Under Your Spell, chapter 3: “Deja View”

               	COLD OPENING

               	SCENE 1

INT. SANDRA'S APARTMENT - MORNING 

(SANDRA SEAWRIGHT COMES OUT OF HER BEDROOM IN A NIGHTGOWN, PREPARING TO MAKE BREAKFAST, WHEN SHE FINDS HER LIVING ROOM IS FULL OF BOXES.)

			SANDRA 

	Philip Winthrop Seawright!

			PHIL 

		(HIDDEN BEHIND A PILE OF BOXES.)

	Oh, hi there, sis. 

(HE SNAPS HIS FINGERS AND ANOTHER BOX MATERIALIZES.)

			PHIL 

	Getting ready to move to my place. A van will be here about two or so to carry this stuff over.

			SANDRA 

	And I see you popped these straight from Philly.

(HOLDS UP A COPY OF THE PHILADELPHIA DAILY NEWS THAT HAD BEEN ATOP ONE OF THE BOXES.)

			PHIL 

	Mom must have left it there while doing laundry the other day. All this was in the basement.

			SANDRA 

	That explains the smell. Why didn't you just pop the boxes to the new apartment?

			PHIL 
	How would I explain moving stuff 3,000 miles the day after signing a rental agreement?

			SANDRA 

	I dunno.

			PHIL 

	This way, we can pretend they were with you.

			SANDRA 

		(STILL UPSET)

	Okay, I see your reasoning, but this is still going to cost you.

(SHE SNAPS HER FINGERS, AND PHIL'S WALLET INSTANTLY APPEARS IN HER HAND. SHE PULLS OUT A FIFTY-DOLLAR BILL. SHE SNAPS AGAIN, AND THE WALLET DISAPPEARS; WE SEE A WALLET BULGE IN PHIL'S PANTS POCKET.)

			PHIL, SANDRA 

		(SIMULTANEOUSLY)

	Next time, ask!

               	CUT TO:

               	MAIN TITLES

               	ACT ONE

               	SCENE 2

EXT. GALLAGHER'S OFFICE - NOON 

(PHIL SEAWRIGHT, SCOTT GALLAGHER, VALERIE POST AND ANITA DeVESTY HEAD TO SCOTT'S LARGE SEDAN.)

			ANITA 

	It's too bad Randolph couldn't join us for lunch today.

			VALERIE 

	We'll survive.
			SCOTT 

	He's trying to come up with a magic gesture for Josie's character.

			PHIL 

	Like Samantha wiggled her nose, or Sabrina pointed.

			ANITA 

	I can think of one gesture she won't use.

(GIGGLES)
			VALERIE 

	Well, don't have her snap her fingers, unless she's trying to be a hipster witch.

(SHE GLANCES AT PHIL.)

			ANITA 

	Or a hipster doofus witch -- imagine Kramer with powers!

(LAUGHS, AND THE OTHERS JOIN IN.)

			PHIL 

	And his figurative grandfather, a magical Maynard G. Krebs. Anyway, Scott, thanks for inviting us.

			SCOTT 

	You're now part of the Gallagher family, just as Val here has been for 15 years.

			VALERIE 

	Aww...

(THEY REACH PHIL'S CAR AND STAND OUTSIDE IT.)

			PHIL 

	I'll be leaving work a bit early today to help the movers when they arrive at my new apartment.

			SCOTT 
		(UNLOCKING THE CAR)

	Yes, Val told me. Congratulations on the move. Glad to have you close by, too.

			PHIL 

	Thanks for the job.

			SCOTT 

	Oh, on the way I have to stop at Pharmaplex for a few minutes for a prescription.

(THE FOUR ENTER HIS CAR.)

               	SCENE 3

INT. PHARMAPLEX - NOON 

(PHIL, VALERIE AND ANITA SEAT THEMSELVES IN CHAIRS NEAR THE PHARMACY COUNTER, WHILE SCOTT WALKS UP TO GET HIS PRESCRIPTION FILLED.)

			PHIL 

		(TO VALERIE)

	Big store, though at times it appears as if they sell everything but prescriptions.

			VALERIE 

	They're all over the Southland.

			ANITA 

	Pharmaplex -- as inevitable as death and taxes. Not their slogan, but it should be.

(THE PHARMACIST -- A BALDING MAN IN HIS EARLY FIFTIES -- COMES OUT AND EXAMINES SCOTT'S PRESCRIPTION. PHIL NOTES THE PHARMACIST'S APPEARANCE, THEN LOOKS ABOVE SCOTT TO THE SIGN, 'PHARMACIST ON DUTY.' THE NAME ON THE BOARD IS 'PETER DAVIS.' PHIL IS STUNNED.)

			VALERIE 
		(NOTING THE LOOK ON PHIL'S FACE.)

	Are you all right?

(PHIL HOLDS A FINGER IN FRONT OF HIS LIPS, A GESTURE ANITA DOESN'T NOTICE. VALERIE NODS, AND SCOTT LEAVES THE COUNTER WITH HIS PRESCRIPTION.)

			SCOTT 

	Got what I needed. Let's eat.

               	SCENE 4

INT. RESTAURANT - EARLY AFTERNOON 

(THE FOUR ARE AT A BOOTH IN AN UPSCALE CHINESE RESTAURANT, PHIL AND SCOTT ON ONE SIDE, VALERIE AND ANITA ON THE OTHER.)

			PHIL 

		(AFTER WIPING FACE ON NAPKIN)

	Scott, that indeed was great lobster lo mein!

			SCOTT 

	Best-kept Chinese restaurant secret in L.A.

			PHIL 

	Now excuse me for a minute while I use the facilities.

			VALERIE 

		(STANDS UP)

	Me too.

               	SCENE 5

INT. MEN'S ROOM - EARLY AFTERNOON 

(WE SEE PHIL'S FACE AND SHOULDERS AS HE PREPARES TO USE A URINAL, WHEN A MINIATURE VALERIE INSTANTLY POPS IN, STANDING ATOP THE PIPES AT HIS FACE LEVEL.)

			PHIL 

		(FURIOUS)

	What the hell--
			VALERIE 

		(GRINS)

	Don't worry, I won't look down. And I know you locked the door, so no one will see us.

			PHIL 

		(CONFUSED)

	I oughta--

			VALERIE 

	Your hands are otherwise occupied.

			PHIL 

	What are you here for?

			VALERIE 

	The incident at the pharmacist -- what was that all about?

			PHIL 

		(SIGHS)

	I guess I can tell you. That pharmacist was...my son from my previous lifetime.

			VALERIE 

	I did note his name was Peter Davis, so I should've guessed.

			PHIL 

		(RUEFULLY)

	He had just turned 26 at the time I died in 1980.

			VALERIE 

	It's tough to lose a parent, or child as the case may be.

			PHIL 
	A drunk driver rear-ended me on the Harbor Freeway. Never had a chance.

(PAUSES)

			PHIL 

	Can we talk this over sometime later?

(VALERIE NODS.)

			VALERIE 

	I realize this is hard for you.

			PHIL 

	Yes, plus I need to flush.

(ZIPPING SOUND IS HEARD, THEN VALERIE POPS OUT AS PHIL DEPRESSES THE URINAL HANDLE.)

			PHIL 

	Gee, I hope she didn't look.

               	SCENE 6

INT. RANDOLPH'S OFFICE - AFTERNOON 

(SCOTT, PHIL AND ANITA ENTER RANDOLPH'S LARGE, PANELED OFFICE. RANDOLPH IS AT A COMPUTER, TYPING SOME THINGS IN. REMNANTS OF A SANDWICH ARE ON HIS DESK.)

			SCOTT 

	Randolph, any luck with finding a signature gesture for our Josie Van Duyn?

			RANDOLPH 

		(SMILES)

	Think I've come up with a few. Let me run them by you.

			PHIL 

	We're all ears.
			RANDOLPH 

	Funny you mention that, 'cause right off the bat I came up with Josie lightly tugging her ear lobe.

(ANITA IS BEMUSED.)

			ANITA 

	Then are we to assume that Carol Burnett is a witch?

			SCOTT 

	She's been called worse.

			RANDOLPH 

	I sense you don't like that idea. How about Josie tapping her foot three times?

(PHIL IS SKEPTICAL.)

			PHIL 

	But you'd have to cut away to foot closeups. Might get the fetish crowd, though.

			RANDOLPH 

	A wink?

			SCOTT 

	Gee, if she got something in her eye we could inadvertently face Armageddon.

(RANDOLPH GRINS.)

			RANDOLPH 

	Then how about two winks, quickly in succession?

			ANITA 

	Either eye?

			RANDOLPH 

	Whichever one Marjorie is comfortable winking with.
			
			SCOTT 

		(SMILES)

	It's settled, then. We're winking our way to magic! We'll tell Marjorie when she sees us today.

			PHIL 

	Good luck with that. I'll be supervising my move, so I'll see you folks tomorrow.

(HE STANDS UP, THEN PAUSES WHEN VALERIE ENTERS THE ROOM TO LEAVE SCOTT SOME PAPERS.)

			SCOTT 

	Val, agents representing candidates for the role of Bill Loomis, Josie's mortal boyfriend, will be by.

			VALERIE 

	Okay.

			SCOTT 

	I'll be busy, so can you discuss the series with them for me?

			VALERIE 

	Yes, sir.

(SHE LEAVES, AND PHIL JOINS HER.)

               	SCENE 7

INT. HALLWAY - AFTERNOON 

(PHIL AND VALERIE CHAT SOFTLY ALONG THE CORRIDOR.)

			VALERIE 

	Ah, the "M" word -- mortal. Never liked that term. I mean, we're mortal too.

			PHIL 

	Yes, but as witches we're mortal 25 times before it all ends.

			VALERIE 

	My 19th, your seventh.

			PHIL 

	I'm sure that somewhere along the way, you ran into an older person you'd previously mothered.

(VALERIE NODS.)

			VALERIE 

	Like you now, except you didn't have to deliver. Still debating whether you want to see Peter?

			PHIL 

	It could be so...awkward.

			VALERIE 

	Maybe, but don't you want to fill in the blanks on what happened to your son?

			PHIL 

	Well...

			VALERIE 

	It fills in the blanks on you, too. It's a great opportunity, unique to witches. Don't let it slip by.

(THEY REACH THE END OF THE HALLWAY, AND PHIL REFLECTS FOR A SECOND.)

			PHIL 

	You're right. I'll do it.

               	ACT TWO

               	SCENE 8

INT. PHIL'S APARTMENT - AFTERNOON 
(PHIL STANDS IN THE MIDDLE OF THE LIVING ROOM, TALKING WITH JOCELYN, AS TWO MEN IN WORK UNIFORMS MOVE BOXES IN.)

			PHIL 

	I'm beginning to envision where I'll put everything. Will need to buy furniture, though.

			JOCELYN 

	If you go east on Sunset near downtown, there are a few places that sell good furniture cheap.

(PHIL NODS.)

			PHIL 

	Thanks for the tip.

(A MOVING MAN LOWERS A BOX TO THE FLOOR, THEN HOLDS UP THE COPY OF THE PHILADELPHIA DAILY NEWS.)

			MOVING MAN #1 

	How'd yesterday's Philadelphia newspaper wind up here?

			PHIL 

		(HURRIEDLY.)

	Oh, my sister and I have it sent by express mail. Gotta keep up with those Phillies, you know.
			JOCELYN 

	Well, I must be going back to the office. Have a great stay; I think you'll like it here.

			PHIL 

	Thank you.

(JOCELYN LEAVES AS THE SECOND MOVING MAN WALKS PAST HER AND LOWERS A BOX.)

			MOVING MAN #2 

	That's the last one, sir.

(PHIL OPENS HIS WALLET AND GIVES HIM A TWENTY-DOLLAR BILL, THEN DOES LIKEWISE WITH THE OTHER MOVING MAN WHEN HE ENTERS.)

			PHIL 

	Your tips. I paid for this with my credit card. Again, thanks.

(THEY LEAVE AND SHUT THE DOOR BEHIND THEM, LEAVING PHIL ALONE WITH HIS BOXES.)

			PHIL 

	What next?

               	SCENE 9

INT. OFFICE LOBBY - MID-AFTERNOON 

(VALERIE IS AT HER RECEPTION DESK, TALKING WITH A MAN IN A THREE-PIECE SUIT WHO HAS JUST COME IN.)

			VALERIE 

	And you are...

			GEORGE 

	George O'Day, agent for Blair Richards, who's interested in playing Bill.

(PULLS A BINDER FROM A BRIEFCASE.)
			GEORGE 

	His portfolio and resume.

(VALERIE LOOKS IT OVER.)

			VALERIE 

	He's got some things going for him -- a few sitcom guest appearances, some TV movies, cable work.

			GEORGE 

	Like his looks?

			VALERIE 
		(HEMS AND HAWS.)

	Yeah, but that doesn't mean I could see him in the part.

			GEORGE 

	Really?

			VALERIE 

	Though he looks better than the two other actors’ agents hyped here earlier today.

			GEORGE 

		(SMILES)

	You'd have to meet him, I guess -- and it just so happens he's having dinner with me tonight.

			VALERIE 

	I suppose I could talk this over with him. I'm sort of the de facto casting director.

			GEORGE 

	Then please come by at 7:30 at the Paris Pavilion, over on Ventura Boulevard. It's my, er, our treat.

			VALERIE 

	Sure. Looking forward to meeting him.

			GEORGE 

	See you then.

(HE PUTS THE PORTFOLIO BACK IN HIS BRIEFCASE AND LEAVES.)

			VALERIE (V.O.)

	Hey, I may have found our Bill, plus a free meal. What could be better?

(MARJORIE ENTERS THE OFFICE)

			MARJORIE 

	Randolph's in, right? He and Scott wanted to see me.

			VALERIE 

	Yes, he and Scott are both here.

(MARJORIE CONTINUES DOWN THE HALLWAY.)

               	CUT TO:

               	SCENE 10

INT. PHARMAPLEX - LATE AFTERNOON 

(PHIL IS WALKING DOWN AN AISLE, TOWARDS THE PHARMACY DEPARTMENT.)

			PHIL (V.O.)

	Hope he hasn't left for the day...

(HE REACHES THE COUNTER AND SEES PETER DAVIS IN A CORNER, DISCREETLY INJECTING INSULIN.)

			PHIL (CONT'D; V.O.)

	Oh, my, a Type I diabetic just like I was. Wish he hadn't inherited that.

(PETER, FINISHED WITH HIS INJECTION, SEES PHIL AT THE COUNTER AND COMES OVER.)

			PETER 

	I'm sorry if I delayed you. How can I help you?

			PHIL 

	Are you nearly through with work?

(PETER IS BEWILDERED.)

			PETER 

	What are you talking about?

(PHIL MOVES CLOSER TO HIM AND HOLDS HIS FINGER TO HIS LIPS.)

			PHIL 

		(WHISPERS)

	I'm Joseph Davis. Or, should I say, used to be.

			PETER 

		(ALSO WHISPERS)

	Dad?

(PHIL NODS)

			PETER 

	My shift ends in 20 minutes. Can you wait that long?

			PHIL 

	Of course. I've moved into a new place and need some stuff. I'll look around, then come back.

			PETER 

	Okay. Meet me outside and we'll walk to my car.
               	SCENE 11

INT. RANDOLPH'S OFFICE - LATE AFTERNOON 

(MARJORIE ENTERS WHILE RANDOLPH IS SEATED, WORKING ON HIS COMPUTER. SHE CATCHES HIS EYE.)

			MARJORIE 

	So what's going on?

			RANDOLPH 

		(WINKS TWICE.)

	That.

(MARJORIE IS PUZZLED.)

			MARJORIE 
	Huh?

			RANDOLPH 

		(SMILES.)

	The wink -- twice -- that's now your magic gesture. We came up with it this morning.

			MARJORIE 

	I dunno...

			RANDOLPH 

	Try it.

(MARJORIE WINKS, THEN AFTER A SECOND WINKS AGAIN.)

			RANDOLPH 

	You have to do it quicker, for better effect.

			MARJORIE 

	Like this?

(WINKS TWICE RAPIDLY.)

			RANDOLPH 

	You've got it. Now go out and make some magic!

               	CUT TO:

               	SCENE 12

EXT. PHARMAPLEX PARKING LOT - LATE 
AFTERNOON 

(PHIL, WITH A PHARMAPLEX SHOPPING BAG IN EACH HAND, STANDS OUTSIDE THE STORE WHEN PETER COMES OUT. HE POINTS TO HIS CAR AND THEY WALK IN THAT DIRECTION.)

			PETER 

	So, it's good to see you...
			PHIL 

		(CHUCKLES)

	I forgot to give you my new name -- Phil Seawright.

			PETER 

	What's the "C" stand for?

			PHIL 

	It's not the letter "C," but S-E-A and then "right" with a "W." I'm used to this by now.

			PETER 

	I'll ask more once we're inside.

(HE DIGS OUT HIS KEYCHAIN AND FLASHES THE UNLOCK REMOTE AT HIS CAR.)

			PHIL 

		(SARCASTICALLY)

	It's like magic!

               	SCENE 13

INT. PETER'S CAR - LATE AFTERNOON 

(PETER'S IN THE DRIVER'S SEAT, PHIL THE FRONT PASSENGER SEAT.)

			PETER 

	So how'd you get the name Phil?

			PHIL 

	I was born in Philadelphia the night the Phillies won the World Series in 1980. My dad's a lifelong fan.

			PETER 

	Makes sense. What brings you out here?

			PHIL 
	Take a guess.

			PETER 

	You're writing screenplays?

(PHIL SMILES.)

			PHIL 

	Maybe down the road, but for now it's a sitcom. About a witch, no less. Life imitates art. You?
			PETER 

	Well, I've been working for Pharmaplex for about a year, ever since my little drugstore went belly-up.

			PHIL 

	You can't compete against the chains these days.
(PETER NODS RUEFULLY.)

			PETER 

	Next to impossible.

			PHIL 

	Tell me more. You look good, though I'm sorry you apparently inherited my diabetes. Married? Kids?

			PETER 

	Divorced -- remember that nursing student I was dating?

			PHIL 

	Oh yes, what was her name...

			PETER 

	Teri Torino, also a witch. We married two years after you died, had two girls, then divorced in 1995.

			PHIL 

	Sorry it didn't work out.

			PETER 

	It was amicable -- she moved to Reno and we still talk. The girls, Sue and Bonnie, go to college there.

			PHIL 

	Wish I'd been there for them. Your mother, too. Seeing Louise suffering from cancer broke my heart.

			PETER 

	I still remember the eulogy you gave at her funeral.

			PHIL 

	Toughest piece of writing I've ever done. I trust you regularly place flowers at her grave site.

			PETER 

	Yes, just as you did. You know, you really should pay your respects to her.

			PHIL 

	Great thought, but in this traffic we'll never get there before dark.

			PETER 

	Yes, we can. Lower your head a bit so no one sees...

(BOTH DROP THEIR HEADS, PETER SNAPS HIS FINGERS IN HIS LEFT HAND WHILE HOLDING PHIL WITH HIS RIGHT, AND THEY BOTH DISAPPEAR.)

               	DISSOLVE TO:

               	SCENE 14

EXT. CEMETERY - LATE AFTERNOON 

(PHIL AND PETER MATERIALIZE BEHIND A BUILDING AND CAREFULLY STEP AWAY.)

			PHIL 
	I'm trying to remember where Louise's marker was...it's been so long.

			PETER 

	Not far -- follow me.

(THEY WALK, AND PETER STOPS. PHIL DOES LIKEWISE AND SEES A FLOWER IN FRONT OF A HEADSTONE READING, "LOUISE DAVIS, 1911-1977" AND BELOW IT A QUOTE, "A LIGHT IN OUR LIVES.")

			PHIL 

		(KNEELS DOWN REVERENTLY)

	And that she was. I only wish she'd had more than one life.

			PETER 
	Dad, if I may call you that, you didn't see what's next to her.

(PHIL LOOKS AT THE ADJOINING HEADSTONE, ALSO WITH A FLOWER. IT READS, "JOSEPH DAVIS, 1904-1980" WITH A QUOTE BELOW, "HE GAVE THE WORLD THE GREATEST OF GIFTS -- LAUGHTER." PHIL LOOKS UP TO PETER, TEARS IN HIS EYES.)

			PETER 

	You were always saying laughter is the greatest gift.

(PHIL STANDS UP AND HUGS HIS SON.)

			PHIL 

	And so is love, my son. I'm glad you remembered.

			PETER 

	Losing you so soon after Mom was devastating. I broke down at the service.

			PHIL 

		(SUBTLY SMILES.)

	I still remember the day you were born, January 11, 1954. Louise and I had wanted a child for so long.

			PETER 
	What would be the start of my 22nd lifetime.

			PHIL 

	Whether you live 25 lifetimes or only one, it's what you give during it that counts.

			PETER 

	You've given a lot.

			PHIL 

	You too.

(LOOKS AT SKY.)
			PHIL 

	Think they'll be closing soon. We better be going.

(THEY WALK BEHIND THE AFOREMENTIONED BUILDING.)

			PHIL, PETER (O.S.)

	Thanks.

(SNAPS ARE HEARD.)

               	TAG

               	SCENE 15

INT. PARIS PAVILION RESTAURANT - EVENING 

(VALERIE IS IN THE LOBBY NEAR THE CASHIER WHEN SHE FLAGS DOWN A WAITER.)

			VALERIE 

	Excuse me, monsieur, but I am to meet two people here tonight, a Mr. George O'Day and a Blair Richards.

			WAITER 

	Follow me into the restaurant, madame, and see if you can spot them.

(VALERIE FOLLOWS HIM INTO THE DINING ROOM, WHERE THERE ARE ABOUT 15 TABLES. NEAR THE BACK, SHE SEES GEORGE, WAVES AND WALKS OVER.)

			VALERIE 

		(SITS DOWN)

	And how are you this evening?

(LOOKS AROUND HER)

			VALERIE 

	Gee, this is a nice place. Where's Blair? Did he have to use the men's room?

			GEORGE 

	Uh, Blair's not here yet -- he had a late audition in Culver City. I'm hoping he'll arrive any minute.

			VALERIE 

	Very good.

(THE TABLE IS EMPTY, SAVE FOR TWO GLASSES OF WATER.)

               	DISSOLVE TO:

(THE SAME TABLE, FILLED WITH MEALS, AND GLASSES OF WINE, FOR BOTH VALERIE AND GEORGE.)

			GEORGE 

	I'm sorry he's taking so long. But you know how traffic is here.

			VALERIE 

	You should turn on your cell phone.

(GEORGE SHAKES HIS HEAD.)

			GEORGE 

	Live cell phones aren't allowed in here.

			VALERIE 

		(CYNICAL)

	Yeah, common courtesy and all that.

               	DISSOLVE TO:

(THE TABLE, WITH THE ENTREE DISHES REMOVED AND REPLACED BY DESSERT.)

			VALERIE 

		(DISGUSTED)

	Two hours and Blair still hasn't shown up? If there's one thing I've learned in this business, it's punctuality.

			GEORGE 

		(LOOKS DOWN)

	I guess I can tell you this now. Before I entered your offices, I called Blair. He's not interested.

			VALERIE 

	What?

			GEORGE 

	He told me playing second banana to a witch would emasculate his long-term career.

(VALERIE SHAKES HER HEAD.)

			VALERIE 

	That's nonsense.

			GEORGE 

	I agree. It certainly didn't hurt Larry Hagman -- okay, he was opposite a genie, not a witch.

(SHRUGS SHOULDERS.)

			VALERIE 

	Then why did you string me along like this and bring me out here?
(SHE'S SEETHING. IN HER MIND SHE PICTURES SNAPPING HER FINGERS AND TURNING GEORGE INTO A FROG.)

			GEORGE 

	You want to know? Because I liked you.

(VALERIE IS SKEPTICAL.)

			VALERIE 

	I was coming here for Gallagher Enterprises, not looking for a date.

			VALERIE (V.O.)

	Though most of the time I am.

			GEORGE 

	I've enjoyed talking shop with you. Perhaps it'll help one of my other clients down the line.

			VALERIE 

	Well, I'm glad, but if you want a second date, or even a first genuine one --

(STANDS UP)

			VALERIE 

	don't count on it.

			GEORGE 

		(RESIGNED.)

	Okay.

(PULLS OUT HIS WALLET AND HANDS VALERIE A TWENTY-DOLLAR BILL.)

			GEORGE 

	Not only am I paying for the dinner, as promised, but your parking, too.

			VALERIE 

	Thank you!

(SHE WALKS OUT INTO THE LOBBY AND ENTERS THE WOMEN'S RESTROOM, NOTING SHE'S ALONE, AND LOOKS AT THE TWENTY.)

			VALERIE 

	Little did he know--

(SNAPS HER FINGERS)

			VALERIE 

	I didn't park! We're even!

(SHE DISAPPEARS.)