COLD OPENING

SCENE 

INT. APARTMENT LAUNDRY ROOM - EVENING

PHIL SEAWRIGHT ENTERS CARRYING A BASKET OF CLOTHES, WITH DETERGENT RESTING ATOP IT. THE ONLY OTHER PERSON IN THE ROOM IS A YOUNG WOMAN, DAWN VIERRA, SITTING IN A CHAIR, READING A MAGAZINE.

PHIL (V.O.)

I'd use magic to wash my clothes, but it never works for witches. My underwear always comes out pink...

PHIL PUTS HIS BASKET ATOP A WASHER, LOOKS OVER INSTRUCTIONS AND DIGS OUT QUARTERS.

PHIL (V.O.)

A buck-twenty-five for a plain wash -- not too bad. And there's a permanent press setting.

PHIL PUTS HIS CLOTHES INTO THE WASHER, ADDS DETERGENT, INSERTS QUARTERS AND PRESSES THE BUTTON TO BEGIN THE PROCESS.

PHIL (V.O.)

Ah, there.

AS PHIL TURNS AWAY FROM THE WASHER, DAWN PUTS DOWN HER MAGAZINE AND STANDS UP TO GO TO THE DRYER ON THE OTHER SIDE OF THE ROOM. PHIL LOOKS AT HER AND IS TRANSFIXED AS SHE RISES AND RISES, TOWERING OVER HIM. SHE SMILES GENTLY, AND WHILE PASSING HIM HANDS HIM A BUSINESS-SIZED CARD SHE HAS PULLED FROM THE POCKET OF HER JEANS. PHIL EXAMINES THE CARD, ALTHOUGH VIEWERS CAN'T YET READ IT.

MAIN TITLES

ACT ONE

SCENE ONE

INT. APARTMENT LAUNDRY ROOM - EVENING

PHIL IS STILL HOLDING THE CARD DAWN HANDED TO HIM, BUT NOW VIEWERS CAN SEE IT. THE CARD READS:

1. I'M 6-FOOT-3.

2. YES, I DO PLAY BASKETBALL.  

3. THE WEATHER UP HERE IS WONDERFUL!

PHIL SMILES AND TURNS TO DAWN, WHO BY NOW HAS REACHED THE DRYER.

PHIL

And if someone hassles you, do you spit down at them and say that it's raining?

DAWN
(laughs)

What a great line!

PHIL HOLDS CARD UP.

PHIL

And a great idea for a card.

DAWN SHRUGS HER SHOULDERS, SMILING.

DAWN

Everyone asks me the same questions, so this simply gets things out of the way.

DAWN BEGINS TO PULL CLOTHES FROM THE DRYER INTO THE BASKET.

PHIL

I'm sure being so tall has its advantages and disadvantages.

DAWN
(nodding)

I generally love it, but there are drawbacks. Like trying to find jeans that drop down to your ankles.

DAWN PULLS A PAIR OF PANTYHOSE FROM THE DRYER AND HOLDS IT IN FRONT OF PHIL.

DAWN

Or looking for hose that can stretch up to your waist. "One size fits all"? What nonsense!

PHIL

A cynical girl.
DAWN
(smiling)

Yeah. Actually, I should update that card to read "yes, I did play basketball."

PHIL

You mean you're not in the WNBA?

DAWN

Oh, give me a break. I was a decent Division I college player, but no pro material.

PHIL

Where'd you play?

DAWN

UC Irvine.

PHIL
(smiling)

You're an Anteater!

DAWN BEAMS AT THE RECOGNITION.

DAWN

Yep. Did you go there?

DAWN FINISHES PUTTING CLOTHES INTO THE BASKET, THEN BRINGS IT TO A NEARBY TABLE WHERE SHE BEGINS FOLDING.

PHIL

No, actually I'm from back east -- Philly to be precise -- but I always liked that nickname.

DAWN

It's great to be an Anteater. But what are you doing out here?

PHIL

Writing for a new sitcom. You?

DAWN

I teach second grade in Highland Park. Take Metro, change to the Gold Line at Union Station, and voila.

PHIL IS SURPRISED.

PHIL

You use mass transit? You can't be a native Angeleno!

BOTH LAUGH.

DAWN

Well I am, if you consider Torrance to be L.A.

PHIL

Close enough. By the way, my name's Phil Seawright.

DAWN

As in viewing correctly?

PHIL'S DELIGHTED SHE PROPERLY UNDERSTANDS HIS NAME.

PHIL

Yeah -- see right, although I'm "sea" as in ocean. Plus there's a silent "W."

DAWN

And I'm Dawn Vierra. That's with two "R's," thank you. Could I have that card back?

PHIL HANDS IT TO HER, WITH SOME UNCERTAINTY.

PHIL

Sure...did I do something wrong?

DAWN CHUCKLES AS SHE TAKES A PEN FROM HER JEANS POCKET AND WRITES ON THE BACK OF THE CARD.

DAWN

My name and phone. Give me a call tomorrow night and we can chat for a bit.

DAWN HANDS THE CARD BACK TO PHIL AND SMILES AT HIM AS SHE FINISHES FOLDING LAUNDRY, TAKES HER BASKET AND LEAVES.

PHIL

Looking forward to it.

SCENE TWO

INT. SCOTT GALLAGHER'S SEDAN - MORNING

SCOTT IS DRIVING, WHILE RANDOLPH HENDERSON IS IN THE FRONT PASSENGER SEAT AND PHIL, ANITA DeVESTY AND VALERIE POST ARE SEATED IN BACK. THEY ARE ON THE HOLLYWOOD FREEWAY, STUCK IN TRAFFIC.

PHIL

Boy, nothing has changed over the years. Traffic here is still murder.

VALERIE GIVES HIM A COLD STARE THAT NO ONE ELSE SEES.

SCOTT

You've been in L.A. before? You never told me that.

PHIL REALIZES HIS NEAR-GAFFE.

PHIL

Yeah, when I helped my sister Sandra move out here a few years back. She works over at the Telegram in Santa Monica.

ANITA

Nice little paper.

VALERIE

And she just went on a date with our Matthew Lee after meeting him in the office. I like her.
SCOTT

Sorry I didn't notice her.

PHIL

Sandra tends to keep a low profile.

VALERIE SHAKES HER HEAD AT HIM, AS IF TO SAY "SURE."

RANDOLPH

The next exit is the first soundstage we check out. There's Hollywood, the Valley, Culver City...

VALERIE

As long as we can find something that suits our needs and doesn't cost much.

PHIL

I'm sure with Scott's connections, he can rent something first-rate.

SCOTT

That's my intention.

SCOTT DRIVES OFF AN EXIT RAMP.

SCENE THREE

INT. SOUNDSTAGE #1 - LATE MORNING

PHIL, SCOTT, RANDOLPH, ANITA AND VALERIE WALK ABOUT A SOUNDSTAGE, ESCORTED BY HERBERT WELCH, ITS MANAGER.
HERBERT

We're pretty spacious, have up-to-date equipment, and come fairly cheaply.

PHIL (V.O.)

Pretty darn solid. This could work.

SCOTT

It's got possibilities...

SCENE FOUR

INT. SOUNDSTAGE #2 - MIDDAY

AGAIN, PHIL, SCOTT, RANDOLPH, ANITA AND VALERIE CHECK OUT A SOUNDSTAGE, ESCORTED BY ITS MANAGER, NANCY PALMA.

NANCY

This stage has hosted film and TV since the 1920s. You can almost sense the history here...

PHIL (V.O.)

I recall Sam Goldwyn rented this stage for a while. Boy, he was fun. And, oh those malaprops!

NANCY

...It's convenient to the Westside, with plenty of parking and all the services you may need.

SCOTT

I definitely will consider it.

SCENE FIVE

INT. SOUNDSTAGE #3 - EARLY AFTERNOON

ONCE MORE, PHIL, SCOTT, RANDOLPH, ANITA AND VALERIE TOUR A SOUNDSTAGE, ESCORTED BY MANAGER EDDIE STONE.

EDDIE

I really think you're gonna like this place.

PHIL (V.O.)

Why? The floor creaks, the lighting is awful and there simply isn't enough square footage here.

EDDIE

So, Scott, whaddya you say?

SCOTT

We'll take it.

PHIL IS STUNNED, AND SHOWS HIS EMOTION TO VALERIE. NO ONE ELSE NOTICES.

SCOTT

Ed, let's go to your office and sign a one-year lease.

PHIL (V.O.)

I don't get it. Unless this place came far more cheaply than the others, why would Scott want this dump?

THEY WALK TOWARDS EDDIE'S OFFICE, WITH SCOTT LEADING THE WAY. PHIL REMAINS PERPLEXED.

SCENE SIX

INT. GALLAGHER OFFICE LOBBY - AFTERNOON

WHILE SCOTT, ANITA AND RANDOLPH RETURN TO THEIR OFFICES, PHIL STAYS WITH VALERIE.

PHIL
(shakes his head)

You know Scott better than I do, Val. Why would he choose that soundstage? It's decidedly inferior.

VALERIE

Convenience, I guess. It's fairly close to our offices.

PHIL

Yeah, it may be in Hollywood, but I don't get good vibes from that place.  It's rundown and needs plenty of work.  Worse, "B" movies were shot there.

PHIL SHOWS HIS DISGUST WHILE VALERIE SMILES.

VALERIE

The same "B" movies defenders of the auteur theory are praising 60 years later.

PHIL

Sorry, Val, but tell Andrew Sarris the auteur theory is crap.

PHIL LEAVES TO GO TO HIS OFFICE.

SCENE SEVEN

INT. SCOTT GALLAGHER'S OFFICE - AFTERNOON

SCOTT'S SITTING BACK IN HIS CHAIR, ON THE PHONE WITH STEWART GARWOOD.

SCOTT

It's all been taken care of.

STEWART (O.S.)

I promised you'd get a good deal on it. Eddie handles all my L.A. properties.

SCOTT

And since you're paying 75 percent of the rent for me--

STEWART (O.S.)

Anything for my Marjorie, Scott, anything for her. Talk to you later.

STEWART HANGS UP, AS SCOTT SHAKES HIS HEAD.

SCOTT (V.O.)

Frankly, it's a terrible soundstage. But when the star's dad is calling the shots...

ACT TWO

SCENE ONE

INT. GALLAGHER OFFICE LOBBY - MORNING

VALERIE IS DOING SOME PAPERWORK AT HER DESK WHEN ALEXANDRA STEFANO WALKS IN.

ALEXANDRA

Howdy, Val. Whatcha up to?

VALERIE

Some odds and ends. And you?

ALEXANDRA

Not too much. As you might guess, I'm looking for Marjorie.

PHIL ENTERS FROM THE HALLWAY.

PHIL

Good morning, Alexandra. Did Val tell you about the club date she has tomorrow night on Wilshire?

VALERIE

We're planning a little of this and that, Gershwin and some Cole Porter. Good four-piece combo, too. You'll love the guy who plays alto sax.

ALEXANDRA

Sounds fascinating -- I'll have to drop by. But I'm really looking for Marjorie.  She's been offered a few really choice movie roles for hiatus!

PHIL

Oh, really?  Such as...

ALEXANDRA

"Fast Girl," where she'll play--

VALERIE

A slut?

ALEXANDRA

No, of course not -- a champion race car driver, out to win the big race her father never quite could. 

PHIL

Sounds touching.  Last I saw, she's in Scott's office, just shooting the breeze with him.

ALEXANDRA

Then excuse me for a moment.

ALEXANDRA WALKS DOWN THE HALLWAY.

PHIL
(to Valerie)

Hope you didn't mind my plugging your gig.

VALERIE

Not at all. The more the merrier, and the more clubs I can arrange dates for.

PHIL

I'll have to drop by and hear you sing one of these days.  Can you give me a little taste of what I can expect?

VALERIE
(smiles)

Sure!

VALERIE STANDS UP AND BEGINS TO SNAP HER FINGERS.

VALERIE
(softly, to Phil)

For rhythm, not magic.

VALERIE
(begins singing)

What is this thing called love, This funny thing called love, Just who can solve its mystery...

BOB GORDON ENTERS THE OFFICE, UNCHARACTERISTICALLY DRESSED IN A JACKET AND TIE.  PHIL'S SURPRISED TO SEE HIM, ESPECIALLY DRESSED LIKE THAT.

PHIL

Why are you here, and why are you wearing that?
BOB

I need you to water my plants when you get home.

BOB HANDS PHIL A DUPLICATE KEY.

BOB

I'm attending a funeral later this afternoon up in Encino.

PHIL

Who for?

BOB

You wouldn't know him -- a guy named Christopher Wesley.  Helped me get my start in the newsstand business. A non, by the way.

VALERIE
(continuing to sing)

...I saw you there one wonderful day, You took my heart and threw it away... 

BOB SEES AND HEARS VALERIE SING AND IS TRANSFIXED.

BOB
(to Phil)

Man, she's good, and a looker, too.

PHIL

She's Valerie Post, and she works here.  
(drops to a whisper)

If there's a better jazz-singing witch, I've yet to meet her.

VALERIE
(concludes her singing)

...What is this thing called love?

PHIL AND BOB GIVE HER GENTLE APPLAUSE, AS ANITA ENTERS.

PHIL

Hey, Anita, you just missed hearing Val sing.

ANITA

Oh, I heard it.  Who's this guy with you?

PHIL

He's my friend, Bob Gordon.  Runs the newsstand in Hollywood.  And Bob, this is Anita DeVesty, a fellow staff writer.

ANITA
(to Bob)

I get magazines there all the time!  Sorry I didn't recognize you.

BOB

Don't worry about it.

ANITA

It's fascinating to see what's going on in the magazine industry these days, all the shakeups and new titles being introduced.

BOB

Yeah, I see a lot of them, as you might guess.  Interesting times indeed.

ANITA

What seems to be the big trend?

BOB

General news weeklies are struggling a bit, although the circulation figures of some of these celebrity mags are going through the roof.

ALEXANDRA ENTERS FROM THE HALLWAY, AFTER BEING UNABLE TO GET MARJORIE OUT OF HER MEETING WITH SCOTT, AND OVERHEARS THE CONVERSATION.

BOB

I fully expect to have more celeb titles in the near future.  Definitely a growth industry.

ALEXANDRA IS INTRIGUED AND TURNS TO BOB, THINKING HE'S IN THE MEDIA DUE TO HIS APPEARANCE.

ALEXANDRA

Really?  Tell me more!

BOB

Entertainment rather than celeb mags are holding steady.

ALEXANDRA

What about movie magazines?

BOB

They're doing okay, but some of them are getting more specialized, focusing on screenwriting, effects and so on.  But actor-focused mags still sell.

ALEXANDRA IS DELIGHTED TO HEAR SUCH NEWS.

ALEXANDRA

Great!  You seem like someone I should know.  My card.

ALEXANDRA OPENS HER PURSE AND GIVES BOB HER BUSINESS CARD.

ALEXANDRA

Give me a call.  I can help you, you can help me.  Perhaps we can do lunch.
(checks her watch)

Gotta be going.  Bye...and remind Marjorie to call me!

ALEXANDRA LEAVES, AS A PUZZLED BOB EXAMINES HER CARD.

BOB

What the heck was that all about?
ANITA

Looks as if she thinks you create magazines rather than sell them.

PHIL

And she thinks you can get Marjorie Garwood on the cover of one of your properties.

BOB

Boy, does she have a surprise headed her way.

ANITA

Yeah, but at least let Alexandra take you out to lunch before springing it on her.

VALERIE
(jovially)

Hey, I've been there, and that's not nice. 

BOB

Although if Marjorie does get on a magazine cover, we'll play it up at the newsstand.  Anything to help out Phil's show.

SCENE TWO

INT. SCOTT GALLAGHER'S OFFICE - MORNING

MARJORIE IS SEATED BEFORE SCOTT IN A PRIVATE MEETING.

MARJORIE

I don't want to sound like I'm telling you what to do, but to me there's only one choice to play Bill Loomis, and that's Barry Moran.

SCOTT

I have no beef with his acting.  I saw him on Broadway last year and was impressed.  But I never sensed he was enamored with TV, or Hollywood.

MARJORIE

I know him through a friend back in New York.  He's the yin to my yang.

SCOTT

Professionally, you mean.

MARJORIE
(nodding)

Yeah, that's it, nothing romantic.  Barry's a professional actor -- his parents are stage veterans -- and his experience can help settle me.

SCOTT

You believe you'd have a good rapport with him.

MARJORIE

Definitely.  And he's ruggedly handsome, too.  Teen girls will go wild over him.
SCOTT
(rolls his eyes)

Okay, I'll call his agent and make an offer.  But I can't force him to come out to L.A. if he doesn't want to.

MARJORIE

At least make the try.  That's all I ask.

MARJORIE STANDS UP AND SHAKES HANDS WITH SCOTT.

MARJORIE

I'll keep my fingers crossed.

SCENE THREE

INT. PHIL'S APARTMENT - EVENING

PHIL IS RESTING ON HIS SOFA, HOLDING HIS CELL PHONE AND CHATTING WITH DAWN VIERRA.  THE TELEVISION IS ON, BUT THE SOUND IS MUTED.

PHIL

So, how were the kids in class today?

DAWN (O.S.)

They were great -- of course it helps that school will be out soon.  But they're darlings.

PHIL

It helps when their teacher is one, too.

DAWN (O.S.)

What flattery!

PHIL

If you really want to hear some flattery, how about over lunch on Saturday?  My treat.

DAWN (O.S.)

Sure -- where?

SANDRA MAGICALLY MATERIALIZES ON THE SOFA, NEXT TO A SURPRISED PHIL.

PHIL

Uh, Dawn, let me think about a place and I'll get back to you.

PHIL HURRIEDLY DISCONNECTS THE CELL PHONE.

SANDRA

Barged in at a bad time, did I?  Anyway, who is this Dawn?

PHIL
(infuriated)

Shouldn't you be at the paper tonight?

SANDRA

Took a personal day.  Just got back from seeing the folks in Philly -- they're doing fine.

PHIL

Glad to hear.

SANDRA

Oh, and I almost forgot.  This is for you.

SANDRA SNAPS HER FINGERS, AND A CONTAINER OF LIQUID LAUNDRY DETERGENT MATERIALIZES ON A NEARBY TABLE.

SANDRA

Mom said you liked that brand, and it isn't sold out here.  Now tell me about Dawn...

PHIL
(smiles)

Well, we just agreed to meet for lunch this weekend.  She lives here in the apartment complex -- in fact, I met her doing laundry.

SANDRA

A witch or a non?

PHIL

Non. 

SANDRA

What's she do?

PHIL

Second-grade teacher.  A real sweetheart, with a nice sense of humor.
SANDRA
(smiles)

What's she look like?

PHIL

She's attractive.

SANDRA

That's too vague -- be more specific.  How tall?

PHIL
(defensively)

Uh, well, she's...someone to look up to.

SANDRA

You mean she's -- taller than you?

SANDRA BEGINS GIGGLING.

PHIL
(exasperated)

Yes.  To be precise, she's 6-foot-3.

SANDRA THROWS BACK HER HEAD AND LAUGHS.

SANDRA

Philip Winthrop Seawright!

PHIL

Don't make fun of her. 

SANDRA

You must admit, though, you'd be a rather unusual couple.  She's probably a head taller than you.

PHIL

So what?  She's bright, warm, just fun to be with.

SANDRA

So, when can I meet Dawnzilla?  Will she carry you through the streets to Santa Monica, so I can see her eye-to-eye from the balcony of my high-rise?

PHIL

Aw, come on.

SANDRA TRIES TO BE REASSURING AND HUGS HER BROTHER ON THE SHOULDER.

SANDRA

I'm sure she's a nice young lady --  if you like her, she must be okay.  However, let's face it, some people aren't going to be quite as accepting.

PHIL

And I think I just met one of them.

SANDRA
(nodding)

You know how Mom is towards the people we date.  Witch or non, they have to be just right.  And in her mind, a 6-3 woman doesn't fit that definition.

PHIL

Even if Dawn's a saint.
(pauses)

Which I'm not saying she is, of course.  Heck, we haven't even dated yet.

SANDRA

Anyway, I'll keep all this info about Dawn to myself.  If you two hit it off, great.  I'd better be going home.

SANDRA STANDS UP.

SANDRA

I'll check the men's stores for any good deals on elevator shoes!

SANDRA SNAPS HER FINGERS AND MAGICALLY DISAPPEARS.

PHIL

As Jerry Seinfeld might say...
(clenches his fist)

Sandra! 

SCENE FOUR

INT. SOUNDSTAGE #3 - NIGHT

THE SOUNDSTAGE SCOTT GALLAGHER AGREED TO USE FOR "UNDER HER SPELL" IS DESERTED AND DARK WHEN PHIL MAGICALLY POPS HIMSELF IN.

PHIL

Boy, I needed to do this tonight after Sandra's visit.
(looks over soundstage)

This place looked bad in the daytime, but at 1 a.m., it's absolutely forbidding.

PHIL MAKES A SMALL STEP, BUT HEARS A LOUD CREAK FROM THE FLOOR.

PHIL

If there's a night watchman, he may have heard me.  Anyway, this was one of the things that needed work.

PHIL SNAPS HIS FINGERS, AND THE CREAKY, CROOKED FLOORBOARDS MAGICALLY BECOME QUIET AND EVEN.

PHIL
(looks over floorboards)

Good -- they don't look too new, so no one will know the difference.  Now, let there be light...

PHIL GAZES UP TOWARDS A LIGHT FIXTURE, SNAPS HIS FINGERS AND TURNS IT ON.  BULBS ARE OUT, THE WATTAGE IS LOW AND IT'S OBVIOUSLY UNFIT FOR TELEVISION PRODUCTION.  PHIL LOOKS IT OVER, SNAPS HIS FINGERS AGAIN, AND THE LIGHTS MAGICALLY IMPROVE TO OPTIMUM CONDITION.

PHIL
And there was light, and it was good.

PHIL LOOKS TO A CORNER OF THE SOUNDSTAGE, WHERE A HUGE METAL TRASH CONTAINER BLOCKS SOME OF THE ROOM.

PHIL

We need to dispose of the disposal...

PHIL SNAPS HIS FINGERS AND THE CONTAINER SHRINKS TO A FEW INCHES IN DIAMETER.  HE WALKS OVER, PICKS IT UP AND OPENS IT.

PHIL

Whew, no homeless person inside.  I'll take it out, find a spot behind the building where it won't interfere with parking, and restore it to full size.

PHIL LOOKS OVER THE SOUNDSTAGE, NOW SUBSTANTIALLY IMPROVED.

PHIL

Maybe Stewart knew what he was doing after all.

PHIL SNAPS HIS FINGERS AND MAGICALLY DISAPPEARS.

SCENE FIVE

INT. SCOTT GALLAGHER'S OFFICE - MORNING

SCOTT IS SITTING AT HIS DESK, REVIEWING E-MAIL, WHEN HE GETS A PHONE CALL FROM EDDIE STONE.

SCOTT

Gallagher here.

EDDIE (O.S.)

Hey there, Eddie Stone.  Boy, you sure have connections.  I can't believe how good the soundstage now looks.

SCOTT
(perplexed)

What are you talking about?

EDDIE (O.S.)

I come in this morning and find new and improved lighting, and the trash receptacle moved out back.  I guess you're in a hurry to start filming.

SCOTT

I'm glad to hear it's improved, but no, I didn't order those changes.
(smiles)

Must have been Stewart.  He works in mysterious ways sometimes.

EDDIE (O.S.)

Yeah, I guess it was.  We still have some work to do here setting up your offices, so give us a few days to set things up.  Are you in a hurry?

SCOTT

Not really, although we're making progress on the male lead...

A KNOCK ON THE DOOR IS HEARD, AND VALERIE POKES HER HEAD IN.

SCOTT

Talk to you later, Eddie.

VALERIE

I have Barry Moran here -- just arrived from LAX an hour ago, and says he's ready to sign.

VALERIE AND BARRY MORAN ENTER SCOTT'S OFFICE.  THE TWO MEN SHAKE HANDS.

SCOTT

Welcome to the Gallagher family, Barry Moran.  I enjoyed my conversation with you last night.

BARRY

My parents at first were skeptical, but they've enjoyed your sitcoms over the years, especially the one set on the Long Island Rail Road.

SCOTT

"Change at Jamaica" will always have a special place in my heart.

BARRY

I didn't need their blessing, but it's good to have their encouragement. 

SCOTT

Gilbert and Shelly were first-rate actors.  I'll have Val get the contract and you can sign.

VALERIE GETS THE CUE AND LEAVES. 

BARRY
(smiling)

It will be an interesting challenge, I'm sure.  I really haven't done much TV over the years.

SCOTT
(reassuringly)

You'll be fine, Barry.  The best sitcoms are very much like stage plays.

TAG

SCENE SIX

EXT. ALONG LOS ANGELES CITY STREET - AFTERNOON

PHIL AND DAWN ARE WALKING, JUST HAVING FINISHED LUNCH.

PHIL

That was great Indian food.

DAWN

My college roommate was born in Bombay.  She taught me everything I know about Indian restaurants.

THEY CONTINUE WALKING WHEN PHIL SUDDENLY STOPS.

PHIL

Excuse me, but I have a pebble in my shoe.

HE LEANS AGAINST A WALL AND REMOVES HIS SHOE.  HE PULLS OUT THE PEBBLE AND IS READY TO PUT IT BACK ON, WHEN DAWN TAKES THE SHOE FROM HIM AND EXAMINES IT.

DAWN

Oh my God, you have lifts in your shoes!

DAWN BEGINS LAUGHING.  PHIL IS DESPONDENT AS HE TAKES THE SHOE BACK AND PUTS IT ON.

PHIL

Well, it's been nice knowing you.  I must look pretty vain in your eyes.

DAWN

You think that's a deal-breaker?  I was laughing with you, not at you.

PHIL

But it's pretty obvious I don't measure up to you.

DAWN
(shaking her head)

Nonsense.  You could wear flats, I could wear heels, and you'd still more than measure up.  You're plenty of fun, Phil, and I want to see you again.

PHIL IS RELIEVED, AND THEY RESUME WALKING.

PHIL

I'm delighted you feel that way, because that's how I feel too.

DAWN

Great!

DAWN STOPS AT A STORE WINDOW.

DAWN

Good...second-hand apparel.  Let's go in and find you some seventies-style platforms.

DAWN BEGINS LAUGHING AGAIN, AND THIS TIME PHIL JOINS IN.