages through ME, TO YOU, to the Sol section and scans through with his finger.

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PRATT (cont'd) Trickster...gray stone...dawn sun most potent...those before him of the doer of the deed. Though the doer, if successful, shant be further harmed, his sacrifice for others remains him in his present state and compliment. Pratt hides ME, TO YOU, behind the books he re-shelves. grabs his notes and presses the button to leave. INT. FATE RESTAURANT - DAWN Pratt sits nursing a drink at the bar. MacArthur Park ends and Pratt reverse ages a bit. MacArthur Park starts again as the Dawn sun filters into the restaurant, brightening most of the dining area. No direct sunlight hits the far corner booth. Pratt hangs a picture of Charles Darwin by the corner of the darkened booth. PRATT Its almost too poetic. Pratt lowers the blinds and sits back at the bar. PRATT (cont'd) The birds, like tender babies in your hands and the old men playing checkers by the trees. INT. MID-TOWN HIGHRISE APARTMENTS - DAY Pratt walks up to Wendys apartment and rings the bell. INT. WENDYS APARTMENT - DAY BEDROOM Wendy, looking her naturally gorgeous self, checks her face in the full length mirror. WENDY Coming! Wendy adjusts herself and walks out of the bedroom. LIVING ROOM He

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Wendy walks to the door. WENDY Who is it? The dead bolt pulls back and the handle turns. Wendy freezes. The door opens, stopped by the security hinge. Pratts hand and his nose poke through the crack. PRATT (o.s.) Its Pratt. I need to talk to you. WENDY You sound different. PRATT (o.s.) I never should have never said yes to Calvin. INT. MID-TOWN HIGHRISE APARTMENTS - DAY Pratt pulls his hand back through the crack. WENDY (o.s.) Why should I even care? PRATT Please Wen, you were never a good liar. INT. WENDYS APARTMENT - DAY Wendy closes the door, opens the security bolt and opens the door. WENDY (gasps) You look yourself too. Pratt enters the apartment and looks at himself in the mirror behind the door. Pratt dashes over to the stereo and starts pulling out CDs. WENDY (cont'd) What are you doing? Pratt holds up a CD labeled PRENDYS. PRATT (waves CD) I knew youd still have it.

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WENDY (cont'd) I think you should leave. Pratt inserts the CD in the stereo and skips to track three. MacArthur Park plays. PRATT I have to listen to this song, all the way through, or else this happens. Pratt stops the song and sits on the couch. He ages.

PRATT (cont'd) Only now Im younger than when I agreed to do the show. If I show up younger, how can I explain that? Pratt starts the song again. WENDY Hair dye and botox. PRATT Thanks. Once the show is taped, I can listen to the song and regress my age, then... Pratt stops it again and he ages again. WENDY Stop doing that! PRATT Hes not human, Wendy. WENDY I could have told you that. PRATT But you didnt. They hold their looks on each other. Pratt reaches out and rubs Wendys hand. Wendy balks at his loose skin and wrinkles and pulls her hand away. PRATT (cont'd) Its sunlight, Wendy. It does something to his skin. WENDY Dont get me involved.

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PRATT It burns him or something I dont know what... Pratt! more. WENDY I dont want to know any He

Pratt plays with the apartment key and hands it to her. steps out into the hallway. PRATT Theyre taping the show this afternoon over at Silver Cup Studios. If youre interested? WENDY Good luck, Pratt. You deserve it. She stares at her

Wendy closes and locks the door. reflection in the mirror. WENDY Damn, him.

She holds the key by her heart and sobs. the stereo and tosses out the CD. INT. DRESSING ROOM - DAY

She walks over to

Pratt preens his chefs outfit and repetitively adjusts his toque. Someone KNOCKS on his door. PRATT Come in. A bouquet of Spring Narcissus flowers hides the face of the DELIVERY BOY, late teens. A rap version of MacArthur Park is heard through headphones around his neck. DELIVERY BOY Yeah, you Pratt Grims? PRATT (deflated) Grimes. Yes Im him. The Delivery Boy sets the bouquet on the vanity and hands Pratt a small envelope. Pratt hands him a few bills. PRATT Wait, dont go yet.

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The Delivery Boy stops at the door. DELIVERY BOY Look, guy, my bike is double parked. PRATT Who are these from? DELIVERY BOY I bet the card will help you with that one. Later. The Delivery Boy leaves and Pratt ages, bracing himself on the vanity. Pratt opens the envelope and reads the card. PRATT Have a good show. He flips the card over and inspects the envelope for a name, there is none. TWO SHARP RAPS on the door. PRATT Come in. A PA, late 20s, enters. PA Five minutes Mr. Gr...rimes. He looks closely at Pratt and spins out of the dressing room. Make-up. PA (o.s.) Room two.

Pratt studies himself in the vanity mirror. INT. RESTAURANT FOUR-ONE-ONE SET - DAY Full lights come up on the empty set. CAMERAMEN work the cameras. KAREN SOMMERS, 30s, slender, walks onto the set and the LIVE STUDIO AUDIENCE APPLAUDS. KAREN Good day to you and welcome to another Restaurant four-one-one. Our special guest Chef tonight is from Fate. Please welcome Pratt Grimes.

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MITCHELL, 40s, the shows make-up artist, has headphones on, listening to an instrumental version of MacArthur Park. He finishes coloring Pratts gray hair and as he walks out of ear shot... The LIVE STUDIO AUDIENCE APPLAUDS... Pratts hair turns more gray and skin wrinkles and he weaves, catching himself on the kitchen set. PRATT Thank you Karen, Im excited to be on your show. KAREN Briefly Pratt, what makes Fate so unique? Someones cell phone ring tone, opening bars of MacArthur Park, stop the show. The person is escorted out and someone else fills the seat. Wendy and Slovenly Looking Man are in the audience. No one notices Pratt age. INT. CALVINS APARTMENT - NIGHT Calvin watching his clients on the misty screen, an amplitude modulation runs across the bottom. Pratts image cube has a bright border. On Pratts image cube the scene plays out. Karen leans on the kitchen set. KAREN (whispers to Pratt) Relax, youll be fine? Pratt nods. He runs his wrinkled hand through his hair and strands pull out. KAREN (cont'd) What makes Fate so unique? PRATT Well, Fate has no menus. Our interviewers ask five questions...

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INT. RESTAURANT FOUR-ONE-ONE SET - DAY PRATT (cont'd) and we prepare the meals according to how they answer those questions. KAREN After break, one lucky audience member will put those skills to the test. DIRECTOR (o.s.) Cut! Pratt supports himself on the kitchen set. to him. Karen goes over

KAREN You feeling alright? (calls off stage) Make-up! (to Pratt) Dont be so nervous. You have the worst case of stage fright Ive even seen. Mitchell comes over, without head phones, and fingers Pratts skin and feels his hair. He touches up Pratts make-up and walks off set. Stage hands bring out a set table and one chair. Pratt and Karen put on their toques and tie their aprons. Places. DIRECTOR (o.s.) Quiet. Three...two...

A stage hand quickly places a vase of flowers on the table. Karen smiles big and hugs Pratts arm. KAREN (whispers) Relax and enjoy yourself. (onto camera) Welcome back. Pratt Grimes, owner and head chef of Fate is with us tonight. Pratt, Ill pick an audience member. Karen walks off the set and up to the audience, around and selects Wendy. She looks

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KAREN (cont'd) You, miss... (recognizes her) Wendy Mathers? Wendy tries to beg off but Karen motions for her to come down and the audience urges her on. Pratt watches as Karen escorts her to the table and she sits. KAREN (cont'd) Welcome Miss Mathers. We have a real treat for you. Well, lets get right to it. Pratt, the kitchen is yours. Pratt walks around and stands next to Wendy. PRATT (nervous) Welcome to Fate, Miss Mathers. you allergic to any foods?

Are

Pratt writes on his pad almost simultaneously as Wendy answers all the questions. WENDY No. PRATT Action or romance movies? WENDY Action. PRATT Do you see yourself as a mother? WENDY No. Pratt starts to write YES but writes hard over it NO. PRATT Do you like thunder storms? WENDY Yes. PRATT One or two-piece bathing suits? WENDY Two-piece.

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PRATT Thank you Miss Mathers. will be out shortly.

Your meal

Pratt walks back into the kitchen and pre-heats the oven. KAREN What are you going to make? PRATT Well all find out together. Cut! DIRECTOR (o.s.) Thats break.

Lights come up and music is piped in, a country version of MacArthur Park. Karen looks up at the control room window. KAREN Simon! Abruptly, MacArthur Park is cut off and a different song comes on. Karen and Wendy walk off set. Pratt ages, collapses, knocking flour and sugar on top of him. Wendy and Karen rush over to him. in her arms. KAREN Get an ambulance. INT. HOSPITAL - NIGHT Pratt lies on the bed, connected to monitors and tubes, a bandage on his head. Wendy sits in the chair. Pratt comes to and stares at Wendy. Wendy rushes to the door and leans out. WENDY Nurse, hes opened his eyes. Wendy follows a NURSE, 20s, back into the room. his vitals, notates in the chart. NURSE You gave us a little scare there Mr. Grimes. How are you feeling? Pratt makes a feeble hand gesture toward the ice water and licks his lips. Wendy hands him a cup and he dribbles as he drinks. She checks Wendy cradles Pratts head

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PRATT (raspy) Better now. When can I go home? The Nurse daubs Pratt with the corner of the bedsheet. NURSE Tomorrow, the next day the latest if your vital signs are good. (to Wendy) Visiting hours are over in fifteen minutes. WENDY Okay. The Nurse leaves. Wendy sits on the edge of the bed.

PRATT Im scared, Wen. Pratt tries to pull himself up and Wendy helps him to a sitting position. PRATT (cont'd) I dont think this will end nicely for me. WENDY Im so sorry, Pratt. Wendy paces around the bed and her reflection is seen in the window. Rain streams down her reflection. WENDY (cont'd) This is all my fault. BEGIN FLASHBACK: INT. FIDELITY BANK - DAY Wendy, wearing glasses and the red wig, enters the bank. squints at Rajan Moufstappaehs name plate and walks coquettishly over and sits in front of his desk. Rajan looks up from his computer screen and eyes Wendy. Wendy crosses her legs and Rajan straightens his posture. RAJAN How may I help you, Mrs? She

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WENDY Miss, mister... Wendy leans seductively forward and runs her fingers across the name plate, to help sound out his name. WENDY (cont'd) Mouf...es...top... RAJAN Moustappaeh. Raj is fine. Wendy crosses her arms and leans her elbows on the desk. Raj, Then. WENDY Im Francine Twist.

Wendy leans back and opens her purse. Inside is a P.I. Badge. She rubs it, contemplates taking it out. WENDY (cont'd) (produces the badge) Im looking for a Pratt Grimes. client knows hes applied for a loan from your bank. RAJAN And who is your client? Wendy flashes Rajan a beguiling smile and leans forward in the chair. WENDY My client wishes his identity kept confidential. But you already knew that. (GIGGLES) I take it Pratt Grimes is an applicant of yours? RAJAN This is most irregular. get the bank manager. I should

My

Wendy grabs Rajans hand and caresses it, turns it over and looks at each finger nail. WENDY Before I go, you have to give me the name of your manicurist. You have beautiful nails.

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Rajan is transfixed on Wendy. He slowly sits back in his seat and pulls his hand from her. RAJAN I could get fired for this. WENDY You could be saving your bank a great deal of money. If they dont give you a promotion, well.... RAJAN Those files are bank property and confidential. Im sorry, but you I cant help now. WENDY I new you would be a dedicated employee when I first saw you. (she stands and smooths her outfit) May I take a business card? They are right in front of Wendy, yet Rajan reaches over and hands Wendy a business card. WENDY (cont'd) I want to get your name right, so when he comes down here personally, hell know exactly who to see. Wendy, slowly, starts for the door. front of her. Rajan swiftly steps in

RAJAN (flustered) Maybe we now can look and see what is there for me to help you with. WENDY First, Ill need to see his file. Wendy follows Rajan back to his desk and she hovers close to him, by his chair. Rajan sneaks a look at Wendys legs and she shifts them, knowing hes staring. He nervously shifts in his seat and calls up Pratts electronic file. Wendy leans across Rajan, pretending to take a closer look at the file. She nods and makes monosyllabic comments while pointing at the screen.

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WENDY (cont'd) (looks over her shoulder) Is there another page? Rajan hits the page key. Wendy turns back at the screen.

WENDY (cont'd) (taps screen) Ah. I just knew it. Wendy walks back around the desk and sits in the chair while Rajan stares at the screen. RAJAN What? WENDY I cant tell you how pleased my client is going to be, Raj. This is what I need you to do. Delete Pratt Grimess file. Keep the paper copy... Rajan looks at her curiously. WENDY (cont'd) You handed him a copy when he... RAJAN How would you know that? Wendy looks over Rajans shoulder to collect herself, hoping she just didnt blow it. WENDY Standard bank protocol, right? RAJAN (nods) Sure. You would know that, sorry. WENDY No problem, thats your job. RAJAN What if he gets suspicious? WENDY Its imperative he not know anything more than he wasnt approved for his loan. Stick to you banks procedures and youll be fine.

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Rajan spins the stamper tree and stamps CANCELLED across the pages. Wendy and Rajan shake hands and Wendy walks out. EXT. FIDELITY BANK - DAY A prosaic, modern, glass and steel structure. A large fountain is in front of the building. Pratt approaches the bank. Wendy walks out of the bank and walks around the fountain to the curb and hails a cab. Pratt walks around the opposite side of the fountain and enters the bank. Wendy gets in the cab. They never see each other. END FLASHBACK: INT. HOSPITAL - NIGHT Wendy turns from the window. anger. PRATT Why? WENDY I wa...am in love with you and I was afraid. PRATT What, that I wouldnt believe you? Wendy sits by Pratts side and grabs his hand. WENDY Wendy Mathers is not my given name. Wendy looks deep into Pratts eyes, caressing his fingers. WENDY I was born Francine Twist. Ive had to change names. People started getting suspicious, so Francine died tragically when she fell overboard and Wendy was born. The monitors react to Pratts

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Machines around Pratt BING and BLEEP. tends to Pratt. PRATT Im okay, Nurse. unsettling news. Just some

The Nurse comes in and

NURSE (to Wendy) Have you no compassion? needs calm and rest. The nurse pulls the curtain NURSE (cont'd) Visiting hours are over.

This man

Wendy leaves as the Nurse draws the curtain around the bed. INT. HOSPITAL - LATER The curtain is drawn back. the chair, in the shadows. Pratt is asleep. Calvin sits in

Pratt shutters awake and stares at the rain cascading down the window. He rolls over and pours a cup of water. He sees Calvin and drops the cup on the floor. PRATT Well, if it isnt the devil himself. CALVIN Please, dont insult me. Calvin walks over to Pratts bedside and looks him over. CALVIN (cont'd) You missed the prime of your life. I thank you. Calvin forms two tight fists and releases. Pratts struggles to climb off the bed. The monitors begin to rise and Pratt steadies himself on the edge of the bed. CALVIN (cont'd) I just wanted to say Ive enjoyed our time together, brief though it will be. Calvin walks to the door and is about to step out.

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PRATT Haniticus Frine. In a flash, he is in front of Pratt. bed, awkward. Pratt falls back on the

CALVIN Id be careful messing around with what you know nothing about. PRATT Id say I know enough to make you nervous. Pratt stands up off the bed. He slips on the spilled water and falls to the floor. The machines BEEP and BLEEP. Calvin leans down. CALVIN (cont'd) Game on, Mr. Grimes. Calvin walks out of the room to the right and the Nurse comes in from the left. She picks Pratt up off the floor. PRATT I slipped on the water I spilled. The Nurse helps Pratt onto the bed, then cleans the spill with paper towels. Pratt looks around for Calvin. INT. PRATTS APARTMENT - DAY LIVING ROOM MacArthur Park, by Richard Harris plays on the stereo. Acrid smoke billows out of the kitchen. The television is unplugged, facing the wall, the plug is wrapped around the radio tuner like a noose. The battery is out of the cell phone. Dozens of occult books scattered about his apartment and papers scribbled with notes. Pratt still has the bandage on his head, but is back to his proper age. The song ends. He comes out of the kitchen, ejects the CD and unplugs the stereo. KITCHEN Pratt tosses the CD into the pan and adds oil and it erupts in flame and more acrid smoke billows.

84.

He hears TEENAGERS cavorting outside. He closes the window and locks it. Pratt holds the melted mass of plastic on a long fork. PRATT One Jimmy Webb special. He tosses it into a cold pot of water and it SIZZLES cool. He tosses the mass into the garbage. INT. CAFE - DAY The weather is full of rainy gloom and misery. Pratt stares out the window at Calvins building. He has the caffeine jitters. An ANCIENT WAITRESS, looks 70s, comes over to Pratt. coffee pot tilted precariously. ANCIENT WAITRESS Pie or Danish to soak up the joe? Pratt turns, about to wave off the re-fill and sees her struggling and lets it go. PRATT Sure, sounds fine. She fishes out a menu and Pratt holds up his hand. PRATT (cont'd) Surprise me. Pratt watches her walk back the counter, then trains his eyes back out the window at Calvins entrance. The Ancient Waitress returns with a piece of Pecan pie and a smile. ANCIENT WAITRESS Pecan. Pratt takes a forkful and expresses his delight. ANCIENT WAITRESS (cont'd) (nods toward window) Popular guy. PRATT (wipes mouth) Who? The

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ANCIENT WAITRESS I call him Dracula cause I mostly see him on sunless, gloomy days. (wipes crumbs from table) Eat up. We have plenty of pecan pie. She walks back behind the counter. Pratt devours the pie. He brings the empty plate and unfinished coffee to the waitress. PRATT How many others? ANCIENT WAITRESS At my age you stop counting everything. (she smiles) Calvins car pulls up in front. Calvin exits the building. He stares straight into the cafe, over the top of the car, hesitates and gets in. ANCIENT WAITRESS Good luck and dont dawdle. Pratt turns and watches the car drive off. some cash and taps it on the counter. PRATT Thank you. He leaves the cafe, collar turned to the weather. The Ancient Waitress cleans off the table, watching Pratt dash across the street and into the building. INT. CALVINS APARTMENT - NIGHT The door opens, Pratt cautiously enters and plays a flashlight around the room. The door closes and Pratt jumps and spins around. He backs into the apartment and turning around, bumps into a wax cylinder player and it starts with a ACHING GROAN. Pratt looks all over for an off switch. It hits speed and metal fingers PLINK a tinny version of MacArthur Park. He stops and goes over to the wardrobe and opens it. freezes. He He fishes out

86. Inside, among the containers and potions and tandoori, he sees two pictures of him. One young, when he agreed to the contract, and the other collapsed on the restaurant 411 set. Pratt hears the building entry door open. He freezes. Followed is the JINGLING of the door to the shop below. Pratt closes the doors and frantically rummages through the drawers in the desk. PRATT I couldnt have been the last one. Pratt finds Wendys file, then his, then MARTIN BARNES. He pulls out a camera and takes a picture of the information page. Pratt hears the building entry door open and ignores it. flips through the file. FOOTSTEPS on the stairs. Pratt goes over to the cylinder player and pulls the arm up. MacArthur Park stops and Pratt ages and hunches over. FOOTSTEPS get closer. Pratt returns the file and looks around for a place to hide. Pratt darts behind the drapes behind Calvins desk. The door opens and Calvin comes in, looking directly at the wax cylinder player. BEHIND THE DRAPES Pratt hears the door OPEN, CLOSE and FOOTSTEPS approach him. He wipes at the beads of water on his head and he steps back into the mist. IN THE ROOM Calvin sits behind his desk. He opens the drawer and sees Martins file has been touched. He smirks and closes the drawer. BEHIND THE DRAPES Pratt leans out of the mist. squints to see them better. IN THE ROOM He notices the images and He

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Calvin opens the wardrobe and re-sets the pictures of Pratt. He faces the rippling drapes. BEHIND THE DRAPES The drapes slide open and Pratt shuffles to stay behind them. He sees Wendy and himself on the image cubes and stops. IN THE ROOM Pratt steps backward into the room. He takes a picture of the last four image cubes, and sees Calvin behind him on his image cube. The door opens. CALVIN You may go now, Mr. Pratt. And the next time I see you, it shall be the last. Pratt leaves and the door closes. Calvin opens the drawer and switches Martins file with one right in front of Wendys file. INT. FATE RESTAURANT - NIGHT PRATTS OFFICE A desk lamp is the only light source. In the corner is a full-length mirror, partially covered with a table cloth. A printer is on his desk, printing an enlarged, grainy photo of a face he thinks is Martin Barnes. An open desk drawer with two vials of powder, one of white one of yellow. Pratt hovers over the opened phone book and hangs up the phone. All the Barness are boxed off, some are already crossed out. Pratt, on the phone, holds up the picture of four image cubes -his, Wendys, Martins and unknown man, who will turn out to be Patrick from Okie-Doe. PRATT (into receiver) Hello, my name is Pratt. a Martin Barnes home? (listens) Hello. (MORE) They begin to open.

Is there

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PRATT(cont'd) You dont know me, but a...person named Calvin said I could call you. (listens) I see. Sorry to have bothered you.
Pratt lowers the photo to cross out that Martin Barnes and PATRICK, holding a violin, and PATRICIA, holding a mandolin, both in their 30s and way too chipper in manner and dress, stand by the door. Startled, Pratt drops the picture in the drawer with the vials and quickly shuts it. He doesnt recognize Patrick in the photo. He motions for them to come in and they do as he crosses off the next Barnes in the phone book. Hi, hello. PATRICK Im Patrick.

PATRICIA Im Patricia. PATRICK And were Okie-Doe.

PATRICIA And were Okie-Doe.

Patricia gives an embellished wave and wide grin. PATRICIA Your hostess showed us the way to your door. PRATT Its nice of you to come on such short notice. PATRICK For every door opportunity closes, a bell rings on another. PRATT Okay. So you start at seven oclock and play until roughly midnight. If I want you to stay later, I agree to your extra rate per hour. Patrick and Patricia look at each other and nod approvingly. PRATT (cont'd) I ask only that you do not play any rendition of MacArthur Park.

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PATRICK So long as no one requests it. PATRICIA (leans on desk) See, we just cant turn down a request... PATRICK As long as we know the song, that is... PATRICIA And if we dont we learn it to be prepared for the next time. Patrick notices the grainy photo on the printer and Pratt takes the picture and turns it over in front of him. PRATT Well, I dont want that song played. Are we clear on that? Pratt stands and shakes hands with Patrick and Patricia. PRATT Ill see you tomorrow night. Patricia nudges Patrick. PATRICK Im sorry, but could we have our deposit? Pratt sits and opens the drawer with the other picture and vials. He removes an envelope and hands it to Patrick. Patricia gives a comically wide grin. Thank you. night. PATRICK (cont'd) Well see you tomorrow

Patrick and Patricia leave and Pratt dials the next Barnes. PRATT (cont'd) Hello, my name is Pratt. Am I speaking with Martin Barnes? (listens) Good evening. Do you know a Mr. Calvin of Clotho, Atropus and LaChesis? Pratt draws a big star next to the name.

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PRATT (cont'd) Have you heard of the restaurant Fate? (listens) Yes, excellent. I own Fate and am inviting other clients to help celebrate our first month open. (listens) Just for clients of Calvin, but you come back with your family and dinner is on me. (listens) Great. Come by around eight oclock and ask for me. Pratt hangs up the phone. He sticks the grainy picture in with the other picture and two vials and closes the drawer. INT. PRATTS APARTMENT - DAY Pratt is still not moved in. His contract and the stack of occult books are on the table. Pratt paces the apartment reading off a piece of paper. PRATT Wendy, Im sending this to you because youre the only one who would understand. In the event I am dead, and you are not... (scribbles out line) In the event I am dead, Calvin has won. Keep or sell Fate, I leave that up to you, if you even have a say. Most of all I want you to know Im sorry I let you down. I dont know where Im going, but were probably heading to the same place. Ill be waiting. Love, Pratt. Pratt looks over the letter once more and sits down to rewrite it on a wry greeting card. A QUIET KNOCK on the door. PRATT (cont'd) Who is it? WENDY Pratt, I need to see you.

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Pratt looks for a place to hide the letter and card. He shoves it under the couch cushion and answers the door. Pratt opens the door and they stare silently for a moment. Wendys make-up looks unskilled. PRATT Are you wearing make-up? WENDY Can I come in? Pratt steps back and Wendy enters. Pratt closes the door.

Wendy sits on the couch, amid the apartment clutter. WENDY You moving already? PRATT Never unpacked. Pratt sits on the table across from her. WENDY Dont go through with your plan, please. PRATT I have to do this. Pratt takes her hands in his and they lock eyes. PRATT (cont'd) Its all set for tomorrow night. Calvin will be destroyed, killed...dis-empowered whatever and Ill be free. WENDY What about me? Pratt massages her hands. on a stack of boxes. He stands and walks over and leans

PRATT Youll be released to your natural and proper state of being. Wendy removes a necklace from her neck, Pratts Yang charm dangles, and places it in his hand.

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WENDY If you do this, youll be sentencing me to death also. PRATT Look at you theres... WENDY How old do you think I am? PRATT (surveys her) Twenty-threeish? WENDY Im sixty-nine years old. All totaled, Im over one hundred. The necklace slides from Pratts hand onto the box, then onto the floor. WENDY (cont'd) If you go through with this, my career in this life will be over before it ever started. Pratt bends down to pick up the necklace and sits on the floor, leaning on the box. PRATT But well be together, no matter who or how old you are. WENDY Now whos to worry about being dropped like a worn pair of pants? Wendy leans down and gives him a kiss on his forehead. walks to the door and turns around in the hallway. WENDY (cont'd) Good night and see you tomorrow. She closes the door without waiting for a reply. realizes what she said and flings open the door. PRATT (loudly) Wendy, dont come... He looks left and right, but shes gone. inside and writes out the card. He comes back Pratt She

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EXT. FATE RESTAURANT - NIGHT Underneath the Grand Opening banner hangs another banner THANK YOU NY, 1 MONTH SERVING YOU. An aged van, OKIE-DOE on the side, pulls up in front of Fate. Patrick and Patricia climb out. INT. FATE RESTAURANT - NIGHT KITCHEN Orderly chaos. go. Waiters and waitresses and BUSBOYs come and

The Hostess enters and walks over to Pratt, busy at a stove. HOSTESS That guy, Martin is here and two flaky characters calling themselves okay-dokie are looking for you. PRATT Its Okie-Doe and thanks. them Ill be right there. Tell

HOSTESS If you dont mind my asking, why take a booth for that one guy? PRATT Im expecting another person. Pratt dishes the meal onto a plate and hands it to the Hostess. PRATT Bring this to table six on your way out? HOSTESS Im a hostess, not a waitress. Waiter Gamma enters and walks over to Pratt and takes the meal from him. WAITER GAMMA About time, he was getting antsy. Waiter Gamma exits the kitchen, followed by the Hostess. Pratt takes off his apron and exits the kitchen.

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DINING AREA Waiters and waitresses mill about. Pratt walks up to the corner booth where MARTIN BARNES, 30s, sits. Pratt removes the reserved sign. PRATT Martin Barnes? They shake hands. Yes. Pratt. MARTIN You must be Brad? PRATT Excuse me one minute.

Pratt walks over and greets Patrick and Patricia. PRATT Right on time. PATRICK Be punctual or dont be, is our motto. PRATT Very good. Well, the floor is yours. Have a good show. Pratt walks back over to Martin. He passes Waitress Delta bringing Rajan Moufstappeah and Kingsley Benson their meals. MARTIN Sorry, Im horrible with names. this a practical joke? One of those reality shows? Is

PRATT I assure you it isnt. Im expecting Calvin tonight, after all, hes the reason were here in the first place. Please enjoy yourself, tonight is my treat. Okie-Doe start at Rajans table. the kitchen, Calvin enters. HOSTESS Good evening, sir. As Pratt walks back toward

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CALVIN (spots Martin) Pratts expecting me. party now.

Ah, I see my

Calvin walks over to the reserved table and sits across from Martin. The hostess follows close behind. HOSTESS MARTIN Excuse me, but this table is Calvin? reserved. CALVIN (to the Hostess) Id be grateful if you inform Pratt that Calvin is here. The Hostess walks into the kitchen. Before the doors can swing back, Pratt walks out, followed by the Hostess. The Hostess continues to walk back to the podium. Patricia catches sight of Calvin. She nudges Patrick and motions in Calvins direction. PRATT Glad you could find the time, Calvin. Okie-Doe stroll around and start playing MacArthur Park. Pratt turns and slips off the riser to the booth. Waiter Beta walks toward the kitchen, sees Pratt slip, drops his dishes and catches him. Dishes fall to the floor with CRASH. Okie-Doe stop playing and Pratt ages. WAITER BETA Are you alright, sir? PRATT Fine, just a little clumsy I suppose. A Busboy cleans up the mess. WAITER BETA Scared a couple of years out of you, though. PRATT Pretty close to it. Ill be in my office for a minute.

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Pratt walks out of the dining area as Wendy enters Fate. Hostess looks up and recognizes her. HOSTESS Wendy Mathers, right? Yes. PRATTS OFFICE Pratt pockets the vials of powder. walk in. WENDY I need to speak to Pratt.

The

He doesnt notice Wendy

WENDY I cant let you go through with this. Pratt THWUMPS his knee on the desk as he spins around. PRATT Whose side are you on? WENDY Its about my survival. Ive sacrificed too much to get here. Waitress Alpha comes in frantic. WAITRESS ALPHA (to Pratt, excited) Theres a situation up front. Pratt walks around, massaging his knee. PRATT Whats the problem? WAITRESS ALPHA All I heard was four one one. some guys with cameras. PRATT (to himself) Julie. Why tonight? (to Waitress Alpha) Im coming. Waitress Alpha leaves. Pratt turns to Wendy. And

PRATT (cont'd) I dont want you to get caught in it if it goes bad.

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Pratt pulls Wendy close to him and gives her a kiss on the neck. PRATT (cont'd) Please just leave and Ill talk to you tomorrow. Pratt leaves the office. Wendy spots the full length mirror, partially covered by a table cloth, behind the door. She pulls the table cloth off the mirror and stares at her reflection. DINING AREA Julie and a small film crew, some already sizing up the restaurant, clutter the entrance. The Hostess frantically deals with the rambunctious crowd. Pratt hurries through the dining area and over to the Hostess podium. PRATT Julie. (they shake hands) I really dont think tonight is a good night. Julies cell phone goes off. Her ring tone is a clip of MacArthur Park. She answers it and Pratt ages. He looks over at the booth and sees Wendy sliding in next to Martin, shaking hands. Julie ends the call and turns back to Pratt. JULIE Sorry, baby-sitter. PRATT How long are you going to be here? JULIE Until we get what we need. a couple of hours. Usually

PRATT Fine. Do what you have to, but try to be out by eleven and be mindful of my customers.

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JULIE Were not novices, weve done this before. And well leave when were done. Pratt walks up to the reserved table. PRATT Calvin, Martin...Wendy, I trust you three have introduced yourselves to each other. CALVIN You dont look so good, the pressure getting to you? PRATT Ill be asking you the questions tonight. (pulls out a pad and pen) INT. FATE RESTAURANT - NIGHT Pratt enters the kitchen and over to his stove. He clips their answers above the grill and behind others. He looks at the clock -its 9:37- and grabs a questionnaire from the line and begins that order. The Restaurant 411 crew comes into the kitchen. CAMERAMAN 1 pans the room. They walk over to Pratt cooking. CAMERAMAN 1 Dont mind us, just continue cooking. Pratt flips the sizzling contents of the pan for the camera. INT. FATE RESTAURANT - NIGHT DINING AREA Julie takes release forms from the diners. walk over to Calvin, Martin and Wendy. She and the crew

JULIE Were from restaurant four... (recognizes Wendy) Wow, this is even better than I could have hoped. Having you here is too perfect. May we ask you three some questions?

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CALVIN Please take your camera away. WENDY MARTIN Im okay with that. Itll be proof I was where I said I was going to be. Julie pulls out three release forms and slides in next to Calvin. Cameraman 2 adjusts his camera, confused at... The image of Calvin in the viewfinder is distorted and not clear, while the rest of the image is fine. CAMERAMAN 2 Give me a minute, theres something wrong with the camera. Cameraman 2 walks out of Fate while, Cameraman 1 and crew back out of the kitchen, followed by Pratt. Pratt stares at Julie at the reserved table. He looks back and serves the meal to EUGENE, mid-30s, wearing his bellhop uniform, complete with name tag for Hotel Paramore. PRATT Bon Appetite. Eugene takes a forkful and spits it out almost immediately. Pratt watches stunned as the Cameraman continues filming. EUGENE Could no nuts be any clearer? At a remote table, a DINER pours wine into glasses at different levels and the others caterwaul joyously. Pratt looks off them and grabs the dish. PRATT I cannot apologize enough. have another meal prepared immediately. Ill

Eugene stands and tosses his napkin on the plate. EUGENE Ive lost my appetite. And that doesnt happen often. Good night. Eugene leaves Fate. The diner starts rubbing the wine glasses, playing MacArthur Park. They all sing until one of the ringing glasses shatters.

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Wendy and Calvin notice Pratt age and catch himself on the table. Cameraman 1 lowers his camera. CAMERAMAN 1 Dont worry, that wont make it to air. Pratt feigns a smile and looks over at the reserved table and feels his pocket. Waiter Gamma walks by and Pratt gives him the dish to return to the kitchen. PRATT Come. He taps Cameraman 1 on the shoulder. He and his crew follow Pratt over to the bar. Pratt points out the bartender and the film crew starts filming. Pratt goes behind the bar and start making drinks, the Camera crew obscures the reserve table view. He mixes all the yellow powder into one drink and divides the white powder into two others. He mixes a strong drink, then a nonalcoholic one. Cameraman 1 turns to Pratt and follows him over to the reserve table with the tray of drinks. Pratt gives Calvin the one with the yellow powder; Martin and Wendy get the ones with white powder; Julie gets the strong one and he keeps the nonalcoholic one for himself. PRATT To one month and counting. May tonight be the start of better times. They CLANG glasses and just before drink... JULIE Pratt, shall we switch, drinks? tradition of friendship. Pratt looks at his drink. PRATT Each were mixed with the drinker in mind. MARTIN Ill take you up on that custom. Martin extends his drink out to Calvin. A

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CALVIN Id prefer to exchange with Pratt. JULIE Ill exchange with you. Martin and Julie exchange glasses. drink exchanges. Cameraman 1 follows the

Calvin holds his out to Pratt and they exchange drinks. Cameraman 1 takes his eye off the eyepiece and looks curiously at Calvin and back again, catching up with the action. WENDY What about me? Pratt and Wendy exchange glasses. CLANG glasses again. All but Pratt reach to

PRATT Martin, as my special guest, shall we? Pratt and Martin exchange glasses. PRATT (cont'd) To old friends? Pratt offers Julie his glass and they exchange glasses. WENDY Calvin, as a client of yours... Wendy holds out her glass and Calvin doesnt move. Cameraman 1 gently taps the camera with his knuckle, shaking his head. WENDY (cont'd) Lets switch. For luck. CALVIN Theres no such thing as luck. Wendy extends her glass. Calvin thrusts out his glass and some sloshes over the rim. They exchange glasses. Calvin licks his wrist and sniffs his drink. He looks at Pratt, who thinks he is caught... WENDY (to Pratt) A peace offering. Pratt turns to Julie.

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Pratt exhales quietly and realizes Wendy is holding her glass out to Pratt and they exchange glasses. Pratt gives her a smile, which she doesnt return. MARTIN (to Wendy) One more time with me? Martin holds his glass out to Wendy and they exchange glasses. PRATT To success and longevity. He quick downs his drink and the others follow, with Calvin being the last to drink. Wendy chokes on her drink. Martin pats her back. Slow down. MARTIN You okay?

Wendy nods her head, wiping her mouth with a napkin. MARTIN (cont'd) (shakes glass) What was that? Pratt collects the empty glasses. PRATT Without further interruption, I shall personally prepare your meals. Pratt drops the tray off at the bar and enters the kitchen CAMERAMAN 1 (to Julie) The camera is acting flaky, well be right back. Cameraman 1 leaves Fate. INT. FATE RESTAURANT - LATER Julie is over at another table interviewing, fighting her alcohol buzz. Pratt walks from the kitchen to the reserve table with an appetizer. Martin and Wendy, each have half finished drinks, dont look well and Calvin sits like a statue, his drink untouched.

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PRATT (cont'd) Are you guys all right? Martin stands and sways. Wendy looks from Martin to Pratt with intoxicated seduction. MARTIN (slurred) Innot feel so good. Wendy tries to slide out, but manages to slide under the table and passes out. Pratt checks Wendys pulse. Martin falls flat across the bench seat. Pratt checks Martins pulse. Calvin snatches Pratt by the neck and pulls him to his face. PRATT You sure you want to do this in front of all these witnesses? Calvin looks around the restaurant. Snatches of diners look in their direction. Cameraman 1 has his camera pointed in their direction. Calvins grip weakens and he blinks faster and faster, fighting, to retain consciousness. Calvin collapses on the table, his eyes yellow and his finger nails turn pure white. Pratt pries himself free from Calvins grasp. Diners react to the commotion and the Hostess and Waitress Delta come over to the table. PRATT (deep breaths) Were closing early. HOSTESS Should I call nine one one? Pratt shakes his head and checks his watch. PRATT Hand every one a red card as they leave. The Waiters and Waitresses apologize to the diners as they escort them to the front door. Some still grouse and complain as they leave. Julie, staggering, and the camera crews come over to Pratt.

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JULIE Well come back another time and try again. Julie,staggers, out of Fate. The camera crews follow.

The Hostess hands a red card to all those waiting to be seated. PRATT Im sorry folks, but we have to close early. Pratt sits on the riser, cradling Wendys head on his lap. HOSTESS Ill call the paramedics, now? PRATT (shakes head) Have the staff take the rest of the night off. Ill handle this. HOSTESS You dont have to be a hero. stay and help. Well

The Hostess kneels down beside Pratt and he gently grabs her wrist. Please. PRATT I know what Im doing.

The Hostess stands and walks out. Pratt lays Wendys head on the floor and addresses his staff. PRATT (cont'd) You have been the best staff I could have hoped for. Ill take care of this and Ill see you all tomorrow. The staff glance back and murmur to each other as they leave. Pratt locks the door, draws the blinds and walks out of the dining area, toward his office. INT. FATE RESTAURANT - LATER The restaurant is deserted. Wendy, Calvin and Martin are still in the same positions by the table. MacArthur Park echoes through the restaurant.

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Pratt, winded, drops a length of heavy chain by the table. MacArthur Park ends, then starts again. As Pratt walks into the kitchen, he grows younger and more rejuvenated. Pratt drags another length of chain and three pairs of hand cuffs from the kitchen, over to the table. He drags Wendy over to the bar and hand cuffs one foot and hand to the long brass foot rest. Pratt struggles both lengths of chain onto the table. He strips Calvin and positions him in a lotus position on the table top. Pratt As he Pratt heavy hand cuffs Calvins wrists and ankles behind his back. wraps the chain around him, one of Calvins eyes moves. doesnt notice as he continues to wrap Calvin in the chain.

Pratt drags Martin from the booth and sits him in a chair. MacArthur Park concludes and Pratt, now back to his correct age, stops the CD. He takes a length of rope from behind the bar and ties Martin to the chair. Pratt walks out of the dining area. He returns with the covered full length mirror and pushes it over by the windows. INT. FATE RESTAURANT - LATER Pratt sits at the bar, his hand quivers as he brings the coffee cup to his lips. The clock reads 4:57. Martins cell phone vibrates and plays a verse from MacArthur Park. It stops and Pratt ages. He grabs the phone and shuts it off. Pratt drops the cell phone on a table. Calvin snaps his head straight up. Pratt backs into Martin and they both fall to the floor. Calvin lets out a SUPERNATURAL GROWL. He inspects Pratts work and RATTLES the chains. He stretches out his arms and legs, in an effort to break free. The bindings hold. Calvin twists his head around with GUT CHILLING SNAPS and CRACKS. Calvin turns his head back around. CALVIN I under estimated you, Mr. Pratt. Martin comes to with a SCREETCH and wrestles against his bindings.

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MARTIN What the hell is going on here? (to Pratt) Let me go! What kind of a sick man are you? Pratt rights Martin and pulls up a chair next to him. PRATT (to Martin) Believe me or dont, but Calvin is not human. Hes something evil, some being in human form and I need you to help me kill him. CALVIN You cant kill me if Im not human. PRATT (to Calvin) Then send you back to wherever it is you come from. (to Martin) The point is, Martin, that he is in control of our lives and I need you to help free us. Wendy rouses and wrestles against the hand cuffs. in an awkward and uncomfortable position. WENDY Pratt, for Gods sake, stop this and let us go. MARTIN How does she fit in? PRATT She wasnt supposed to be here. WENDY Well I am and you made me part of it. Wendy slides down the brass foot rest until she hits a floor anchor. Dawn haloes around the drapes. PRATT Im going to release you. need you to do is move (MORE) All I She lays

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PRATT(cont'd) (walks over to mirror) This mirror to the X on the floor.

Pratt points at the spot and all eyes locate it. PRATT (cont'd) And thats it, then you are free. Martin looks at Pratt. MARTIN Why me? Why not just do it yourself? Pratt freezes, his face turns pale. CALVIN Allow me. According to a Haniticus Frine -Ive also read his book, Mr. Pratt- you cannot free yourself from the Fates, only the people who came before you. The person who commits the deed is forever locked with the fate he has chosen. MARTIN What are you talking about? PRATT Sunlight. (looks at Calvin) If sunlight hits him, he turns to stone and -dies, for lack of a better term. If we work together, we can still do this. MARTIN You tricked me to come here and do this so you could be free. CALVIN Ah, but his plan failed when OkieDoe left. PRATT They were just hired musicians. CALVIN And they just happened to be available? Look closely at that picture you took of my wall, Mr. Pratt.

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Pratt unfolds the picture from his pocket and looks at it. He realizes that Martin is the face before Wendys and that Patricks face is after his. CALVIN (cont'd) Seems you have grossly miscalculated. Pratt paces the restaurant and slumps in a chair. PRATT Youre the wrong guy. CALVIN Decisions, decisions. Youre running short on time either way. The dawn sun brightens around the drapes. Pratt looks from the mirror, to Martin, to Wendy, to Calvin. CALVIN (cont'd) Id applaud, Mr. Pratt, (RATTLES the chains) for a valiant effort. Only one other has gotten this far. Pratt leans on the bar, staring at his wrinkled hands. He slumps down the side of the bar to the floor next to Wendy. PRATT (to Wendy) All I wanted was to do what I do best and spend my time with you. WENDY (compassionately) Take the cuffs off me and well figure something out. PRATT My life, love and dreams... Theres nothing left for me. MARTIN What about me? You cant leave me like this, I have rights. Strips of sunlight pierce around the drapes, closer to the table Calvin sits atop. He tries to shimmy farther back, but doesnt get but three inches.

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PRATT Youre right. You two shouldnt witness this. Pratt labors to his feet. He stands in front of Martin and unties one hand. Pratt reaches across to untie the other one while... Martin grabs a bud vase from a table. WENDY Pratt! Pratt looks over at Calvin and Martin clubs Pratt across the back of his neck with the vase. Pratt collapses to the floor. Martin unties himself and rummages through Pratts pockets. MARTIN Its got to be here. It always...

Martin holds up the padlock key and walks over to Wendy. MARTIN (cont'd) Its go time for Martin. Martin crouches down to her level and is close to her face. MARTIN (cont'd) This is how its going to play out. Youre going do that thing he was going to have me do and Ill be the one singing sweet freedom. WENDY Except I dont know what he was going to do. MARTIN It involves sunlight and the fact he, it (nods in Calvins direction) Is trying to keep his distance from the encroaching sunlight, your as smart as you are pretty. Pratt rolls over and pushes himself to his knees. PRATT (cont'd) (groggy) Martin! What are you doing?

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The dawn sunlight slowly creeps inward, toward Calvin. CALVIN Ill make you a deal, Mr. Pratt. You leave me Martin and you and Wendy go. PRATT No deal. Id rather be dead than still be your puppet. Pratt stumbles over to the windows and yanks down a drape. Dawn sunlight, barely, spills into Fate. CALVIN Seems youve seriously miscalculated, yet again. Pratt yanks down another drape letting in more sunlight, but still not touching Calvin. Martin walks over to Calvin, tossing the padlock key in the air and catching it. MARTIN If I let you go, will you let me go? Calvin makes like hes considering it, but carefully watching the key rise and fall. PRATT What are you doing, get away from him. Pratt runs over and tackles Martin. Just as he hits, Martin tosses the key in the air and Calvin snatches it out of the air with his tongue. CALVIN (key in mouth) Thank you. Pratt watches Calvin carefully drop the key to the table and start rotating his body around, feeling for the key with his fingers. PRATT Such a fool. Now help me destroy him before he destroys us. Martin grabs Pratt and wrestles him back to the bar. hit and the CD starts playing MacArthur Park. They

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MARTIN I helped him. Hell spare me. PRATT Youre delusional. Pratt twists and throws Martin off him. Martin knocks the CD player from the bar. Martin hits the floor and the CD player hits him in the head. MacArthur Park stops. Pratt ages, stumbles and catches himself on a table. WENDY (rattles her cuffed wrists) Pratt let me help you. Pratt stumbles over and rips down the remaining drapes and the dawn sunlight floods the interior of Fate, but falls short of reaching Calvin. CALVIN I must say, Mr. Pratt, I have enjoyed this game. But pay up time is here. One of the padlocks falls to the table. to his other hand. Calvin works the key

Pratt grabs the mirror and yanks the tablecloth off. PRATT Not quite so fast. Pratt pushes the mirror forward. He flips the mirror, reflecting the sunlight toward Calvin. It just misses him. Calvin more quickly tries to fit the key into the padlock. Pratt relocates the mirror to redirect the sunlight. A corner of a tablecloth catches one of the wheels and... The mirror topples over, smashing on the floor! PRATT (cont'd) No! Pieces scatter across the floor. As they slide, they reflect the sunlight like twinkling stars. Some catch Calvin for a brief moment and his skin reacts, but stops when the sunlight passes off him. Calvin becomes more frantic in his attempt to unlock the pad lock.

112. A piece of mirror slides to a stop, reflecting the sunlight onto his arm. His skin reacts and Calvin BAYS in pain. Pratt tosses tables out of the way. He places pieces of the mirror in the sunlight, reflecting onto Calvin. Pratt props a big piece of mirror aimed at Calvin, hitting him in the chest. The key slips from his hardening hand and falls to the floor. Wendy kicks a mirror piece into the sunlight. Martin grabs a table cloth and tosses it over the pieces of mirror. Calvins skin stops reacting. PRATT (to Martin) What are you doing? Martin stands in front of Calvin with the keys. MARTIN I dont know how this will end, but I like to look after myself. Martin undoes the pad lock. It falls to the table and the chains fall from Calvin and pool around him. Calvins body is mostly stone and he cannot move from the spot. CALVIN I always repay loyalty. be rewarded. You shall

Pratt tackles Martin, again, and they land on the table, the key falls on the floor. Calvin slides when the table rocks. Pratt grabs the pair of hand cuffs off the table. They scuffle and roll off the table and land underneath. Calvin slides close to the edge and stops. The key is kicked over to Wendy and she releases herself. Pratt cuffs Martins wrists around the table leg. Pratt removes the table cloth. mirror pieces, hitting Calvin. The sunlight reflects off the

Wendy and Pratt move the mirror pieces, their hands filled with cuts, following the sunlight. Calvin solidifies into a smouldering, stone statue. WENDY Whyd you do it?

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Pratt just smiles and holds up a sliver of mirror for Wendy to see her beauty has returned. The dawn sunlight recedes from Fate. Wendy and Pratt embrace. Martin struggles under the table. WENDY (cont'd) What about you? INT. FATE RESTAURANT - DAY The place is all cleaned up. Pratt, ear plugs in his ears, is polishing the stone statue of Calvin now above the bar and doesnt hear Wendy walk in. She has a copy of Elle magazine with her on the cover. WENDY Pratt, advanced copy. Pratt!

She turns the magazine around, but he doesnt turn around. She hits him on the tush with the magazine and, startled, turns around. He looks at the cover and jumps down off the bar. PRATT (loudly) You did it. (removes ear plugs) I always new you would. The Bartender walks in. You can hear MacArthur Park through the headphones. He stops the music. Pratt ages and swoons, but Wendy catches him and leans him on a stool. The Bartender realizes what he did and comes over to Pratt. BARTENDER Im so sorry. I forgot. PRATT Youre fired. The Bartender and Wendy stare at Pratt, his face serious. Pratt grins slowly and grabs the MP3 player from him. PRATT (cont'd) This is my life, now. BARTENDER Whatever turns you on. They all laugh.

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BARTENDER (cont'd) Give it back when youre done. The Bartender goes behind the bar and preps for the evening. Pratt turns to Wendy. PRATT You know, you dont have to do that anymore. WENDY I know, you know I dont have to. Wendy and Pratt embrace. Pratt dons the headphones and starts MacArthur Park from the beginning. Pratt and Wendy slow dance. THE END