1.01 - SOMETHING WICCA THIS WAY COMES by Mitchell
Summary: 1.01 - SOMETHING WICCA THIS WAY COMES
Categories: Charmed Characters: Other Characters
Genres: Drama
Warnings: Alternate Universe
Challenges:
Series: Charmed - Series one
Chapters: 6 Completed: Yes Word count: 55190 Read: 11733 Published: 12 Nov 2009 Updated: 12 Nov 2009

1. 1.01 - SOMETHING WICCA THIS WAY COMES by Mitchell

2. 1.02 - I’VE GOT YOU UNDER MY SKIN by Mitchell

3. 1.03 - THANK YOU FOR NOT MORPHING by Mitchell

4. 1.04 - DEAD MAN DATING by Mitchell

5. 1.05 - LOVE HURTS by Mitchell

6. 1.06 - DÉJÀ VU ALL OVER AGAIN by Mitchell

1.01 - SOMETHING WICCA THIS WAY COMES by Mitchell
FADE IN.

[EXT. SAN FRANCISCO BAY BRIDGE (STOCK) – EVENING]

(A full moon shines over the Golden Gate Bridge. It’s night and pouring.)

FADE INTO:



[EXT. THE TALMADGE – FRONT DRIVE – EVENING]

(A young couple runs along the wet sidewalk as a yellow taxi cab turns into the
driveway of an apartment building.)

(Camera rises up to the exterior of the apartment building windows. Thunder
rumbles as rain falls. Lightning flashes.)

CUT TO:



SCENE #01:

[INT. SERENA FREDRICK’S APARTMENT -- NIGHT]

(In the kitchen, SERENA FREDRICK carefully carrying a tray of food for her cat,
steps into view through the kitchen doorway gently calling for her cat.)

SERENA FREDRICK: Here, Kit. Here, baby.

(Kit, the Siamese cat, meows and makes her way toward the food. SERENA places
the tray of food down on the floor.)

SERENA FREDRICK: Come on, baby. Good girl.

(SERENA gives Kit a pat on the head, stands up and goes about her business as
Kit eats her dinner.)

(Walking through the dining room, SERENA carries her silver chalice into the
living room. She kneels before a small round table covered with a dark blue
cloth and sporting nine candles – three red, three green and three white candles
of different sizes -- a small bundle of dried plants, a small bowl of herbs and
a small ceremonial knife. She places the silver chalice in the center of her
altar.)

(With her index finger in an arc, she points to the white candle and it lights
up, the flame flickering strongly. One by one, she points to each candle on the
table and they magically light up.)



[EXT. BALCONY OUTSIDE SERENA FREDERICK’S APARTMENT – NIGHT – CONTINUOUS]

(Camera closes in on a person dressed in dark clothes making their way down the
fire escape ladder to SERENA FREDERICK’S balcony. Lightning flashes and thunder
rumbles as the person is soaked by the rain.)

(Camera rises and we find the raincoat-clad person looking into SERENA
FREDERICK’S apartment window as she lights the candles on her altar.)



[INT. SERENA FREDRICK’S APARTMENT – LIVING ROOM – NIGHT -- CONTINUOUS]

(SERENA FREDERICK continues to light the candles with the touch of her finger.)

(Outside, the raincoat figure moves away from the window through which we see
SERENA starting her ritual.)

(Inside, SERENA sits back, her palms together fingers pointed upward. Eyes wide
open, she begins chanting.)

SERENA FREDRICK: (chanting)
Auger de gomay. Auger de gomay.



(In the kitchen, Kit looks up from her food tray spooked by something. She
meows, turns and runs out of the kitchen toward the back door.)

(Camera holds for a beat, then the dark figure of the MAN that was outside on
her balcony crosses the kitchen toward the living room where SERENA meditates.)

(The stranger turns and sees SERENA kneeling in front of the altar in the living
room.)

SERENA FREDRICK: (chanting)
Ancient One of the Earth so deep,
Master of Moon and Sun,

(As she chants the spell, SERENA motions elaborately with her hands. She is so
engrossed by her spell, that she is unaware of the intruder in her apartment.)

SERENA FREDRICK: (chanting)
I shield you in my Wiccan way,
Here in my circle round,

(The dark figure walks up slowly to her.)

SERENA FREDRICK: (chanting)
Asking you, protect this space,
and offer your sun force down.

(After she finishes with the spell, SERENA puts places her palms back together,
fingers pointed upward. She closes her eyes and hums.)

SERENA FREDRICK: Mmmm--

(The dark figure is standing directly behind her. He takes a step closer to
her. Her eyes open, suddenly aware of him there. She turns around and gets to
her feet.)

(She sighs with relief upon recognizing her intruder.)

SERENA FREDRICK: What are you doing here?

(The dark intruder takes out an athame and stabs her in the abdomen. SERENA
screams, and then falls to the floor with a thud.)

(The dark figure steps back.)

CUT TO:



[EXT. VARIOUS BOLTS OF LIGHTNING (STOCK) – NIGHT]



[EXT. HALLIWELL MANOR – FRONT SIDEWALK – NIGHT]

(The rain beats relentlessly on her umbrella. PIPER HALLIWELL, arms full of
groceries, rushes across the rain-slick pavement and up the concrete front steps
leading up to the red and cream colored Victorian house.)

(She hurries to the front porch. Once under the protection of the eaves, she
closes her umbrella and reaches for the door knob.)



SCENE #02:

[INT. HALLIWELL MANOR – FOYER – NIGHT -- CONTINUOUS]

(The front door opens; PIPER walks into the foyer. She hangs her dripping
umbrella on the hallway hook and puts her backpack down by the hallway table.)

PIPER HALLIWELL: Prue?

PRUE HALLIWELL: (o.s.) In here, working on the chandelier.

(PIPER puts her grocery bag down and removes her rain-drenched coat. She
grimaces when she hears PRUE talk about the chandelier. She hangs that on the
hook over her umbrella, picks up her grocery bag and makes her way toward PRUE.)

PIPER HALLIWELL: Sorry I'm late.

PRUE HALLIWELL: (o.s.) What else is new? You know, Piper ...



[INT. HALLIWELL MANOR – LIVING ROOM – NIGHT – CONTINUOUS]

(PRUE turns around, a small aluminum ladder under the chandelier she’s been
working on. She’s wearing a gray work dress and an annoyed look at having to
once again be the responsible one.)

PRUE HALLIWELL: ... I would've been here to meet the electrician myself, but
you know I can't leave the museum until six. I haven't even had time to change.

(PIPER tilts her head apologetically.)

PIPER HALLIWELL: I just--I didn't realize how long I was in Chinatown. Did
Jeremy call?

PRUE HALLIWELL: (points) No, but he had some roses and a package delivered.

(PIPER heads toward the package and roses; PRUE follows her through the main
hall toward the dining room.)

PRUE HALLIWELL: What were you doing in Chinatown? I thought that you had an
interview in north beach.



[INT. HALLIWELL MANOR – DINING ROOM – NIGHT – CONTINUOUS]

(PIPER and PRUE walk into the dining room. PIPER stops in front of the wooden
box on the table next to the dozen red roses. She puts her grocery bag down.
PRUE listens to her.)

PIPER HALLIWELL: I did, but I went to Young Lee Market after my interview to
get ingredients for my audition recipe tomorrow.

(PIPER looks at the red roses, then slides the wooden box’s cover off.)

PRUE HALLIWELL: So that Wolfgang Puck knock-off didn't hire you today?

(She picks up the bottle of port from the wooden box.)

PIPER HALLIWELL: (sighs) No, but this just may get me the job.

(PIPER holds the bottle of port. PRUE grabs the bottle from her and reads the
label.)

PRUE HALLIWELL: Jeremy sent you port?

PIPER HALLIWELL: It's the ultimate ingredient for my recipe.

PRUE HALLIWELL: (smiles) Nice boyfriend.

(PIPER smiles and looks off to the side. Something on the table catches her
eyes and her face lights up with pleasant memories.)

PIPER HALLIWELL: Oh, my god! I don't believe it. Tell me that's not our old
spirit board.

(PRUE puts the bottle of port down on the dining room table. PIPER walks over
to the table and picks up the antique Spirit Board. In the center of the Spirit
Board is the triquetra symbol – a circle with three interlocking arcs in the
center. PIPER picks up the Spirit Board and flips it over.)

PRUE HALLIWELL: Yeah. I found it in the basement when I was looking for the
circuit tester.

(PRUE moves to stand behind her, looking over her shoulder as PIPER reads the
inscription.)

PIPER HALLIWELL: (reading)
"To my three beautiful girls.
May this give you the
light to find the Shadows.
The power of three will
set you free.
Love, mom."
We never did figure out what this inscription meant.

(PRUE turns and walks away tossing over her shoulder as she walks out into the
main hall.)

PRUE HALLIWELL: We should send it to Phoebe. That girl is so in the dark,
maybe a little bit of light would help.

PIPER HALLIWELL: You're always so hard on her.

(PRUE turns around to look at PIPER.)

PRUE HALLIWELL: Piper, the girl has no vision, no sense of the future.

PIPER HALLIWELL: I really think Phoebe's coming around.

PRUE HALLIWELL: Well, as long as she doesn't come around here, I guess it's
good news.

(PRUE turns around and leaves to get back to work. PIPER is suddenly very, very
quiet and looking very, very guilty about something.)

(Off PIPER, we see lightning flashing. Thunder continues to rumble outside.)

(Oh, well. PIPER picks up her grocery bag, sighs and heads to the kitchen.)

CLOSE ON SPIRIT BOARD

(As PIPER steps out of view into the kitchen, the pointer starts to move of its
own volition across the Spirit Board.)

FADE TO .
END OF TEASER.
ROLL TITLE CREDITS



FADE IN.

[EXT. SAN FRANCISCO (STOCK) – NIGHT]

[EXT. SAN FRANCISCO CITY BLOCK (STOCK) – NIGHT]

(Rain continues to fall. Sirens wail in the distance.)



SCENE #03:

[EXT. THE TALMADGE – FRONT ROAD – NIGHT]

(The rain is coming down hard. A black car pulls up in front of the already
busy building. It comes to a stop. The door opens and DETECTIVE ANDREW “ANDY”
TRUDEAU steps out of the car. He passes the crowd of curious onlookers and
heads for the building entrance. He quickly holds up his badge to the OFFICER
in the front and heads for the entrance.)

(DETECTIVE DARRYL MORRIS steps out of the building to meet him.)

DARRYL MORRIS: Well, it's about time!

ANDY TRUDEAU: I got here as soon as I heard. Another dead female, right? Mid
to late twenties?

DARRYL MORRIS: I've been paging you for over an hour, Trudeau. Where have you
been?

(DARRYL puts the door open and they both walk into the building.)



[INT. THE TALMADGE – LOBBY – NIGHT – CONTINUOUS]

(The lobby of the apartment building is filled with OFFICERS milling about and
other taking witness statements. As they walk, ANDY brushes the rain from his
coat.)

ANDY TRUDEAU: Oakland. Checking out a lead.

DARRYL MORRIS: What lead?

ANDY TRUDEAU: One that didn't go anywhere.

DARRYL MORRIS: You're avoiding my question.

(DARRYL stops walking for a moment. ANDY looks around the room.)

ANDY TRUDEAU: (lowers his voice) Because you don't want to know I went to an
occult shop.

(ANDY glances at his wrist watch. DARRYL scoffs, then takes off toward SERENA
FREDERICK’S apartment.)

DARRYL MORRIS: You hate me, don't you? You want to see me suffer.

(ANDY follows him.)

ANDY TRUDEAU: I want to solve these murders. Someone's after witches.

DARRYL MORRIS: (deliberately corrects) Women.

ANDY TRUDEAU: That woman up there, I'll bet she was killed with an athame.

(DARRYL stops and turns around to look at ANDY.)

DARRYL MORRIS: Wrong. Double-edged steel knife.

ANDY TRUDEAU: Right. That's an athame. It's a ceremonial tool. Witches use
them to direct energy.

DARRYL MORRIS: That woman didn't direct jack. She was stabbed. Clean and
simple.

(ANDY quickly glances around him to check if anyone’s listening. He leans
toward DARRYL, his voice lowered.)

ANDY TRUDEAU: Was she found near an altar?

DARRYL MORRIS: Yes.

ANDY TRUDEAU: Were there carvings on that altar?

(DARRYL doesn’t say anything; his silence says it all.)

DARRYL MORRIS: Just do me a favor. Don't ever follow a lead without checking
with me first.

ANDY TRUDEAU: You want to go to occult shops?

(DARRYL smiles at ANDY and playfully taps his fist to ANDY’S chin. They share
an exaggerated laugh.)

DARRYL MORRIS: Just get to work, ok?

(DARRYL turns and leaves. A lingering smile on his face, ANDY moves to follow
him but is stopped when someone calls out to him.)

JEREMY BURNS: (o.s.) Inspector Trudeau!

(ANDY turns around and sees JEREMY BURNS walking toward him with his notepad and
pen.)

JEREMY BURNS: Jeremy Burns, San Francisco Chronicle. You care to comment?

ANDY TRUDEAU: A woman was stabbed. Plain and simple.

(ANDY turns and starts to walk away again, but is stopped.)

JEREMY BURNS: (baiting) Well, that's the third one in three weeks.

(ANDY turns to look at JEREMY BURNS, but rather than say anything, he sighs and
leaves.)

(Lightning flashes and thunder rumbles outside.)

CUT TO:



SCENE #04:

[INT. HALLIWELL MANOR – LIVING ROOM / UTILITY ROOM -- NIGHT]

(PIPER stands near the large windows holding the curtain aside as she peers at
something outside. Time’s run out. She quickly turns and heads for PRUE. She
crosses the kitchen and heads out the back door to find PRUE standing in front
of the utility box fiddling with the circuit breakers.)

PRUE HALLIWELL: I don't get it. I have checked everything. There's no reason
why the chandelier should not be working.

PIPER HALLIWELL: You know how we've been talking about what to do with that
spare room? I think you're right. We do need a roommate.

(PRUE heads back to the kitchen pondering that thought.)

PRUE HALLIWELL: Well, we could rent out the room at a reduced rate in exchange
for help around the house.

PIPER HALLIWELL: Phoebe's good with a wrench.

(PRUE opens the kitchen drawer.)

PRUE HALLIWELL: Phoebe lives in New York.

PIPER HALLIWELL: Not anymore.

(PRUE closes the drawer.)

PRUE HALLIWELL: What?

PIPER HALLIWELL: She left New York. She's moving back in with us.

(PRUE sighs and heads out of the kitchen.)

PRUE HALLIWELL: You've got to be kidding.

PIPER HALLIWELL: Well, I could hardly say no.



[INT. HALLIWELL MANOR – DINING ROOM / MAIN HALL – NIGHT – CONTINUOUS]

(PIPER follows PRUE in through the dining room.)

PIPER HALLIWELL: It's her house, too. It was willed to all of us.

PRUE HALLIWELL: Yeah, months ago, and we haven't seen or spoken to her since.

(PRUE stops in the main hall and turns around to look at PIPER.)

PIPER HALLIWELL: Well, you haven't spoken to her.

PRUE HALLIWELL: No, I haven't. Look, maybe you've forgotten why I'm so mad at
her.

PIPER HALLIWELL: No, of course not, but she had nowhere else to go. She lost
her job, she's in debt.

PRUE HALLIWELL: And this is news? How long have you known about this anyway?

PIPER HALLIWELL: A couple of days. Maybe a week ... or two.

PRUE HALLIWELL: Thanks for sharing. When does she arrive?

(As if on cue, the front door opens and PHOEBE HALLIWELL walks in.)

PHOEBE HALLIWELL: Surprise!

(Wet from the rain, PHOEBE puts her umbrella down on the hallway floor. She
smiles and holds up the spare key as she makes her way toward them. PIPER looks
at PHOEBE and smiles.)

PHOEBE HALLIWELL: I found the hide-a-key.

PIPER HALLIWELL: Phoebe, welcome home!

PHOEBE HALLIWELL: Hello, Piper.

(PIPER and PHOEBE hug. PRUE turns around, arms crossed in front of her.)

PIPER HALLIWELL: It's so good to see you! Isn't it, Prue?

PRUE HALLIWELL: I'm speechless.

(Off screen, they’re interrupted by the cab outside beeping its horn.)

PHOEBE HALLIWELL: Oops. I forgot about the cab.

PIPER HALLIWELL: I'll get it.

(PIPER turns and smoothly lifts a black purse off the hallway side table. She
heads for the front door.)

PRUE HALLIWELL: Piper, that's my purse!

(PIPER waves to her and rushes toward the door. She grabs PHOEBE’S umbrella and
opens the door. The door closes behind her.)

PHOEBE HALLIWELL: Thanks. I'll pay you back.

(PRUE looks down at the backpack at PHEOBE’S feet.)

PRUE HALLIWELL: Is that all that you brought?

PHOEBE HALLIWELL: That's all that I own. That and a bike. (An awkward silence
falls between them.) Look, I know that you don't want me here--

(PRUE takes a step toward PHOEBE.)

PRUE HALLIWELL: (interrupts) We're not selling Grams' house.

PHOEBE HALLIWELL: Is that why you think I came back?

PRUE HALLIWELL: Look, the only reason Piper and I gave up our apartment and
moved back here is because this house has been in our family for generations.

PHOEBE HALLIWELL: No history lesson needed. I grew up here, too. So can we
talk about what's really bothering you?

PRUE HALLIWELL: No, I'm still furious with you.

PHOEBE HALLIWELL: So you'd rather have a tense reunion filled with boring chit-
chat and unimportant small talk?

PRUE HALLIWELL: No, but otherwise we won't have anything to talk about.

(PHOEBE cuts to the chase.)

PHOEBE HALLIWELL: I never touched Roger.

PRUE HALLIWELL: Whoa.

PHOEBE HALLIWELL: I know you think otherwise, because that's what that Armani-
wearing, Chardonnay-slugging trust-funder told you. But--

(The front door slams and PIPER’S headed toward them.)

PIPER HALLIWELL: (interrupts) Hey! I have a great idea. Why don't I make a
fabulous reunion dinner?

PRUE HALLIWELL: I'm not hungry.

(PRUE walks away in one direction. PHOEBE picks up her backpack and heads in
the other.)

PHOEBE HALLIWELL: I ate on the bus.

PIPER HALLIWELL: Ok, we'll try the group hug later.

CUT TO:



SCENE #05:

[INT. HALLIWELL MANOR – PHOEBE’S BEDROOM – NIGHT -- LATER]

(Open on the news report on the television set.)

REPORTER (WOMAN): (from tv) ... I’m in an apartment building on the corner of
8th and Franklin, where a murder occurred earlier this evening. The victim,
believed to be a nurse at county general, was reportedly stabbed to death in her
apartment. Police have yet to comment if the murder bears any resemblance--

(PHOEBE takes off her jacket and puts it on the bed. She walks over to the
mirror and looks at her reflection. There’s a knock at her bedroom door.)

PIPER HALLIWELL: It's me.

PHOEBE HALLIWELL: Come on in.

(The bedroom door opens; PIPER walks into the room dressed to go to sleep and
carrying a tray of food.)

REPORTER (WOMAN): (b.g. from tv) To the two other ritual killings that recently
occurred in the downtown area.

(PHOEBE smiles and crawls across the bed as PIPER walks toward her.)

PHOEBE HALLIWELL: God, I'm starving!

PIPER HALLIWELL: Figured.

REPORTER (WOMAN): (b.g.) Speculation and concern is running high in this
upscale neighborhood.

(PIPER turns and notices the news report. The camera is on JEREMY BURNS as he
interviews someone.)

PIPER HALLIWELL: Hey, that's my boyfriend Jeremy. What happened?

(PIPER puts the tray down on the bed.)

PHOEBE HALLIWELL: Some woman got whacked.

REPORTER (WOMAN): (b.g.) Back to you in the studio.

PIPER HALLIWELL: ‘Whacked’? Phoebe, you've been in New York way too long.

(PHOEBE grabs something off the tray, leans back on the bed and starts picking
at it. PIPER sits at the edge of the bed.)

PHOEBE HALLIWELL: Yeah. I should've stayed. Why didn't you tell Prue I was
coming back?

PIPER HALLIWELL: And risk her changing the locks? I don't think so. (PIPER
uses the remote and turns the television off.) Besides, you should've been the
one to tell her, not me.

PHOEBE HALLIWELL: Good point, Chicken Little. It's just so hard for me to talk
to her. She's always been more like a mother.

PIPER HALLIWELL: That's not her fault. She practically had to sacrifice ...

PIPER & PHOEBE (BOTH): Her own childhood to help raise us.

PHOEBE HALLIWELL: (chuckles) Yeah, yeah, yeah.

PIPER HALLIWELL: Hey, we were lucky she was so responsible. You and I had it
easy. All we had to do was be there.

PHOEBE HALLIWELL: Yeah, well, I don't need a mom anymore, you know? I need a
sister.

(As if on cue, PRUE turns the corner carrying a thick, warm blanket. She knocks
on the bedroom door.)

PRUE HALLIWELL: Hey. (She holds up the blanket.) This was always the coldest
room in the house.

(PRUE puts the blanket down on the dresser in the room.)

PHOEBE HALLIWELL: Thanks.

(She lingers as if to say more, then turns and leaves.)

CUT TO:



[EXT. SKY– NIGHT]

ON FULL MOON

(Lightning flashes across the sky.)



[EXT. THE TALMADGE BUILDING (STOCK) – NIGHT]



SCENE #06:

(Close on the triquetra tattoo on the woman’s right shoulder near her shoulder
blade.)



[INT. SERENA FREDRICK’S APARTMENT -- NIGHT]

(ANDY puts the sheet back down over the body.)

ANDY TRUDEAU: (to Darryl) It's the same tattoo that was on the other two
victims.

DARRYL MORRIS: So the murderer is killing cultists.

ANDY TRUDEAU: No, the murderer's on a witch hunt.

DARRYL MORRIS: Oh, yeah. He's five hundred years old and he lives in Salem.
Look around, Trudeau. Pentagrams, altars, offerings. All tools for a freak
fest.

ANDY TRUDEAU: They call them sabbats. This was hardly a freak fest. She was a
solitary practitioner. She practiced her craft alone.

DARRYL MORRIS: Hmmm ...

ANDY TRUDEAU: Let me ask you something, Morris. You believe in UFOs?

DARRYL MORRIS: No.

ANDY TRUDEAU: Neither do I, but do you believe there are people out there who
do believe in UFOs?

DARRYL MORRIS: Yes, but I think they're crazy.

ANDY TRUDEAU: Well, then why can't you believe there are people who believe
they are witches?

DARRYL: Look, all I know is if you don't stop talking about witches, I'm going
to start questioning you.

(Andy sighs.)

(Behind Darryl, Kit the Cat jumps up onto the counter and meows. Andy walks
over to Kit.)

DARRYL MORRIS: I'd stay away from that cat, Trudeau. It's been clawing the
crap out of everybody. (Andy reaches out and pets Kit.) See you at the car.

(Darryl walks out. Andy reaches for Kit and picks her up.)

ANDY TRUDEAU: Come here.

(Kit meows.)

(Almost to the door, Darryl turns around and finds Andy holding Kit. Andy
checks the tag around her collar and finds that it’s the same symbol as SERENA
FREDERICK’S tattoo.)

CUT TO:



SCENE #07:

[INT. MANOR – CONSERVATORY -- NIGHT]

(Phoebe and Piper sit at the table in the Conservatory. Phoebe and Piper are
playing with the Spirit Board.)

PHOEBE HALLIWELL: I'm glad to hear you and Jeremy are still together. Where
did you meet him anyway?

PIPER HALLIWELL: We met at the hospital cafeteria the day grams was admitted.
He was covering a story, and I was bawling over a bagel, so he handed me a
napkin.

PHOEBE HALLIWELL: How romantic.

PIPER HALLIWELL: As a matter of fact, it was. The napkin had his phone number
on it.

(Phoebe laughs as the pointer continues to move around the board.)

PIPER HALLIWELL: Stop pushing the pointer.

PHOEBE HALLIWELL: I'm not touching it.

PIPER HALLIWELL: You used to always push the pointer. More popcorn?

(Piper picks up the empty popcorn bowl and heads for the kitchen.)

PHOEBE HALLIWELL: Hey, I forgot your question.

PIPER HALLIWELL: (over her shoulder) I asked if Prue would have sex with
someone other than herself this year.

PHOEBE HALLIWELL: That's disgusting! (to the board) Please say yes.

(Phoebe looks at the Spirit Board. Suddenly the pointer moves to the letter
“A”.)

PHOEBE HALLIWELL: (gasps) Piper?

(The pointer suddenly moves and stops on the letter “T”.)

PHOEBE HALLIWELL: Piper, get in here!

(Piper hurries back to the Conservatory.)

PIPER HALLIWELL: What?

(Phoebe pulls her hands away from the pointer. Prue also walks into the room.)

PRUE HALLIWELL: What did you guys do now?

PIPER HALLIWELL: Me? I didn't do anything.

(Phoebe is freaking out.)

PHOEBE HALLIWELL: The pointer on the spirit board, it moved on its own. (Piper
smiles; Prue gives Phoebe a look.) I'm serious. It spelled A - T.

PIPER HALLIWELL: Well, did you push it?

PHOEBE HALLIWELL: No!

PRUE HALLIWELL: You always used to push the pointer.

PHOEBE HALLIWELL: My fingers were barely touching it. Look.

(She puts her fingers back on the pointer. It doesn’t move. Prue turns and
walks away. Piper starts to move when suddenly, the pointer moves away and back
to the “T”.)

PHOEBE HALLIWELL: Aah! It did it again. It moved!

(Prue and Piper turn back to Phoebe. Prue walks up to the table and looks at
the Board.)

PRUE HALLIWELL: It's still on the letter "T."

PHOEBE HALLIWELL: I swear it moved.

(Prue’s had enough. She turns and leaves the room completely. Piper watches
her go. Suddenly, the pointer moves. Phoebe lets go and stands up. Piper
turns back around and catches the pointer still moving across the board. It
stops on the letter “I”.)

PHOEBE HALLIWELL: There. Look.

(Piper takes a step closer to the table.)

PHOEBE HALLIWELL: You saw that. Right?

PIPER HALLIWELL: I think so, yeah.

PHOEBE HALLIWELL: I told you I wasn't touching it.

(The pointer starts moving again. Piper jumps.)

PIPER HALLIWELL: Prue! Can you come in here a sec?

(The pointer stops on “C”. Phoebe picks up an envelope and writes the letters
down.)

(Prue returns.)

PRUE HALLIWELL: Now what?

PHOEBE HALLIWELL: I think it's trying to tell us something.

(Phoebe flips the envelope over: ATTIC.)

PHOEBE HALLIWELL: "Attic."

(Lightning flashes and thunder rumbles outside. The chandelier lights go out.)

CUT TO:



SCENE #08:

[INT. MANOR – MAIN HALL / DINING ROOM – NIGHT -- CONTINUOUS]

(We hear them heading toward the main hall. Piper heads for the front door as
Prue follows her. Phoebe heads for the kitchen.)

PRUE HALLIWELL: Don't you think you're overreacting? We are perfectly safe
here.

PIPER HALLIWELL: Don't say that. In horror movies, the person who says that is
always the next to die.

PRUE HALLIWELL: It's pouring rain, there's a psycho on the loose, Jeremy's not
even home.

(Piper grabs her coat and puts it on.)

PIPER HALLIWELL: So I'll--I'll-- I'll wait in the cab till he gets home from
work.

PRUE HALLIWELL: That'll be cheap.

PIPER HALLIWELL: Prue, I saw that pointer move.

PRUE HALLIWELL: No. Look, what you saw was Phoebe's fingers pushing the
pointer. There's nothing in the attic. She's playing a joke on us.

PIPER HALLIWELL: We don't know that. We've lived in this house for months now,
and we've never been able to get that attic door open.

(Piper grabs the phone and turns it on. It’s dead.)

PIPER HALLIWELL: Great! Now the phone doesn't work.

PRUE HALLIWELL: Yeah. The power's out. Look, just go with me to the basement.
I need you to hold the flashlight while I check out the main circuit box.

(Phoebe walks out of the kitchen carrying a flashlight. She heads for the main
stairs.)

PIPER HALLIWELL: Phoebe will go with you to the basement, won't you, Phoebe?

PHOEBE HALLIWELL: No, I'm going to the attic.

PRUE HALLIWELL: No, you're not. We already agreed.

PHOEBE HALLIWELL: I am not waiting for some handyman to check out the attic,
and I'm certainly not waiting until tomorrow. I am going now.

(Phoebe heads upstairs. Prue turns and heads for the basement leaving Piper
alone in the foyer. Piper takes off after Prue.)

PIPER HALLIWELL: Prue, wait!

CUT TO:



SCENE #09:

[INT. MANOR – STAIRS TO ATTIC – NIGHT]

(Phoebe slowly climbs the attic stairs. She sees the closed door and walks up
to it. She grabs the door knob and tries to open it. It doesn’t budge. She
tries again and again. Finally, giving up, she turns and heads back down the
stairs.)

(The attic door creaks opens.)

(Phoebe stops and turns around. The attic door is wide open. She shines her
flashlight into the room and sees a large overstuffed chair along with other
things.)

(Phoebe makes a decision and heads into the attic.)



[INT. MANOR – ATTIC – NIGHT -- CONTINUOUS]

(Phoebe looks around the large, spacious room at the various pieces of furniture
stored away in this room she’s never been in before. At the far end of the
attic room, light from the ceiling above shines down on the trunk. It catches
her attention and she walks over to it.)

(Phoebe approaches the trunk. She puts her flashlight aside and opens it.
Inside is a large, green-colored antique book with the triquetra symbol etched
into its cover.)

(She reaches in and picks up the large book. She closes the trunk and sits on
it. She lifts up the book and blows the thick layer of dust off of the cover.
She opens the cover to the title page: The Book of Shadows, 1693.)

PHOEBE HALLIWELL: The Book of Shadows.

(She turns the page and hesitantly reads the writing inside.)

PHOEBE HALLIWELL:
"Hear now the words of the witches,
the secrets we hid in the night.
The oldest of gods are invoked here.
Great work of magic is sought.
In this night and in this hour,
I call upon the ancient power.
Bring your powers to we sisters three.
We want the power.
Give us the power."



[INT. MANOR – MAIN HALL – NIGHT – CONTINUOUS]

(The chandelier hanging from the foyer ceiling starts to jingle and bounce.
Unnatural blue light from above the ceiling shines down on the chandelier
causing it to shimmer, glimmer and shine allowing it to illuminate the entire
room. This is no ordinary light.)



FRAMED PHOTO ON TABLE TOP

(Camera slowly pushes in on a small photo of Piper, Prue and Phoebe standing in
front of the house. They are also standing about a foot apart from each other
in the photo.)

(The images on the photo glimmer and the figures of Piper and Phoebe magically
move closer in to Prue till they’re standing next to each other.)

(The images in the photo stop moving. The jingling stops.)



[INT. MANOR – ATTIC – NIGHT – CONTINUOUS]

(Prue and Piper walk into the attic surprising Phoebe.)

PRUE HALLIWELL: What are you doing?

PHOEBE HALLIWELL: Uh, reading ... an incantation.

(Phoebe stands up and carries the Book of Shadows over to them.)

PHOEBE HALLIELL: It was in this Book of Shadows. I found it in that trunk.

(Phoebe points toward the trunk. Prue takes the book from Phoebe.)

PRUE HALLIWELL: Let me see that.

(Prue opens the book and looks through it.)

PIPER HALLIWELL: How did you get in here?

PHOEBE HALLIWELL: The door opened.

PIPER HALLIWELL: Wait a minute. An incantation? What kind of incantation?

PHOEBE HALLIWELL: It said something about there being three essentials of magic
-- timing, feeling, and the phases of the moon. If we were ever going to do
this, now, midnight on a full moon -- is the most powerful time.

PIPER HALLIWELL: "This"? Do what "this"?

PHOEBE HALLIWELL: Receive our powers.

PIPER HALLIWELL: What powers? Wait. Our powers? You included me in this?

PRUE HALLIWELL: No, she included all of us. "Bring your powers to we sisters
three." It's a book of witchcraft.

(Piper takes the book from Prue.)

PIPER HALLIWELL: Let me see that.

(Prue glares at Phoebe.)

CUT TO:



SCENE #10:

[EXT. MANOR – SIDEWALK -- NIGHT]

(Outside in the rain, a hooded figure stands on the front walk staring at the
Halliwell Manor. Thunder rumbles.)

CUT TO:



SCENE #11:

[INT. MANOR – STAIRS TO FIRST FLOOR / MAIN HALL -- NIGHT]

(The girls head down stairs.)

PRUE HALLIWELL: Spirit boards, books of witchcraft. It figures all this freaky
stuff started when you arrived.

PHOEBE HALLIWELL: Hey, I wasn't the one that found the spirit board.

(They argue as they walk down the stairs.)

PRUE HALLIWELL: It wasn't my fingers sliding around on the pointer.

PIPER HALLIWELL: It doesn't matter because nothing happened, right, Phoebe,
when you did the incantation?

PHOEBE HALLIWELL: Well, my head spun around, and I vomited split pea soup. How
should I know?

PIPER HALLIWELL: Well, everything looks the same.

PHOEBE HALLIWELL: Yeah, you're right.

PRUE HALLIWELL: Yeah. The house still needs work.

PIPER HALLIWELL: Everything feels the same, so nothing's changed, right?

(They head into the sitting room. Piper walks past the side hallway table with
the framed photo of the three sisters –changed-- now standing close to each
other.)

(Camera lingers on the photo.)

CUT TO:



SCENE #12:

[EXT. HALLIWELL MANOR – SIDEWALK -- NIGHT]

(The hooded figure turns and walks away from the house. He walks down the wet
sidewalk in the pouring rain.)

(Lightning flashes and thunder rumbles.)

FADE OUT.



FADE IN.

[EXT. SAN FRANCISCO BRIDGE (STOCK) – DAY]



SCENE #13:

[EXT. MANOR – FRONT STAIRS -- DAY]

(Phoebe sits outside on the front steps. She nurses a cup of coffee in her
hands as she stares out in front of her. She’s still in her pajamas.)

(The front door opens and Piper steps out. She’s carrying her chef’s clothing
on hangers. She spots Phoebe.)

PIPER HALLIWELL: You're up early.

PHOEBE HALLIWELL: I never went to sleep.

PIPER HALLIWELL: Don't tell me you put on a black conical hat and spent the
night flying around the neighborhood on a broomstick.

(Piper sits next to Phoebe.)

PHOEBE HALLIWELL: (chuckles) The only broom I've ever had was kept in a closet
beside a mop.

PIPER HALLIWELL: So what were you doing?

PHOEBE HALLIWELL: Reading. Is Prue around?

PIPER HALLIWELL: She went to work early. Reading aloud?

PHOEBE HALLIWELL: No, but ... according to the Book of Shadows, one of our
ancestors was a witch named Melinda Warren.

PIPER HALLIWELL: And we have a cousin who's a drunk, an aunt who's manic, and a
father who's invisible.

(Piper stands up. Phoebe walks her to her car.)

PHOEBE HALLIWELL: I'm serious. She practiced powers. Three powers. She could
move objects with her mind, see the future, and stop time. And before Melinda
was burned at the stake, she vowed that each generation of Warren witches would
become stronger and stronger, culminating in the arrival of three sisters.

(Piper puts her clothes in the car.)

PHOEBE HALLIWELL: (continues) Now, these sisters would be the most powerful
witches the world has ever known. They are good witches, and I think we're
those sisters.

PIPER HALLIWELL: Look, I know what happened last night was weird and
unexplainable, but we're not witches, and we do not have special powers.
Besides Grams wasn't a witch, and as far as we know, neither was mom.

(Piper kisses Phoebe on her cheek.)

PIPER HALLIWELL: So take that, Nancy Drew.

(Piper slips into the car.)

PHOEBE HALLIWELL: We're the protectors of the innocent.

(Piper starts her car.)

PHOEBE HALLIWELL: (sing-song) We're known as "The Charmed Ones".

(Piper drives away leaving Phoebe standing in the middle of the street.)

CUT TO:



[EXT. MUSEUM OF NATURAL HISTORY (STOCK) – DAY]

ROGER: (v.o.) There's been a change of plans.



SCENE #14:

[INT. MUSEUM OF NATURAL HISTORY -- DAY]

(Roger and Prue walk into the room.)

PRUE HALLIWELL: Change of plans? Regarding the Beals Exhibition?

ROGER: The extra money that you helped raise through private donations has
sparked significant corporate interest. The Beals artifacts will now become
part of our permanent collection.

PRUE HALLIWELL: Well, that's terrific.

ROGER: Which is why the board wants someone a little more ... qualified to
handle the collection from now on. You look surprised.

PRUE HALLIWELL: I don't know why. I'm furious. Not only have I been on this
project since its inception, but I'm the curator who secured the entire
exhibition. (realizes) You're the person a little more qualified, aren't you?

ROGER: I could hardly say no to the entire Board of Directors, could I? But I
know you'll be happy for me. After all, what's good for me is definitely good
for you. Right, Miss Halliwell?

(He slips his pen into his shirt pocket.)

PRUE HALLIWELL: Miss Halliwell? Since when did we stop being on a first-name
basis? When we stopped sleeping together or when I returned your engagement
ring, Roger?

ROGER: I didn't realize the two were mutually exclusive, although I certainly
enjoyed one more than the other.

PRUE HALLIWELL: Bastard.

(Prue glares at him, turns and walks away.)

ROGER: Uh, Prue, wait!

(Prue stops and turns around.)

ROGER: I feel like I should say something, if only to avoid a lawsuit.

CUE SOUND: MAGIC

(The pen in his shirt pocket leaks ink. He looks down and notices. He removes
the pen from his pocket and looks at it. He removes the cover to look inside
and the blue ink sprays him in the face.)

ROGER: Oh.

CUT TO:



[EXT. CABLE CAR (STOCK) – DAY]

[EXT. RISTORANTE – DAY]



SCENE #15:

[INT. RISTORANTE – KITCHEN -- DAY]

(Piper stirs the sauce in the pot. She scoops it up and smells it. She walks
over to the counter and picks up the port and measuring cup. She pours the port
into the measuring cup.)

CHEF SHERIDAN MOORE: (french accent) Your time ...

(Piper’s eyes widen. Chef Moore steps into the kitchen and claps his hands
loudly.)

CHEF SHERIDAN MOORE: (French accent) ... ees up.

(Piper turns around. She’s not done yet. Chef Moore picks up the cards and
starts reading her planned menu.)

CHEF SHERIDAN MOORE: Let's see, uh ... "Roast Pork with Gratin of Florence
Fennel and Penne with a Port Giblet Sauce."

PIPER HALLIWELL: Uh, Chef Moore.

CHEF SHERIDAN MOORE: What?

PIPER HALLIWELL: Uh, the port ...

(She glances behind her. He picks up a fork and takes a sample of the pasta.)

CHEF SHERIDAN MOORE: Yes, without eet, the sauce ees nothing more than a salty
marinara, a recipe from a woman's magazine. Pfft!

PIPER HALLIWELL: I didn't have time for--

(He doesn’t want to hear it.)

CHEF SHERIDAN MOORE: (interrupts) ah--ah--ah!

PIPER HALLIWELL: But – but ...

(Chef Moore raises the fork to his mouth. In a panic, Piper waves her hands and
freezes him. Chef Moore is frozen in mid-pose, the fork mere inches from his
open mouth.)

PIPER HALLIWELL: Chef Moore? Ha ha.

(She waves her hand in front of his face. He doesn’t move.)

PIPER HALLIWELL: Chef Moore? Ha ha.

(Piper steps aside and waves at him again.)

PIPER HALLIWELL: Hello?

(She tries again. He doesn’t move.)

PIPER HALLIWELL: Hello?!

(She waves to him. Still, he doesn’t move.)

(The port.)

(Piper glances at the port and walks over to get it. She picks up the baster
and a sample of the port. She adds a few drops to the pasta on Chef Moore’s
fork.)

(Time resumes.)

(Chef Moore tastes the food, his eyes close in pleasure.)

CHEF SHERIDAN MOORE: Mmm! Zat ees very good. C'est magnifique, eh?

(Piper nods nervously.)

CUT TO:



SCENE #16:

[INT. MUSEUM OF NATURAL HISTORY – ROGER’S OFFICE -- DAY]

(Roger sits in his office, his back to the door. He’s on the phone as he ties
his tie. The camera moves in closer to him.)

ROGER: (to phone) It was my idea to spark corporate interest from private
donations. Besides, not only have I been with this project since its inception,
...

(Prue walks into the office.)

ROGER: (to phone) ... but we both know who really secured the entire exhibit.

(He turns around and sees Prue.)

ROGER: Prue.

PRUE HALLIWELL: I quit.

ROGER: (to phone) I'm going to have to call you back. (He hangs up and stands
up.) Ahem. Think about this, Prue.

PRUE HALLIWELL: Lousy job, lousy pay, and lousy boss. What's to think about?

ROGER: Your future, because, believe me, if you walk out with no notice, you
can kiss any references –

PRUE HALLIWELL: Don't threaten me, Roger.

ROGER: (sighs) You know me. Had to try. You're hurt, you're angry, your pride
is wounded, and I understand all that. That's why you can't see that I'm doing
you a favor.

PRUE HALLIWELL: Excuse me?

ROGER: I had to take the exhibit away from you. If I hadn't, the board would
have come in and--and put a total stranger in my place. Think about it, Prue.
I'm here for you, not some stranger. You should be thanking me, not leaving me.

PRUE HALLIWELL: Well, I'm not worried. I'm certain your intellect will make
quick work of the seventy-five computer discs and the thousands of pages of
research I left in my office.

ROGER: You're going to regret this.

PRUE HALLIWELL: Oh, I don't think so. I thought breaking up with you was the
best thing I had ever done, but this definitely tops that. (light-hearted
voice) Good-bye, Roger.

(Prue turns and walks out.)

ROGER: I hope there are no office supplies in your purse.

(Prue pauses in the hallway. She’s definitely heard that. Her fingers clench
and imaginary neck in front of her.)

(Inside the office, Roger’s neck tie tightens around his neck. He gasps and
gags as it gets tighter and tighter. He plops down on his chair and struggles
to open the desk drawer.)

(He grabs the pair of scissors in the drawer and uses it to cut the tie free
from his neck. He falls over backward off the chair.)

ROGER: What the hell was that?

CUT TO:



SCENE #17:

[EXT. SIDEWALK -- DAY]

(Piper’s on the phone in the nearby sidewalk phone booth. We hear the phone
ringing. She impatiently waits for Phoebe to answer.)

PIPER HALLIWELL: Phoebe, answer the phone. Answer the phone.

(The phone rings. Piper can’t wait anymore. She hangs up. She turns around
and exits the phone booth. Piper quickly turns around and finds Jeremy standing
in front of her.)

PIPER HALLIWELL: Aah! Oh god, Jeremy! You scared me.

JEREMY BURNS: I--I can see. I'm sorry. You ok?

PIPER HALLIWELL: Yeah, now I am. I really am. Um ... what are you doing here?

JEREMY BURNS: Well, I wanted to be the first one to congratulate you on your
new job.

PIPER HALLIWELL: You're always surprising me. How did you know?

JEREMY BURNS: We prepared your specialty, and anyone who's ever sampled your
work can truly see how talented you are.

PIPER HALLIWELL: I get so turned on when you talk about food.

JEREMY BURNS: (smiles) Hot dogs ... hamburgers ... (He pulls her closer to
him.) ... pizza.

(They kiss.)

CUT TO:



SCENE #18:

[EXT. ROAD -- DAY]

(Phoebe zooms past the camera on her bicycle. She rides down the street when
she’s hit with a premonition.)

(Quick premonition of: Phoebe sees two boys on roller skates riding down the
street.)

(Cut back to: Phoebe continues to ride her bicycle.)

(Back to Premonition: A car drives down the street. Phoebe sees the two kids
roller skating, unaware of the oncoming car. The car beeps its horn. The two
kids roller skate into the car and get hit.)

(End of premonition. Resume to present.)

(Phoebe’s riding her bike. She sees the car coming down the street toward her.)

(She clears the street and sees two boys on roller skates headed straight in the
path of the car.)

PHOEBE HALLIWELL: No! Wait!

(Phoebe rides her bike toward the two kids. She rides past the two kids. The
car horn beeps. Phoebe crashes her bike into the road.)

(The car swerves to avoid her and misses the two boys completely.)

(The boys see the car and stop to help Phoebe up.)

[KIT THE CAT]

(The cat turns and watches the scene.)

(The two boys and a third person runs out to the road to help Phoebe.)

(Kit meows.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HOSPITAL (STOCK) – NIGHT]



SCENE #19:

[INT. HOSPITAL -- NIGHT]

(Prue walks into the hospital and stops and the reception desk. The nurse there
is already helping a man.)

PRUE HALLIWELL: Hi, um, I'm looking for my sister, Phoebe Halliwell.

ADMITTING NURSE: One second, please. What's the name again?

ANDY TRUDEAU: Inspector Andrew Trudeau. Homicide. (Prue recognizes the name.)
Dr. Gordon's expecting me.

(The nurse turns and leaves for a moment.)

PRUE HALLIWELL: Andy?

ANDY TRUDEAU: Prue? (Prue smiles.) I don't believe it. How are you?

PRUE HALLIWELL: I'm good. How are you?

ANDY TRUDEAU: I'm, uh, fine. Just can't believe I'm running into you.

PRUE HALLIWELL: Yeah, I'm, uh, picking up Phoebe. She had some sort of
accident.

ANDY TRUDEAU: Is she going to be ok?

PRUE HALLIWELL: Uh, yeah, she'll be fine. Uh, what are you doing here?

ANDY TRUDEAU: Uh ... murder investigation.

(The nurse returns.)

ADMITTING NURSE: (to Prue) Your sister's still in x-ray, so it'll be another
fifteen minutes. (to Andy) Dr. Gordon's office is to the left and down the
hall. He's with a patient right now, but you're free to wait outside his
office.

ANDY TRUDEAU: Thank you.

PRUE HALLIWELL: Thank you.

ANDY TRUDEAU: Well ... it was good seeing you, Prue.

PRUE HALLIWELL: Yeah, you, too, Andy. Take care.

ANDY TRUDEAU: You know ... Phoebe's busy. Dr. Gordon's busy. Can I buy you a
bad cup of coffee while we wait?

PRUE HALLIWELL: Sure.

(Prue and Andy step away from the reception desk.)

PRUE HALLIWELL: So you're an inspector now.

ANDY TRUDEAU: What can I say? In any other city, I'd be called a detective.

PRUE HALLIWELL: Hmm, “Inspector”'s classier.

ANDY TRUDEAU: I'm liking it better already.

(They stop in front of the vending machines. He slips some coins into the
machine.)

PRUE HALLIWELL: Your dad must be so proud.

ANDY TRUDEAU: Third generation. You bet he's happy. How about you? You taking
the world by storm?

PRUE HALLIWELL: Well, I'm living back at Grams' house, and, as of an hour ago,
I'm looking for work.

ANDY TRUDEAU: Oh.

PRUE HALLIWELL: I heard you moved to Portland.

ANDY TRUDEAU: I'm back. You, uh ... still seeing Roger?

PRUE HALLIWELL: How did you know about him?

ANDY TRUDEAU: I know people.

PRUE HALLIWELL: You checked up on me?

ANDY TRUDEAU: I wouldn't call it that.

(He picks up the coffee and hands it to Prue.)

PRUE HALLIWELL: What would you call it?

ANDY TRUDEAU: Uh..."enquiring minds want to know"?

PRUE HALLIWELL: You checked up on me.

ANDY TRUDEAU: What can I say? I'm a detective.

(She looks at him and nods.)

CUT TO:



[EXT. BAR (STOCK) -- NIGHT]

(Establish.)



SCENE #20:

[INT. BAR (STOCK) -- NIGHT]

(Prue and Phoebe sit at the bar.)

PRUE HALLIWELL: The Chosen Ones, The Charmed Ones. Phoebe, this is insane.

PHOEBE HALLIWELL: Are you telling me that nothing strange happened to you
today? You didn't freeze time or move anything?

PRUE HALLIWELL: Roger took an exhibit away from me. All right, look, Phoebe, I
know that you think that you can see the future, which is pretty ironic--

PHOEBE HALLIWELL: Since you don't think I have one? That my vision of life is
cloudy, compared to your perfect hell? Even if you don't want to believe me,
just once can't you trust me?

PRUE HALLIWELL: Phoebe, I do not have special powers. Now where is the cream?

(The small container of cream slides across the bar toward Prue.)

PHOEBE HALLIWELL: Really? That looks pretty special to me.

CUE SOUND: MAGIC

(The cream magically drains out of the container and appears in Prue’s cup. As
she watches the cup fills, heats up and boils over.)

PRUE HALLIWELL: (shakes head) Oh, my god. So, um ... I can move things with my
mind?

PHOEBE HALLIWELL: With how much you hold inside, you should be a lethal weapon
by now.

PRUE HALLIWELL: I don't believe it.

PHOEBE HALLIWELL: This must mean that Piper can freeze time.

(Prue reaches over, grabs Phoebe’s drink and drains the entire glass in one
gulp.)

PHOEBE HALLIWELL: Are you ok?

PRUE HALLIWELL: No, I'm not ok! You've turned me into a witch!

PHOEBE HALLIWELL: You were born one. We all were. And I think we better start
learning to deal with that.

CUT TO:



[EXT. BAR (STOCK) -- NIGHT]

(Phoebe and Prue step out onto the sidewalk.)

PHOEBE HALLIWELL: When I was looking through the Book of Shadows, I saw these
wood carvings. They looked like something out of a Bosch painting. All these
terrifying images of three women battling different incarnations of evil.

PRUE HALLIWELL: Evil fighting evil, that's a twist.

PHOEBE HALLIWELL: Actually, a witch can be either good or evil. A good witch
follows a wiccan rede: "An it harm none, do what ye will." A bad witch, or a
warlock, have but one goal: To kill witches and obtain their powers.
Unfortunately, they look like regular people. It could be anyone anywhere.

PRUE HALLIWELL: And this has what to do with us?

PHOEBE HALLIWELL: Well, in the first wood carving, they were in slumber, but in
the second one, they were battling some kind of warlock. I think as long as we
were in the dark about our powers, we were safe. But not anymore.

(They continue to walk down the sidewalk.)

(Camera refocuses on Kit in the foreground. Kit meows, then jumps off her
perch.)

FADE OUT.



FADE IN.

[EXT. STREET (STOCK) – NIGHT]

(A taxi drives by.)

PIPER HALLIWELL: (v.o.) Has anything weird ...



SCENE #21:

[INT. TAXI (MOVING) -- NIGHT]

(Piper and Jeremy ride home from their dinner. Piper holds a container of left-
over Chinese food in her hand.)

PIPER HALLIWELL: ... or unexplainable ever happened to you?

JEREMY BURNS: Sure. It's called luck or fate. Some call it miracles. Why?
What happened?

PIPER HALLIWELL: Forget it. Even if I could tell you, you'd swear I was crazy.
Open your fortune cookie.

(She opens the container and hands Jeremy a fortune cookie. He takes it and
opens it.)

JEREMY BURNS: Ok. "Soon you will be on top."

PIPER HALLIWELL: It doesn't say that.

JEREMY BURNS: Yes, it does.

PIPER HALLIWELL: Let me see.

(She looks at it.)

JEREMY BURNS: Is that a bad thing?

PIPER HALLIWELL: Of the world. "Soon you will be on top of the world."

JEREMY BURNS: (to driver) Oh. Can you make a left on seventh, please?

PIPER HALLIWELL: Seventh? I thought we were going to your place.

JEREMY BURNS: We are, but you reminded me of something. I want to show you the
old bowing building. The view of the bay bridge -- it's amazing.

CUT TO:



SCENE #22:

[INT. DRUG STORE -- NIGHT]

(The Pharmacist takes the prescription from Phoebe.)

PHARMACIST: I'll be right back with your prescription.

PHOEBE HALLIWELL: Take your time.

PRUE HALLIWELL: Excuse me. Where do you keep the aspirin?

PHARMACIST: Uh, aisle 3.

PRUE HALLIWELL: Thank you.

(Prue steps into the aisle.)

PHOEBE HALLIWELL: Chamomile tea works great for headaches.

PRUE HALLIWELL: Not for this one, it won't.

(She looks for the aspirin.)

PHOEBE HALLIWELL: I'm not afraid of our powers. I mean, everyone inherits
something from their family, right?

PRUE HALLIWELL: Yeah, money, antiques, a strong disposition. That's what
normal people inherit.

PHOEBE HALLIWELL: Who wants to be normal when we can be special?

PRUE HALLIWELL: (getting frustrated) I want to be normal. I want my life to
be -- you know, isn't this aisle 3?

PHOEBE HALLIWELL: Well, we can't change what happened.
We can't undo our destiny.

PRUE HALLIWELL: Do you see any aspirin?

PHOEBE HALLIWELL: I see chamomile tea.

PRUE HALLIWELL: Look, I have just found out that I am a witch, that my sisters
are witches, and that we have powers that will apparently unleash all forms of
evil. Evil that is apparently going to come looking for us. So if you excuse
me, Phoebe, but I'm not exactly in a homeopathic mood right now.

PHOEBE HALLIWELL: Then move your headache out of your mind.

(Prue stares at Phoebe. A bottle of aspirin flies off the shelf and into Prue’s
hand.)

PHOEBE HALLIWELL: (delighted) You move things when you're upset.

PRUE HALLIWELL: This is ridiculous! I thought that you landed on your arm, not
your head.

PHOEBE HALLIWELL: You don't believe me.

PRUE HALLIWELL: Of course I don't believe you.

PHOEBE HALLIWELL: (crosses her arms) Roger.

(Three bottles of aspirin fly off the shelf.)

PHOEBE HALLIWELL: Now let's talk about dad and see what happens.

PRUE HALLIWELL: He's dead, Phoebe.

PHOEBE HALLIWELL: No, he's moved from New York, but he's very much alive.

PRUE HALLIWELL: He isn't to me. He died the day he left my mother.

PHOEBE HALLIWELL: What are you talking about? He's always been a major button
pusher for you. You're mad he's alive, you're mad I tried to find him, and
you're mad I came back. Dad-dad-dad-dad-dad-dad-dad.

(Half the supplies on the shelves in the aisle fall to the floor.

PHOEBE HALLIWELL: Feel better?

PRUE HALLIWELL: Lots.

PHOEBE HALLIWELL: The Book of Shadows said that our powers would grow.

(Prue looks at the mess in the aisle, then back at Phoebe.)

PRUE HALLIWELL: Grow to what?

(For the first time since Phoebe returned to Prue’s life, the two sisters share
a genuine moment of laughter.)

CUT TO:



[EXT. SAN FRANCISCO CITY LIGHTS (STOCK) – NIGHT]



SCENE #23:

[INT. WAREHOUSE -- NIGHT]

(Jeremy pushes the door open.)

JEREMY BURNS: Well, here we are.

(Piper peers into the dark, empty warehouse.)

PIPER HALLIWELL: I don't care how amazing the view is, I'm not going in there.

(Jeremy grabs her hand and urges her inside.)

JEREMY BURNS: Come on, come on. I have a surprise inside.



[INT. FREIGHT ELEVATOR – NIGHT -- CONTINUOUS]

(Jeremy opens the freight elevator and they step inside. He closes the wooden
doors and presses the button that would take them to the top of the building.)

JEREMY BURNS: You are going to love this. I bet you tell Phoebe and Prue the
moment you see them.

PIPER HALLIWELL: I never mentioned Phoebe came home.

JEREMY BURNS: Oops.

(Jeremy takes out an athame and points it at her. Piper takes a step back.)

PIPER HALLIWELL: What is that?

JEREMY BURNS: It's your surprise.

PIPER HALLIWELL: Jeremy, stop it. You're scaring me. Damn it, I'm serious!

JEREMY BURNS: So am I! See, I've waited six months for this. Ever since Grams
went to the hospital. You see, I've known for quite some time that the moment
the old witch croaked that all your powers would be released, powers that would
reveal themselves as soon as the three of you got together again. All that was
needed was for Phoebe to return.

PIPER HALLIWELL: It's you, isn't you? You killed all those women.

JEREMY BURNS: Not women. Witches.

PIPER HALLIWELL: Why?

(He holds out his right hand. Like matches, his fingertips light up.)

JEREMY BURNS: It was the only way to get their power.

(He puts his hand down.)

JEREMY BURNS: (demon voice) And now I want yours.

(Before her eyes, his face starts to change. Piper screams.)

PIPER HALLIWELL: Aah!

(He raises his athame to strike her. Piper panics and motions with her hands.
Jeremy freezes. Piper opens her eyes and gasps.)

(She steps out of his grip and looks around.)

PIPER HALLIWELL: Ok, think, stay calm, think, think, think. You gotta get out
of here. Ok, ok.

(Piper climbs out of the freight elevator. Before she can get out fully, Jeremy
unfreezes and grabs her ankle.)

PIPER HALLIWELL: Aah!

(Piper grabs onto the pieces of wood in front of her to stop him from pulling
her back into the elevator. She reaches out and latches onto a two-by-four.
She turns and swings clipping him in the face.)

JEREMY BURNS: Unh.

(He lets her go and falls against the elevator wall.)

(Piper scrambles to her feet and runs out of the warehouse.)

CUT TO:



SCENE #24:

[INT. MANOR – MAIN HALL -- NIGHT]

(Phoebe checks the answering machine.)

ROGER: (answering machine) Prue, it's Roger. I've decided to let you come
back to work. Seriously, let's talk.

(Prue walks in carrying Kit.)

PRUE HALLIWELL: Well, Piper's definitely not home unless she's turned into a
cat.

PHOEBE HALLIWELL: How did the cat get in?

PRUE HALLIWELL: I don't know. Someone must have left a window open. Uh, did
Piper leave a message?

PHOEBE HALLIWELL: She's probably out with Jeremy. Roger called.

PRUE HALLIWELL: Yeah, I heard.

(Phoebe and Prue share a disgusted look; Phoebe shakes her head.)

PIPER HALLIWELL: (o.s.) Prue! (cc) Phoebe!

(Piper runs into the house and closes the door behind her. She’s in a panic.)

PHOEBE HALLIWELL: In here. Piper?

(Having secured the front door, Piper heads for them.)

PRUE HALLIWELL: Oh, my god, what is it? What's wrong?

PIPER HALLIWELL: Quick! Lock the doors, check the windows. We don't have a lot
of time. Phoebe, in the Book of Shadows, did it say how to get rid of a --

PHOEBE HALLIWELL: Warlock?

PRUE HALLIWELL: Oh, my god.

CUT TO:



SCENE #25:

[INT. WAREHOUSE – FREIGHT ELEVATOR -- NIGHT]

(Jeremy comes to. He gets to his feet and picks up the athame from the floor.
He climbs out of the elevator and heads out of the warehouse.)

JEREMY BURNS: I'll get you, you bitch!




[EXT. SIDEWALK – NIGHT]

(Jeremy runs down the sidewalk and heads for the manor.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

SCENE #26:

[INT. HALLIWELL MANOR – LIVING ROOM – NIGHT]

(Piper stands near the large windows holding the curtain aside as she peers at
something outside. She turns and heads back to the main hall. Prue intercepts
her.)

PRUE HALLIWELL: I'm calling the cops.

PIPER HALLIWELL: And tell them what? That we're witches? That some freak with
powers beyond comprehension is trying to kill us?

(Prue reaches for the phone; Piper grabs her hand and stops her.)

PIPER HALLIWELL: Even if the cops did come, they'd be no match for Jeremy. And
we'd be next.

(Phoebe rushes down the stairs and stops near the top.)

PHOEBE HALLIWELL: I found the answer. It's our only hope. Come on.

(Phoebe heads back up the stairs; Piper and Prue follow.)

CUT TO:



SCENE #27:

[INT. HALLIWELL MANOR – ATTIC – NIGHT]

TOP VIEW DOWN:

(Prue, Piper and Phoebe sit around the low table in the center of a circle of
eight lit candles. Piper has the Book of Shadows open in front of her; on the
center of the table is the potions pot.)

PRUE HALLIWELL: Ok, we've placed the nine candles anointed with oils and spices
in a circle.

PIPER HALLIWELL: Wait! I only count eight!

PHOEBE HALLIWELL: Oh, you forgot this one.

(Phoebe holds out a small candle.)

PIPER HALLIWELL: A birthday candle?

PHOEBE HALLIWELL: I guess Grams was low on witch supplies.

(Phoebe lights the candle.)

PRUE HALLIWELL: All right, next we need the poppet.

PIPER HALLIWELL: Got it.

(Piper produces the poppet. Phoebe puts the candle in the potions pot.)

PRUE HALLIWELL: All right. You're set. Ready to cast the spell.

PIPER HALLIWELL: Ok, first I'll make it stronger.

(Piper takes a red rose and places it with the poppet.)

PIPER HALLIWELL: (recites)
Your love will wither and depart
from my life and my heart.
Let me be, Jeremy,
and go away forever.

(She pierces the rose thorns through the poppet, then places both the poppet and
the rose into the potions pot.)

PIPER HALLIWELL: Ok, the spell is complete.

PRUE HALLIWELL: Let's hope it works.

(They wait a moment, then watch as the white smoke bubbles and rises out from
the potions pot. The white smoke completely engulfs the rose and the poppet.
The rose flashes and disappears. The poppet burns in a burst of white flames.)

(Piper gasps.)

CUT TO:



SCENE #28:

[EXT. STREET – SIDEWALK -- NIGHT]

(As he walks along the sidewalk, Jeremy suddenly doubles over in pain. He cries
out in agony.)

(Rose thorns burse out from his back, neck, face and from all over his body.)

CUT TO:



SCENE #29:

[INT. MANOR – ATTIC – NIGHT -- CONTINUOUS]

(Thinking they’re through, Prue, Piper and Phoebe clean up the table and gather
the candles. Phoebe grabs the potions pot and has a premonition.)

(Quick flash of: A thorn-covered Jeremy looks around. End of promotion.
Resume to present.)

PHOEBE HALLIWELL: Wait! It didn't work!

(Prue and Piper, on their way out of the attic, stop and turn around.)

PIPER HALLIWELL: What?

PHOEBE HALLIWELL: The spell. It didn't work!

PRUE HALLIWELL: How do you know?

PHOEBE HALLIWELL: When I touched the pot, I had a flash. I saw Jeremy.

PRUE HALLIWELL: You touched the pot, and you saw him?

PHOEBE HALLIWELL: He's on his way here!

(They run out of the attic.)

CUT TO:



SCENE #30:

[INT. MANOR – MAIN HALL – NIGHT -- CONTINUOUS]

(They run down the stairs and reach the main hall. Prue reaches the front door
first. She opens it and turns around to urge Piper and Phoebe to hurry.)

PRUE HALLIWELL: Come on!

(Jeremy steps up to the front porch.)

(Phoebe and Piper scream. Prue turns around and sees Jeremy with the athame.
She backs up putting herself in front of her sisters, her arms out to the side
to protect them.)

JEREMY BURNS: Hello, ladies.

PRUE HALLIWELL: (warning) Piper ... Phoebe ...

(Prue squints and lifts her chin, using her power to push Jeremy back into the
door frame.)

PRUE HALLIWELL: Get out of here now!

(Piper and Phoebe run upstairs.)

(Jeremy holds his knife out at Prue.)

JEREMY BURNS: Cool parlor trick, bitch. Yeah, you were always the tough one,
weren't you, Prue? Huh?

(He slowly advances on her. Prue jerks her head again, using her power to slam
Jeremy back against the wall. He slides slowly to the floor.)

(Prue turns and heads upstairs to the attic.)

CUT TO:



SCENE #31:

[INT. MANOR – ATTIC – NIGHT -- CONTINUOUS]

(Prue runs up the stairs to the attic. Piper and Phoebe shut the door closed as
soon as she’s inside.)

PRUE HALLIWELL: Phoebe, you're right. Our powers, they're growing. Put as
many things against the door as you can.

(They push the dresser drawers up against the door.)

JEREMY BURNS: (demon voice through door) Can't keep me out, Prue. My powers
are stronger than yours.

(They run a ski through the frame sides to keep it in place.)

PIPER: Ok, let's go.

(Piper puts a chair on top of the dresser. They back up across the attic room
and wait.)

(Through the door, they hear Jeremy laugh evilly. The chair starts to slide off
the dresser.)

JEREMY BURNS: (demon voice through door) You don't think a chair can stop me.

(The chair flies off the dresser.)

JEREMY BURNS: (demon voice through door) You don't think a dresser can stop
me.

(The dresser starts to slide away from the door then moves quickly to the side.)

JEREMY BURNS: (demon voice through door) Have you witches figured it out?
Nothing! Nothing can keep me away!

(The ski slides away from the door.)

PIPER HALLIWELL: What do we do? We're trapped.

(Jeremy laughs. The sides of the door glow red, then explode. They scream.
Jeremy steps into the attic.)

PRUE HALLIWELL: Come on! We'll face him together! You remember the spirit
board?

PIPER HALLIWELL: The inscription on the back.

PRUE HALLIWELL: "The power of three will set us free."

(Jeremy flings his athame toward them, and shards of light shoot from the tip
toward the girls. It hits the floor at their feet bursting into a circle of
fire with them at its core.)

(They look around at the fire. Jeremy laughs. Prue gets an idea. She grabs
each of her sisters hands.)

PRUE HALLIWELL: Come on! We've got to stay together!

ALL:
The power of three will set us free. /
The power of three will set us free. /
The power of three will set us free. /

(The circle of fire disappears and is replaced by a whirling vortex swirling
around them.)

ALL:
The power of three will set us free. /

(They continue to chant. Outside the vortex, Jeremy steps closer to them,
gloating at them.)

ALL:
The power of three will set us free.

JEREMY: I am not the only one!

ALL:
The power of three will set us free.

(The chanting continues.)

JEREMY: I'm one of millions ... in places you can't even imagine, in forms you
would never believe. We are hell on this earth! You will never be safe, and
you will never be ... free!

(Jeremy raises his fists and lets out a roar. Suddenly, he explodes. The girls
turn their heads away.)

(The vortex disappears.)

(When they look back up, Jeremy’s gone.)

PRUE HALLIWELL: The Power of Three.

(They sigh with relief.)

FADE TO:



[EXT. HALLIWELL MANOR (STOCK) – MORNING]



SCENE #32:

[EXT. HALLIWELL MANOR – FRONT WALKWAY – DAY]

(Open on the morning paper on the front stairs. The front door opens and Prue
steps outside and picks up the paper.)

ANDY TRUDEAU: (o.s.) Good morning.

(We hear a car door slam. Prue looks up and sees Andy walk around the car
carrying a cup of coffee.)

PRUE HALLIWELL: Hey. This is a surprise.

(He chuckles and meets her halfway up the stairs.)

ANDY TRUDEAU: I've been feeling really guilty about that bad cup of coffee. I
just wanted to make it up to you.

PRUE HALLIWELL: So you brought me a good cup of coffee?

(She looks at the cup in his hand.)

ANDY TRUDEAU: Oh, this? No, this is mine. I, uh, just wanted to ask you out
to dinner. Unless, of course, you're afraid.

PRUE HALLIWELL: Afraid of what?

ANDY TRUDEAU: Oh, you know, having too good a time, stirring up old memories,
rekindling the old flame.

PRUE HALLIWELL: Hmm. Good point. Better not.

ANDY TRUDEAU: Ok. (beat) Friday night? Eight o’clock? (another beat) You
hesitated.

PRUE HALLIWELL: Yeah, but it's not what you think. It's just that my life has
gotten a bit complicated. Can I call you?

ANDY TRUDEAU: Sure.

(He gives her his card.)

ANDY TRUDEAU: Take care, Prue.

PRUE HALLIWELL: Good-bye, Andy.

(Andy turns and leaves. Piper and Phoebe exit the house. Phoebe’s holding Kit
in her arms.)

PIPER HALLIWELL: (to Phoebe) That was Andy. I told you I heard a man's voice.

(Kit meows.)

(They head down the front stairs toward Prue.)

PIPER HALLIWELL: What did he want?

(Prue turns around.)

PRUE HALLIWELL: He asked me out.

PIPER HALLIWELL: And you said...

PRUE HALLIWELL: Well, I started to say yes, but then I stopped. I wondered if
I could date. I mean, do witches date?

PIPER HALLIWELL: Not only do they date, but they usually get the best guys.

(Andy pauses near his car door. He turns around and sees Phoebe with Kit.)

(Kit meows.)

(He recognizes the cat. He puts on his glasses and heads for his car.)

PRUE HALLIWELL: You two won't be laughing when this happens to you. Believe
me, everything'll be different now.

PHOEBE HALLIWELL: Well, at least our lives won't be boring.

PRUE HALLIWELL: But they'll never be the same.

PHOEBE HALLIWELL: And this is a bad thing?

PRUE HALLIWELL: No, but it could be a big problem.

(Prue heads back to the house. Piper and Phoebe follow.)

PIPER HALLIWELL: Prue's right. What are we going to do?

PHOEBE HALLIWELL: What can't we do?

PRUE HALLIWELL: We are going to be careful. We're going to be wise. And we're
going to stick together.

PIPER HALLIWELL: This should be interesting.

(Phoebe and Piper disappear into the house. Prue steps across the threshold and
looks at the open door. With a smile and a look, she telekinetically shuts the
door.)

FADE TO BLACK.
1.02 - I’VE GOT YOU UNDER MY SKIN by Mitchell
FADE IN.

[EXT. QUAKE – FRONT -- NIGHT]



[INT. QUAKE – RESTAURANT -- NIGHT]

(The restaurant is packed – people are coming and going. It’s very good for
business. Phoebe nearly bumps into a couple just entering the restaurant.)

PHOEBE: Oops! Sorry.

(She passes by them and goes searching for Piper. Piper walks out of the
kitchen carrying a bill. She turns and starts walking around the bar to the
cash register.)

PIPER: I'm going to kill him.

PHOEBE: Who?

PIPER: Chef Moore. He of the phony accents hires me and then quits to open his
own place? Thank you very much!

PHOEBE: I don't see any customers complaining.

PIPER: (angry) Hello. I am not a restauranteur. I am a chef. I have no idea
what I'm doing. Are you wearing my dress?

(Brittany Reynolds joins them.)

PHOEBE: Hey, Brittany.

BRITTANY REYNOLDS: Hey.

PHOEBE: Ooh, I love that tattoo.

(Phoebe points to the tattoo of an angel on the back of her right hand.)

BRITTANY REYNOLDS: Oh, thanks.

PHOEBE: I thought it was illegal to get them on your hand because of the veins.

BRITTANY REYNOLDS: In the states, yeah. I got it done in Tahiti.

(Piper hands Brittany back her change.)

BRITTANY REYNOLDS: Oh, keep the change, Piper. I got to jam.

PIPER: Ok. Say hi to Max.

BRITTANY REYNOLDS: Ok.

(Brittany leaves. Piper hands the billfold to the waitress.)

PIPER: Table nine, please.

(Phoebe looks over to a lone man sitting at the bar. She has a premonition of
him getting up and walking over to her. End of premonition.)

PIPER: Now back to my dress.

PHOEBE: Ok. See that poster boy to your left?

(Piper turns to look.)

PHOEBE: Just glance. Don't be obvious.

PIPER: I approve. Who is he?

PHOEBE: His name is Alec, and he's about to come over and ask if he could buy
me a martini.

PIPER: How do you know?

PHOEBE: Let's just say I solved the age-old problem of who approaches whom
first. I had a little premonition.

PIPER: What? Phoebe, you're not supposed to use your powers. We agreed.

PHOEBE: No. You and Prue agreed. I abstained. Besides it's not like I can
control it. It just popped into my head.

PIPER: That's the whole point. None of us can control our powers. That's what
scares me. I could panic and freeze the entire restaurant.

PHOEBE: Shh! Here he comes.

(Alec approaches Phoebe.)

ALEC: Hi.

PHOEBE: Oh, hello.

ALEC: I, uh, was just sitting over there wondering if I could buy you a martini
or something?

PHOEBE: Martini? Hmm. Imagine that. I would love one. It's Alec, right?

ALEC: Yeah! How'd you know my name?

PHOEBE: Wild guess. Do you want to grab a table?

ALEC: Yeah.

(Before she leaves, Piper looks at Phoebe.)

PIPER: Prue is gonna be pissed.

PHOEBE: News flash. Stop worrying. You'll get wrinkles.

(Phoebe and Alec head for their table.)

CUT TO:



[EXT. QUAKE -- PARKING LOT -- NIGHT]

(Brittany walks over to her car. Her car beeps as she unlocks it. She reaches
her car and stops. She looks around. She gets into her car and closes the
door.

[INT. CAR (PARKED) – CONTINUOUS]

(She adjusts the rear-view mirror and checks her lipstick. She re-adjusts the
rear-view mirror and sees the reflection of a man sitting in the back seat.)

(She turns around and screams.)

[EXT. QUAKE -- PARKING LOT – NIGHT -- CONTINUOUS]

(Camera pulls back from the car as we continue to hear her scream.)

CUT TO:



[EXT. SAN FRANCISCO CITY – EARLY MORNING]



[INT. TRUDEAU RESIDENCE – EARLY MORNING]

(Andy’s naked and asleep face-down on the bed. Camera readjusts and we see a
shirt covering a pair of legs. Prue’s getting dressed quietly.)

(She picks up her jacket and turns back to look at Andy on the bed sleeping.
She picks up her bag and slowly makes her way to the door.)

(She pauses and Andy groans and shifts on the bed. He settles back on the bed.
She starts to move toward the door when the alarm starts ringing. It’s 5:45
AM.)

(Prue glances at the alarm clock and sends it flying out the open window. Prue
rushes out of the apartment.)

(Andy stirs and reaches for the alarm. It’s not there. He gets up and looks
around.)

ANDY TRUDEAU: Prue?!

(She’s not there. He settles back on the bed and sighs.)

FADE OUT TO
END OF TEASER.
ROLL TITLE CREDITS.

(COMMERCIAL SET)



FADE IN.

[EXT. VARIOUS SAN FRANCISCO CITY (STOCK) – DAY]

[Music: “Torn”, Natalie Imbruglia]

[EXT. HALLIWELL MANOR (STOCK) – DAY]



[INT. MANOR – KITCHEN -- DAY]

(Kit jumps up onto the counter and meows. The television set is on and playing
a documentary on witches.)

NARRATOR: Proving that they were the devil's disciples was no easy task for the
court of the Salem witch trials.

(Piper picks up her bowl as she watches tv. She whisks the eggs absently.)

NARRATOR: But a remarkable event occurred. One of the accused, Mary Estee, ran
for the church to profess her innocence. Suddenly there was a clap of thunder,
and she was struck by a bolt of lightning. In the court's mind, god himself had
spoken, forbidding the evil witch from even entering his house. The witches
were subsequently convicted of heresy --

(Prue walks into the kitchen.)

PRUE: Good morning.

PIPER: Good morning.

NARRATOR: (o.s.) Burned alive at the stake.

(Prue opens the fridge to get something out.)

PRUE: What are you watching?

(Piper turns the television off.)

PIPER: Nothing. Just a show.

PRUE: About witches? Are you worried that we're going to be burned at the
stake?

(She pours herself a drink.)

PIPER: Ha! Yeah, right. By the way, um, Andy called.

PRUE: When?

PIPER: While you were in the shower.

PRUE: What did you tell him?

PIPER: That you were in the shower. Bad date?

PRUE: No. No, no. Not at all. It was great. You know, dinner ... movie ...
sex.

PIPER: Excuse me? On your first date? You sleaze.

PRUE: It wasn't exactly our first date, Piper.

PIPER: High school doesn't count. That was last decade. Spill it.

(With a glare, Prue picks up her drink and walks out of the kitchen.)

PIPER: Ooh. That bad, huh?

(Piper follows her.)

PRUE: No. Actually that good.



[INT. MANOR – DINING ROOM – CONTINUOUS]

(Prue stops at the dining table and picks up the paper.)

PRUE: It was -- well, we were amazing, but that's not the point. I told myself
that things would be different, that we would take it slow. It just shouldn't
have happened. That's all.

(Phoebe bounds down the stairs.)

PHOEBE: What shouldn't have happened?

PIPER: Prue slept with Andy.

PHOEBE: Hello!

PRUE: Thanks a lot, mouth.

PHOEBE: Wait. You were going to tell her but not me? Family meeting.

PRUE: Speaking of last night, what time did you end up rolling in?



[INT. MANOR – CONSERVATORY – CONTINUOUS]

(Prue turns and heads for the Conservatory.)

PHOEBE: No, no, no. Do not change the subject.

PRUE: Don't dodge the question.

PIPER: It must've been at least after three.

(Prue sits down at the table.)

PHOEBE: I must still be on New York time.

PRUE: Actually that would make it later.

PIPER: Or maybe you and Alec –

PRUE: Who's Alec?

PIPER: Some hottie she hit on in the restaurant.

PHOEBE: Excuse me. Revisionist history. He hit on me. Remember the whole
vision thing?

PRUE: Vision thing? Please tell me you didn't use your powers.

(Phoebe looks away. Prue turns and looks at Piper.)

PIPER: Don't put me in the middle.

PRUE: I'm not. You were born in the middle. Look, I thought that we agreed.

PHOEBE: No, we didn't. You agreed. You laid down the law. There's a
difference.

PRUE: Look, Phoebe, our powers are not toys. We have to be careful. They
could get us killed.

PIPER: She's right. We don't want any more warlocks finding us.

PHOEBE: Look, it was just a lousy premonition. That's all. Nobody died.
Besides, you guys can't control your powers any better than I can. And F.Y.I.:
Nothing happened last night. At least nothing I'm ashamed of.

(Phoebe turns to leave, but Prue stops her.)

PRUE: There's another reason we have to be careful. Andy thinks someone's
abducting women in our area.

PHOEBE: Abducting women? What do you mean?

PRUE: It means that warlocks aren't the only evil that we have to watch out
for. And F.Y.I., I'm not ashamed of anything.

(Phoebe smiles at her. Prue turns to her paper.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. POLICE STATION BUILDING (STOCK) -- DAY]



[INT. POLICE STATION – BULLPEN – DAY]

(Andy is looking at a photo of Brittany Reynolds. He takes a sip of coffee and
hands the photo to Darryl. We find that Max, Brittany’s boyfriend, has reported
her missing.)

MAX JONES: She didn't come home at all last night. That's not like Brittany,
believe me.

DARRYL MORRIS: Tell me, Max, what time did she leave to go to quake?

MAX JONES: Eight. Eight-thirty. She called around ten, said she was headed
home, but ... I'm really worried.

ANDY TRUDEAU: Chances are she'll show up. They usually do. In the meantime,
the best thing you can do right now is to go home in case she calls, all right?
(Andy stands up.) Can you do that?

(They shake hands.)

MAX JONES: Yeah. Ok. Thanks.

(Max leaves. Andy walks over to Darryl.)

ANDY TRUDEAU: The fourth one this week.

DARRYL MORRIS: Yeah, well, they can't just be disappearing into thin air. You
do something to your hair?

ANDY TRUDEAU: Well, at least we can narrow down his feeding pool to the area
around the restaurant.

DARRYL MORRIS: Yeah, well, better tell your sweetie to lock the door tonight.

(Darryl pushes past Andy.)

CUT TO:



[EXT. CHURCH BUILDING (STOCK) -- DAY]

(Church bells ring.)



[EXT. FRONT OF CHURCH – DAY]

(Piper sits in her parked car in front of the church. She stares at the
church’s closed door chewing on her lower lip. Obviously, something’s bothering
her.)

(Someone knocks their umbrella handle against the car door. Piper jumps.)

PIPER: Oh, Pastor Williams. Ooh, you scared me.

PASTOR WILLIAMS: I'm sorry. Aren't you a little early? Dropping off the
unused food from your restaurant. I thought you weren't coming by till this
afternoon.

PIPER: Yeah, I am. I mean, I'm coming back. Later ... with everything.

PASTOR WILLIAMS: Great. So what are you doing here now?

PIPER: Nothing really. Just, uh ... just thinking.

PASTOR WILLIAMS: About?

PIPER: Mary Estee.

PASTOR WILLIAMS: Who?

PIPER: Oh, it's just this stupid documentary I saw. By the way, is it true
that, uh, evil beings can't go into a church without being ... ksssh!

(She motions with her hands as if being hit by lightning.)

PASTOR WILLIAMS: Evil beings? You mean, like, what, vampires?

PIPER: (laughs) Vampires. Ha! No, I was thinking more along the lines of ...
witches.

PASTOR WILLIAMS: Witches, huh? Let me put it to you this way. I sure wouldn't
want to risk it.

PIPER: Hmm.

PASTOR WILLIAMS: I got to go. I'll see you later?

PIPER: Yeah. Right. Absolutely.

(Pastor Williams stands up and leaves. Piper watches as he opens the church’s
front doors and steps inside. The doors close.)

(Piper steps out of her car. She heads over to the church. She looks around
and gets closer to the front doors. She slowly reaches out a hand to grab the
door handle.)

(Lightning cracks causing her to pull away and jump. Piper turns and leaves.)

(The church bell rings.)

CUT TO:



[EXT. BUCKLAND AUCTION HOUSE BUILDING (STOCK) -- DAY]



[INT. BUCKLAND AUCTION HOUSE – HALLWAY TO ELEVATOR – DAY]

(The elevator bell rings. Prue runs to catch it.)

PRUE: Hold the doors!

(She squeezes into the elevator and effectively drops her bag causing her
portfolio to open.)

PRUE: Oh, damn it. Can you, uh, push 12, please?

(Prue kneels to pick everything up.)

REX BUCKLAND: Uh-huh. (He pushes the button.)

(The elevator doors close.)

REX BUCKLAND: (o.s.) Here. Let me help.



[INT. BUCKLAND AUCTION HOUSE – ELEVATOR (MOVING) – DAY – CONTINUOUS]

(He helps her pick up her things and notices her index card notes.)

REX BUCKLAND: Eighteenth century french art. You work at the auction house
upstairs?

PRUE: No. Just interviewing, if I ever get there on time. Don't want to get my
King Louies mixed up.

(Prue’s phone rings. She answers it.)

PRUE: (to phone) Hello. (She turns away for a modicum of privacy.) Uh ...
Andy, how did you get this number?

INTERCUT WITH:

[INT. POLICE STATION – BULLPEN – DAY]

(Andy sits on the edge of his desk.)

ANDY TRUDEAU: (to phone) I'm a detective, remember? Prue, I think we should
talk.

PRUE: (to phone) Yeah, you know, it's just that I'm really late for this
interview.

ANDY TRUDEAU: (to phone) I didn't mean for what happened last night to happen.
You have to know that.

PRUE: (to phone) Of course, you know, I'm totally wrong for it anyway. Stuffy
old auction house. Don't know why they even called.

ANDY TRUDEAU: (from phone) Come on, Prue, listen to me. We've known each
other for a long time. We just couldn't help ourselves. It's nothing to be
ashamed of.

PRUE: (to phone) I know, Andy.

ANDY TRUDEAU: (to phone) All we did was make love.

PRUE: (to phone) I know, Andy.

ANDY TRUDEAU: (to phone) Then talk to me. Help me out here, Prue. Why'd you
sneak out like that?

PRUE: (to phone) I did not sneak -- out. Right? You were asleep. I didn't
want to wake you. And I did write you a note. I just didn't leave it.

(The phone is clouded with static.)

PRUE: Hello?

(The phone disconnects. Andy hears the dial tone and hangs up.)

PRUE: (to phone) Hello?

(Prue turns around and finds the elevator is filled with men who have just
overheard her conversation. They clear their throats. Rex glances down at
Prue. Though he doesn’t say anything, it’s pretty evident that they all know
what’s going on. Prue puts her phone away.)

(The elevator stops on the seventh floor, the bell rings and the door starts to
open. Prue glances at the elevator panel and sees that there are four more
stops to make before reaching her floor. She’s going to be late for the
interview.)

(Prue looks at the elevator door and squints her eyes, forcing it to close.)

(The man who wanted to get off on Floor 7 steps up to the door only to have it
close on him.)

MAN: Hey! (He punches the elevator button.) It missed my floor.

(The elevator continues straight up to floor 12, missing the four stops in
between. The men in the elevator press the elevator buttons, but the elevator
continues to head straight up.)

(The elevator stops on floor 12.)

REX BUCKLAND: That was strange. Well, lucky you, huh?

(The doors open and Prue steps out.)

PRUE: Yeah, I'm Charmed, all right.

(Rex stands in the elevator and watches her go.)

CUT TO:



[EXT. QUAKE (STOCK) – DAY]

(A car pulls up in front of the curb and parks.)



[INT. QUAKE – MAIN DINING ROOM -- DAY]

(Phoebe walks up to a customer and hands him the bill.)

PHOEBE: Here you go. Thanks.

STEFAN: Thank you.

(She turns to leave, but recognizes him.)

PHOEBE: Excuse me, but aren't you Stefan?

STEFAN: Yes. I'm sorry. Do we know each other?

PHOEBE: Oh, highly doubtful. I'm just familiar with your work, like everyone
else in the world.

STEFAN: Well, I don't know about that, but I'll always take a compliment from a
gorgeous woman.

PHOEBE: Well, I'm sure your girlfriend must appreciate that.

STEFAN: (whispers) She's not my girlfriend.

PHOEBE: Then why are you whispering?

(Stefan’s companion gets up and leaves.)

RED-HAIRED WOMAN: Excuse me.

PHOEBE: Oh. Oh, ok. Well, it was really nice meeting you.

(Phoebe turns to leave; he stops her.)

STEFAN: You, too. Listen, listen. I'm in town for a couple of days doing a
porsche shoot.

(He takes out a pen and writes his info on the napkin.)

STEFAN: If you're interested, stop by. I would love to photograph you. You do
model, don't you?

PHOEBE: In my dreams, yeah.

(Phoebe smiles and looks down at the napkin he handed her. It reads:
78 WATERFRONT BLVD. )

(Thrilled, she takes the napkin and leaves.)

(Piper rushes up to her hand grabs her hands.)

PIPER: A driver just called in sick. Can you do a quick delivery?

PHOEBE: Sure. Is that guy at the bar staring at me?

(Piper glances at the bar.)

PIPER: A lot of guys at the bar are staring at you.

PHOEBE: The one at the far end: Tall, dark, brooding, very New York.

(No time for this, Piper glances quickly at the bar again.)

PIPER: Sorry. No.

(Piper rushes off. Phoebe turns back to look and finds the chair empty,
Stefan’s gone.)

(Phoebe looks back at the napkin in her hand.)

CUT TO:



[INT. BUCKLAND AUCTION HOUSE – 12TH FLOOR -- DAY]

(Rex Buckland’s Assistant, a tall blonde-haired woman, walks Prue through the
floors under construction on their way to Rex Buckland’s office.)

ASSISTANT: He's seen your resume and is very impressed. I have to tell you
he's already blown out six other applicants.

PRUE: I still don't know why he's interested. I never even applied.

ASSISTANT: He likes what you did at the museum, even though your ex-boss
trashed you. I mean, what's Roger got against you anyway?

PRUE: Hard to say, unless shattering his male ego counts for something. He's
also my ex-fiance.

ASSISTANT: Got it. You ready?

PRUE: Yeah.

(The Assistant open the door and they walk inside.

CUT TO:



[INT. BUCKLAND AUCTION HOUSE – REX BUCKLAND’S OFFICE – DAY -- CONTINUOUS]

(Rex Buckland turns around and Prue recognizes him as the man in the elevator.)

ASSISTANT: Rex Buckland, this is Prue Halliwell interviewing for the new
specialist.

REX BUCKLAND: Actually, we've already met. Welcome to my stuffy, old auction
house.

(He shakes her hand. Prue clears her throat.)

CUT TO:



[EXT. PHOTOGRAPHY BUILDING (STOCK) -- DAY]

(Rock music blares.)



[INT. STEFAN’S STUDIO – DAY]

(On the wall is a large photo of a Porsche. The camera is set up on a tri-pod.
Stefan carries a lit candle. His hand is thin and wrinkly with age-spots
discoloring his skin. He sets the candle in the holder.)

(On the table is a woman, her arms and legs strapped securely to the corners.
We notice that this is the red-haired woman from Quake. She looks up at Stefan
as he walks slowly toward her, his face obscured by the shadow off-set by the
colored screen behind him.)

WOMAN: (begging) Please, I beg you, don't hurt me! Let me go! Please,
Stefan!

(As he steps closer to the light, we see that he’s really, really old. His hair
is white, straggly and sparse. His skin is old and wrinkly.)

STEFAN: Javna.

(His eyes glow red.)

WOMAN: Oh, my god! Wait!

(Beams of light shoot out from his eyes to her eyes. She screams. The beam of
light sucks out all of her youth and turns her into an old woman.)

WOMAN: (mumbling)

(Javna is then transformed back into the young, dark, brooding Stefan.)

(He picks up the ornate hand mirror and looks at his reflection. He smiles and
laughs.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. BUCKLAND AUCTION HOUSE BUILDING (STOCK) – DAY]



[INT. BUCKLAND AUCTION HOUSE – REX BUCKLAND’S OFFICE – DAY]

(Rex Buckland interviews Prue.)

REX BUCKLAND: How many exhibitions did you Correct?

PRUE: Seven, including the Carlton Estate. It should be on my resume.

REX BUCKLAND: Franklin Carlton? That's quite a coup.

(He sits down.)

PRUE: Well, I tend to be on the persistent side. I usually get what I want.

REX BUCKLAND: I don't doubt it. It's a shame, though, that you think you're --
how did you put it in the elevator? Totally wrong for the job?

PRUE: That was a private phone conversation.

REX BUCKLAND: Hardly.

(Prue picks up her bag and stands up.)

PRUE: You called me, remember? Not the other way around. And while we're at
it, I think it's incredibly unfair of you to eavesdrop on a private call you're
right. And then misjudge me based entirely on what you thought you heard.

REX BUCKLAND: You’re right. I apologize. It was unfair of me. (He stands up
and walks up to her.) I'm new to all this. I've only just taken over the house
from my father, so I'm very protective of it. But, you know, I liked what you
did at the museum. You're attracting a younger market, and it's totally
consistent with what I want to do here. It's just that, all these
qualifications aside, it's very important to me that whoever I hire truly wants
to be here.

(The intercom buzzes.)

REX BUCKLAND: Yeah.

ASSISTANT: (from intercom) Excuse me, Mr. Buckland. Your next interview is
waiting. Should I reschedule him?

REX BUCKLAND: No. I think we're done here.

(The intercom clicks off.)

PRUE: Well, thanks for your time.

REX BUCKLAND: Mm-hmm.

(Prue heads for the door and stops. She turns around.)

PRUE: My area of expertise ranges from Ming Dynasty to a Mark McGuire rookie
baseball care. You name it, I can identify it. Now, I may not have sought this
job originally, but I do want it. And I'm definitely right for it.

(Prue turns and leaves.)

(Rex smiles, impressed.)

CUT TO:



[EXT. CHURCH BUILDING (STOCK) -- DAY]



[EXT. CHURCH – OUT FRONT — DAY]

(Phoebe climbs out of the van as Piper secures the brakes.)

PHOEBE: You would think after last night, Prue would be a lot mellower. I
mean, how long had it been? Six months, and she's worse.

(They walk to the back of the van and open it to get the food out. Piper holds
the clip boards while Phoebe gets the food. The Church Woman is there to help.)

PIPER: It's just so un-Prue-like to have sex on the first date. Everything's
changing since we've become ... (Piper glances at the Church Woman) ... you
know.

PHOEBE: Come on. You never had sex on the first date?

PIPER: No. Have you? (Phoebe smiles.) Don't answer that.

PHOEBE: Well, it's not a regular thing. (The Church Man steps up to the back
of the van.) Of course, now that I'm a witch, I can see if it's gonna be any
good or not before it actually--hi.

(Phoebe turns and hands him the food tray. She smiles and waves. He leaves.)

PIPER: What's the matter with you? Are you out of your mind?

PHOEBE: Come on. It's not like he took me literally.

PIPER: You don't know that. He could have. I just think we need to be extra
careful ... in bed and out.

PHOEBE: Ok, well, there's careful and then there's paranoid. Do you want to
talk about it?

PIPER: Talk about what?

(Pastor Williams walks up to the back of the van.)

PASTOR WILLIAMS: Hey, Phoebe! I didn't know you were back in town.

PHOEBE: Hey!

(She gives him a hug.)

PASTOR WILLIAMS: Take a bite out of the big apple, did ya?

PHOEBE: Oh, I ate the worm. (she laughs) Hey, I'm gonna go get some gum. You
guys want anything?

PASTOR WILLIAMS: No, thanks.

PHOEBE: Ok. Good to see you.

PASTOR WILLIAMS: You, too.

(Phoebe leaves. Pastor Williams stands and waits in front of Piper. She
sighs.)

PIPER: Ok. Here's the deal. I've got this friend. Has a little problem.
Could be bad. Now quite sure what to tell her.

PASTOR WILLIAMS: You want to go inside?

PIPER: No. I mean, I've gotta get going.

PASTOR WILLIAMS: So what's her problem?

PIPER: Well, she ... kind of, sort of thinks she might be a ... a witch.

PASTOR WILLIAMS: Witches again, huh?

PIPER: It's not a good thing, is it?

(They turn and walk.)

PASTOR WILLIAMS: Certainly not a question I get every day. How well do you
remember your Sunday school lessons? Exodus 22:18. “Thou shalt not suffer a
witch to live."

PIPER: Meaning?

PASTOR WILLIAMS: If you go by the old school, it means put her to death. She's
evil.

(Piper glances away. It’s not the answer she was looking for.)

CUT TO:



[INT. VENDOR – DAY -- CONTINUOUS]

(Phoebe browses through the magazines on the rack. She selects one and picks up
a pack of gum. She walks up to the cashier.)

PHOEBE: Here you go.

CASHIER: $3.52.

(She digs into her bag for the money.)

ELDERLY MAN: Should we use the grandchildren's birthdays?

(She looks up and sees an Elderly couple with a lottery ticket. He looks at her
and smiles.)

ELDERLY MAN: It's a $10 million jackpot. Who knows? I mean, today may be our
lucky day.

PHOEBE: Maybe.

ELDERLY MAN: If not, we're going to lose our house.

(Phoebe picks up a lottery ticket. As soon as she touches it, she has a
premonition.)

(Quick flash of: The California Lottery Super Lotto balls appear on the
television set: 4 16 19 30 32 40.)

(End of premonition. Resume to Phoebe.)

PHOEBE: 4, 16, 19, 30, 32, and 40. Those are the winning numbers.

CASHIER: (scoffs) Yeah, yeah, right, lady. You want this stuff or don't you?

(Phoebe tells the Elderly couple.)

PHOEBE: 4, 16, 19, 30, 32, and 40. Trust me, mister. Today is your lucky day.
You know, I think I'll buy one of these lottery tickets, too.

(Phoebe takes a ticket and a pencil. She smiles at the couple.)

CUT TO:



[INT. VAN (PARKED) – DAY -- CONTINUOUS]

(Piper is waiting in the van for Phoebe. The door opens and Phoebe slips
inside.)

PHOEBE: Read l let's go.

PIPER: What are you smiling about?

PHOEBE: Nothing.

(Piper reverses the van and drives away. The old woman standing at the end of
the line turns around and watches them go. She lifts up her right hand and
scratches her temple. On the back of her write hand is a tattoo of an angel.)

FADE TO:



[INT. CAR (PARKED) -- NIGHT]

(Open on Brittany Reynolds’ photo. The tattoo is on the back of her right hand.
Darryl hands the photo to Andy. He looks at it. The two men are sitting in a
parked car outside Quake.)

ANDY TRUDEAU: What do you want me to say? Something just does not feel right
to me about this. I can't help it.

DARRYL MORRIS: Oh, here we go again.

ANDY TRUDEAU: I mean, where are they, right? What's this guy doing with these
poor women?

DARRYL MORRIS: Thinking, uh, alien abduction, are ya?

ANDY TRUDEAU: I'm serious, Morris.

DARRYL MORRIS: I know. That's what scares me. Let me guess. Favorite movie
growing up, Ghostbusters? Am I right? Look, we got a crazy, Trudeau. Likes
the pretty ladies. That's it. The end. If he comes back looking for more,
we're gonna grab him, tag him, make the world a safer place. That too hard to
follow?

(He nods.)

ANDY TRUDEAU: “Evil Dead 2”. (Looks at Darryl.) Favorite movie growing up.
Just for the record.

(Andy turns and sees Prue drive up to Quake. She gets out of the car and heads
inside.)

DARRYL MORRIS: Bank across the street. I think we should grab the ATM tapes
and see if –

(Andy suddenly gets out of the car.)

DARRYL MORRIS: Whoa! Where you going? (He shuts the door.) Ah ... oh, no, no.
Forget it, Romeo. You're not blowing our cover.

ANDY TRUDEAU: Come on, Morris. Cut me some slack. I have to talk to her.
Please? Five minutes. That's all I need.

(Darryl taps his watch. Andy takes note of the time.)

CUT TO:



[INT. QUAKE – MAIN DINING ROOM – NIGHT -- CONTINUOUS]

(Prue walks in and walks up to Piper.)

PIPER: Cindy, come on. Your salmon's up. Hector, way behind. We need clean
plates.

(Prue grabs Piper’s hands.)

PRUE: Uh, you didn't give Andy my cell phone number by any chance, did you?

PIPER: No. Why?

PRUE: Never mind.

PIPER: Remind me. I wanted to do this for a living, right?

PRUE: Looks like you're the only one of us who's going to be doing anything for
a living. I think I blew my interview.

PIPER: I can't imagine you were less than stellar.

(Prue spots Phoebe with Stefan.)

PRUE: What is Phoebe doing here?

PIPER: Flirting.

PRUE: Yeah, and she's wearing Armani. Where did she get that?

PIPER: Not from my closet. Gotta go.

(Piper turns and heads back to the kitchen. Prue heads for Phoebe. She looks
up and introduces them.)

PHOEBE: Prue, hi. This is my other sister. Prue, this is Stefan a
photographer.

(They shakes hands.)

STEFAN: Pleasure.

PRUE: Likewise. Nice dress.

PHOEBE: Don't worry. It's not yours.

PRUE: I know. I could never afford it.

PHOEBE: Will you excuse me for one minute? I'll be right back.

(Phoebe stands up and steps aside with Prue. Stefan glances down at his hands
and we see that he’s aging again – his hand is old, spotted and wrinkly, his
fingernails brown with age.)

CUT TO:



[INT. QUAKE – KITCHEN – NIGHT -- CONTINUOUS]

(Phoebe walks into the kitchen. Prue’s close behind her.)

PRUE: What do you mean, you charged it? How are you gonna pay for that?
You're broke.

PHOEBE: Not for long.

PRUE: What does that mean? You didn't use your powers again?

PHOEBE: Maybe. Are you telling me you haven't?

PRUE: No, I'm not telling you that. But we're not talking about me, are we?

(Piper approaches them nervously.)

PIPER: What are you guys doing in here?

PHOEBE: Same thing we do at home.

PRUE: What, did you go to the track, play the market, what?

PHOEBE: (sighs) The lottery.

PIPER: Phoebe!

PHOEBE: What did you want me to do, ignore the premonition, not help a needy
family? That's what we're supposed to do, right?

PRUE: No! We are not supposed to use our powers for our own personal gain.
That is what it says in the Book of Shadows.

PIPER: Not so loud.

PHOEBE: You said we needed money, right? Well, I'm getting some.

PIPER: Come on, you guys!

PRUE: So get a job like everybody else!

PHOEBE: I'm using my mind instead.

(The kitchen door opens and Andy walks in.)

ANDY TRUDEAU: Prue.

(Andy steps behind Hector who’s carrying a stack of dishes. He turns around and
bumps into Andy. He drops the dishes.)

PIPER: Watch it!

(Everything freezes.)

PIPER: (panics) Oh, no. No, no, no, no, no. Not again.

PRUE: Now look at what you've done.

PHOEBE: This is my fault?

PIPER: You guys aren't frozen?

(Prue runs to the door and checks outside.)

PHOEBE: Guess it doesn't work on witches. Piper, How long does it last?

(Everyone in the main dining room is unfrozen.)

PIPER: I don't know ... not long.

PRUE: Uh, it doesn't work out here, either.

PIPER: Oh, tell me this isn't happening!



[INT. QUAKE – MAIN DINING ROOM – NIGHT -- CONTINUOUS]

(In the main dining room, Darryl walks in and starts looking for Andy. Stefan
looks up and sees Darryl. Darryl puts his hand in his pocket and Stefan notes
the police badge hanging on Darryl’s belt.)

(Stefan stands up.)



[INT. QUAKE – KITCHEN – NIGHT -- CONTINUOUS]

(In the kitchen, Piper’s having a panic attack. Phoebe has her arms around
Piper, trying to calm her down.)

PHOEBE: Calm down. It's ok. It's all gonna be ok.

(Prue looks out in the main dining room. She sees Darryl with the hostess.)

HOSTESS: In the kitchen.

(Darryl heads for the kitchen.)

(Prue closes the door.)

PRUE: Oh, god. Andy's partner just came in, and he's headed this way. What are
we gonna do?

PHOEBE: Stall 'em.

(Prue rushes out of the kitchen and heads straight for Darryl. She stops him.)



[INT. QUAKE – MAIN DINING ROOM – NIGHT -- CONTINUOUS]

PRUE: Uh, hey, hey, Inspector Morris, right?

DARRYL MORRIS: That's right. Is Trudeau in there?

(He points to the kitchen and starts heading in that direction forcing Prue back
with him.)

PRUE: Uh, Andy? Um, I don't know. Is he?



[INT. QUAKE – KITCHEN – NIGHT -- CONTINUOUS]

(Using a serving tray, Phoebe fans Piper.)

PHOEBE: Ok, breathe, Piper, breathe.



[INT. QUAKE – MAIN DINING ROOM – NIGHT -- CONTINUOUS]

(Prue tries to stop him, but Darryl keeps moving toward the kitchen.)

PRUE: I --I have not –

DARRYL MORRIS: Excuse me.

(He brushes by her.)

PRUE: Wait!



[INT. QUAKE – KITCHEN – NIGHT -- CONTINUOUS]

(Darryl enters the kitchen just as Prue grabs his arm. He’s looking at Prue and
doesn’t see that everyone’s frozen inside.)

(Time resumes.)

PIPER: Aaah!

(The dishes crash to the floor and shatter. Andy continues to talk to Prue who
is no longer there.)

ANDY TRUDEAU: Really think we should ...

(He turns and sees Darryl walking up to him.)

ANDY TRUDEAU: ... talk. What are you doing here? I thought I had five
minutes?

DARRYL MORRIS: Yeah. I gave you ten.

(He taps his watch. Andy looks from Darryl’s watch to his own.)

ANDY TRUDEAU: How?

PIPER: Guys, you know, we're really busy in here.

ANDY TRUDEAU: Yeah, sure.

PRUE: I'll call you later. I promise.

(Prue tugs Darryl toward the door.)

ANDY TRUDEAU: Okay.

PRUE: Okay.

ANDY TRUDEAU: Good.

(He waves to Phoebe and Piper.)

PHOEBE: Bye.

PIPER: I hate being a witch.

(Piper turns and leaves.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR – DAY]



[INT. MANOR – ATTIC -- DAY]

(Piper sits in the chair with the Book of Shadows in her lap. She flips through
the opening pages of the book.)

(Phoebe walks into the attic and finds Piper.)

PHOEBE: Hey. What are you doing?

PIPER: Reading ... thinking.

PHOEBE: About what?

(She closes the Book.)

PIPER: About how totally screwed we are now that we're witches.

PHOEBE: Oh. That.

(Phoebe sits down.)

PIPER: You don't understand. You don't think we are. You're never afraid of
anything. I envy that about you. Always have.

PHOEBE: Yeah, well, don't, because it gets me into trouble sometimes. Piper,
talk to me.

PIPER: I don't know. It's just ... our whole lives we've been like everybody
else. Rushing off to work, going out on bad dates, buying shoes. Then suddenly
we wake up one day, and ... everything is different. We're witches now. I
don't know if that's a good thing or a bad thing.

PHOEBE: Are you kidding? It's a great thing.

PIPER: You don't know that. We don't know anything about these powers. Why we
have them, what they mean, where they even come from. I mean, how do we know
it's not ... how do we know it's not from evil?

PHOEBE: Piper, we've been through this. We're good witches.

PIPER: How do we know? What about Jeremy? What about all the other warlocks
he said would be coming after us? How do we know we're not just like them?
That is what scares me. We don't know. I just ... I just want to be normal
again, as messed up as that was. Is that too much to ask for?

PHOEBE: Piper, listen to me. You...are the sweetest, most caring person I have
ever met. No, I mean that. You are. You're always there to help anybody, even
strangers. You've been doing it your whole life. So there's no way that you've
been given this... this gift ... if it wasn't to do good things with it. To
protect the innocent. Just like the book of shadows says. Besides, if anyone
should be concerned with being bad, it's me, right?

(She laughs.)

PHOEBE: You've got nothing to be afraid of. I gotta run. I am going to get my
picture taken.

(She stands up and poses. Piper laughs. Phoebe whirls around and leaves the
attic.)

CUT TO:



[EXT. CASTAGNOLA’S RESTAURANT – FISHERMAN’S WHARF -- DAY]



[INT. CASTAGNOLA’S RESTAURANT – FISHERMAN’S WHARF -- DAY]

(Prue and Andy are being served coffee.)

ANDY TRUDEAU: Thanks.

PRUE: Thanks.

(The waitress leaves.)

ANDY: (both) Look –
PRUE: (both) Uh, Andy –

(beat)

PRUE: (both) Go ahead.
ANDY: (both) You go first.

ANDY TRUDEAU: I'm not sorry it happened, Prue.

PRUE: Well, I have to be honest with you, Andy. I am. I mean, not because I
didn’t enjoy it. I did. Especially the, um ...

ANDY TRUDEAU: Yeah, that was great.

PRUE: Yeah. And ... of course, there was the, uh ...

ANDY TRUDEAU: That was nice, too.

PRUE: Yeah, but, you know, that's not the point. It's, uh ... I haven't seen
you in almost seven years, and ... to start right back where we left off is ...

ANDY TRUDEAU: I know. I know. Believe me. I just want to know why you left,
that's all. Why can't you tell me? What's the big secret?

PRUE: Believe me, you don't want to know.

ANDY TRUDEAU: Try me.

PRUE: Well ... my life, it's gotten ... a little complicated. And I just don't
think that I should get involved in anything right now.

ANDY TRUDEAU: Prue ... we had sex. It doesn't mean we have to elope. Okay.

(They both chuckle.)

ANDY TRUDEAU: How about this? Um ... why don't we just pretend like it never
happened?

PRUE: Do you want me to toss you a life preserver now or just let you sink on
your own?

ANDY TRUDEAU: No, no. I'm serious. We'll just count that one as part of our
old relationship. We'll slow down, we'll start over. Prue, we've been given a
second chance here. I don't want to blow it this time.

(Prue’s cell phone rings. Andy’s pager beeps.)

ANDY TRUDEAU: Dating in the nineties.

PRUE: Yeah. (She answers her phone.) Excuse me. (to phone) Hello. Uh ...
yeah. Absolutely. I'm sure that I can make that. Ok, thanks.

(She hangs up.)

PRUE: I don't believe it. That was the auction house. They want me to come
back in for a second interview. I've gotta go. (Prue stands up.) Uh ... just
give me a little time to think things through, okay?

(Prue leaves.)

CUT TO:



[EXT. CHURCH FRONT -- DAY]

(Once again, Piper is sitting in her car staring at the front doors.)

PIPER: (to herself) I have nothing to be afraid of. I have nothing to be
afraid of. Nothing. Nothing to be afraid of.

(She unbuckles her seat belt.)

PIPER: Nothing.

(She opens her car door and gets out of the car. She crosses the street and
heads for the church. She walks up the front stairs and reaches the door.)

(She grabs the handle and pulls the door open.)

(Nothing happens.)

(She sticks her foot in, touches the ground and steps back out. She looks up
and around. No lightning.)

(Piper steps inside the church. Nothing happens. She smiles and steps back
out.)

(She raises her arms high and shouts.)

PIPER: I'm good!

(She giggles and heads back to her car.)

(The Old Brittany steps in front of her. Piper walks up to her and notices her
angel tattoo.)

(Quick flashback to: [INT. QUAKE – NIGHT] Brittany shows them her angel tattoo
on the back of her hand. End of flashback.)

(Piper looks at the old woman.)

PIPER: Brittany?

BRITTANY REYNOLDS: You know me? Is that my name?

CUT TO:



[EXT. BUCKLAND AUCTION HOUSE (STOCK) – DAY]



[INT. BUCKLAND AUCTION HOUSE – OFFICES -- DAY]

(Rex Buckland steps out of his office and greets Prue. They shake hands.)

REX BUCKLAND: Prue. Thank you for coming back.

PRUE: Well, thanks for having me back, although I must admit I didn't expect
it.

REX BUCKLAND: I told you I was interested, and I am. But first of all, I'd
just like to test your expertise, if you don't mind, just to see how good you
really are.

(They walk to the next room where several items are on display. Hannah Webster
stands in front of a painting. He introduces them.)

REX BUCKLAND: Be careful, watch your step. This is Hannah Webster, one of our
assistant specialists. This is Prue Halliwell.

PRUE: Hi.

(They shake hands.)

PRUE: Nice to meet you.

REX BUCKLAND: Please, tell us about this piece.

(He indicates the painting. Prue looks behind the frame.)

PRUE: Well ... Madonna of the Meadow, Giovanni Bellini, 16th century. Fabulous
piece. Worth $3-$4 million easily if it wasn't a copy.

HANNAH WEBSTER: What makes you think it's a copy?

PRUE: Too well preserved. No yellowing. Besides, the frame support is in
pine, and Italian painters used poplar back then.

REX BUCKLAND: Hmm. Um ... what about this one?

PRUE: Degas. Actually, this was the only sculpture he exhibited himself.

(Hannah steps back and deliberately bumps into the step ladder.)

REX BUCKLAND: Watch out!

(Prue looks up and sees a can of paint tip over and spill. She raises her hands
and gasp. The paint falls in a curve off of her and onto the floor.)

(The pain splashes onto Hannah’s shoes.)

REX BUCKLAND: Are you ok?

PRUE: Uh ... uh, yeah. Yeah, I'm ok.

REX BUCKLAND: You sure? I'm sorry. I can't believe that happened.

PRUE: No, it's ok.

REX BUCKLAND: Well, uh ... I really don't know what to say. Except you're
hired. If you still want the job.

PRUE: Are you serious?

REX BUCKLAND: Can you start Monday?

PRUE: Yeah. Absolutely.

REX BUCKLAND: Terrific. It's done, then. We can sort out the details when you
come in. In the meantime ... welcome aboard.

(They shake hands.)

PRUE: Thanks. Thanks a lot. Bye.

(Prue leaves.)

REX BUCKLAND: Well, what do you think?

HANNAH WEBSTER: I think either she's the luckiest woman alive, or ... she's a
witch.

CUT TO:



[INT. MANOR – FOYER/MAIN HALL -- DAY]

(The front door opens and Prue walks in. She puts her things down on the
hallway table and takes off her jacket.)

PRUE: Piper! Phoebe! Guess what!

(Old Brittany Reynolds steps out into the main hall.)

BRITTANY REYNOLDS: What?

(Piper steps out of the kitchen and heads for them.)

PIPER: Prue. Thank god you’re home.

PRUE: Yeah. Who, uh ...

(Piper walks up to Brittany and gives her a bowl of food.)

PIPER: Um...uh, here you go, Brittany. Why don't you go sit down at the table,
ok? There you go.

(Brittany heads for the dining room.)

PRUE: Um, sorry. Brittany?

PIPER: You're not gonna believe this. I'm not sure I do. I think--no, I know
this woman is Brittany Reynolds.

PRUE: Yeah, right, Piper, and I'm Rosie O'Donnell.

PIPER: No, I mean it. Brittany has a tattoo, right? An angel on her right
hand, remember?

(Prue looks over at Brittany and sees the angel tattoo.)

PRUE: That can't be.

PIPER: That's what I thought at first, but then I started asking her some
questions, things only Brittany would know. She may be senile, but it was
enough to convince me.

CUT TO:



[EXT. STUDIO BUILDING (STOCK) -- DAY]

(The van drives up to the building and parks. Phoebe gets out carrying some
clothes. She heads for the building.)

(She knocks on the door.)

PHOEBE: Stefan, it's me, Phoebe!

(She grabs the door knob and has a premonition.)

(Quick flash of: Phoebe is tied to the table. She looks up and sees Javna in
front of her. His eyes start to glow. She screams. End of premonition.)

(Phoebe drops her clothes and runs back to the van. She gets inside.)

(A hand comes out from behind her and covers her mouth.)

(Phoebe screams.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR (STOCK) – EVENING]



[INT. MANOR – ATTIC -- EVENING]

(Prue and Piper walk over to the Book of Shadows.)

PRUE: Piper, what were you talking about?

(Piper starts flipping through the pages.)

PIPER: I'm telling you, I saw something about it in the Book of Shadows. Ok,
look. See? (reading) "Javna feeds one week out of every year, stealing the
life force from the young ...

PRUE: (reading) ... "By invoking a black magic power that will allow you to
gain eternal youth."

PIPER: It's gotta be what happened to Brittany.

PRUE: Yeah, but there must be some kind of incantation to reverse it somehow.

(She flips to another page in the Book.)

PIPER: There is. The Hand of Fatima. It says that the Prophet Mohammed
invoked it centuries ago to banish Javna back to wherever the hell he came from.

PRUE: Yeah, well, the problem is, we don't know who Javna really is, let alone
where he is.

CUT TO:



[INT. MANOR – KITCHEN – EVENING -- CONTINUOUS]

(Brittany is walking in the kitchen and looking around. She sees the address on
the napkin hanging on the refrigerator. She removes it and stares at it trying
to recall something. She gasps and collapses.)

CUT TO:



[INT. MANOR – ATTIC – EVENING -- CONTINUOUS]

(From up in the attic, they hear a thud.)

PIPER: Brittany?

(Prue and Piper leave the attic to check up on Brittany.)

CUT TO:



[INT. MANOR – KITCHEN – EVENING -- CONTINUOUS]

(They turn into the kitchen and find Old Brittany sitting on the floor.)

PIPER: Oh, my god, what happened?

PRUE: Brittany, are you all right?

PIPER: I'll call 911.

PRUE: And tell them what, that she's dying of old age at 25?

(Piper picks up the napkin.)

PRUE: What is it?

PIPER: It's a cocktail napkin from my restaurant ... with Stefan's address on
the back.

(Old Brittany gasps.)

OLD BRITTANY REYNOLDS: Javna.

PIPER: Prue ... that's where Phoebe went.

CUT TO:



[BANK ATM SECURITY VIDEO]

(Darryl and Andy review the security video taken at 10:34 PM.)

DARRYL MORRIS: (o.s.) ATM tape caught the first victim.

ANDY TRUDEAU: (o.s.) And she's leaving with that photographer Stefan ...

[INT. POLICE STATION – BULLPEN – NIGHT]

DARRYL MORRIS: Yeah. Jibes with the last place she was seen before she
disappeared. Is he on our suspect list?

ANDY TRUDEAU: He just moved to the top.

DARRYL MORRIS: God bless ATMs.

(Andy and Darryl leave.)

CUT TO:



[EXT. STUDIO (STOCK) -- NIGHT]



[INT. STUDIO -- NIGHT]

(Phoebe is tied to the table.)

PHOEBE: (scared) Please ... Stefan ... or whoever you are, let me go.

(Just as before, Javna steps into the light and she sees how old and wrinkly he
is.)

JAVNA (STEFAN): It’s Javna.

(Phoebe screams.)

CUT TO:



[EXT. STUDIO – NIGHT -- CONTINUOUS]

(Prue drives up to the studio building and parks just behind the van.)

(They get out of the car and check the van.)

PRUE: Do you see anything?

PIPER: No. Prue ...

PRUE: Look, we'll find her.

PIPER: Maybe we should call the police.

PRUE: No. If Javna has her, we're the only ones who can stop him.

PIPER: But we need Phoebe to do it. The incantation only works with the three
of us.

(They hear Phoebe scream. They head for the building.)

CUT TO:



[INT. STUDIO – NIGHT -- CONTINUOUS]

(Javna’s eyes glow red. Light beams from Javna’s eyes shoot out and hit Phoebe
in her eyes.)

(The door opens. Piper and Prue steps inside the building. Javna stops
shooting beams at Phoebe, turns and looks at Prue. She squints her eyes and
sends Javna flying against the opposite wall. He falls to the floor with a
thud.)

(Piper hurries to the table to free Phoebe.)

PHOEBE: Piper!

(Javna gets to his feet, turns and aims his eyes at Prue. They glow and beams
shoot out and connect with Prue’s eyes. He makes his way to her and she glides
over the floor toward him.)

PIPER: We need you. We don't have a lot of time, ok?

(Piper frees Phoebe. Phoebe scrambles off the table. Meanwhile, Prue is being
pulled toward Javna.)

PHOEBE: Prue, grab the mirror!

(Prue reaches out and grabs the mirror off the table. She uses its reflection
to deflect Javna’s eye beams. It shoots back at him and he screams in pain.)

(He falls back against the table. He shoots the eye beams at Prue again, this
time she’s ready for him. It deflects off the mirror back at him, temporarily
blinding him.)

(Piper and Phoebe flank Prue who take sout the spell.)

PRUE: All right, now.

PHOEBE/PIPER/PHOEBE: (ALL)
Evil eyes, look unto thee,
may they soon extinguished be.
Bend thy will to the power of three,
eye of earth, evil and accursed.

(Prue hands the mirror to Piper to hold.)

JAVNA: You can't stop me. I will live forever! No!

(Prue holds out her hand and it glows into the Hand of Fatima. A thick, white
beam of light shines out from the center of her palm and hits Javna square in
his chest.)

PHOEBE/PIPER/PHOEBE: (ALL)
Evil eyes, look unto thee,
may they soon extinguished be.
Bend thy will to the power of three,
eye of earth, evil and accursed.

JAVNA: No! No!

(He screams and falls back onto the table. He stops struggling and his body
ages. It explodes leaving a skeleton behind. The beam continues to shine out
from Prue’s hand. It washes over the skeleton till it turns to dust.)

(The beam of light stops. The wind blows the dust away.)

(Piper, Prue and Phoebe watch. Soon there is nothing left.)



[INT. MANOR – SITTING ROOM – NIGHT]

(Back at the manor, Brittany is leaning tiredly back against the couch. She
morphs back to her young self. She sits up and looks at herself.)



[INT. STUDIO – NIGHT -- CONTINUOUS]

(Prue’s hand stops glowing. She slowly puts her hand down.)

PHOEBE: Very cool.

CUT TO:



[EXT. STUDIO – NIGHT -- CONTINUOUS]

(Approaching police sirens sound in the distance. The police car turns the
corner just as Prue, Piper and Phoebe head for their cars.)

(Andy, Darryl and other officers step out of their cars.)

ANDY TRUDEAU: What the hell ... Prue? What are you doing here?

PRUE: Um, well, we -- we were just trying to get the van started.

PIPER: Yeah, Phoebe called. She was having car trouble.

PHOEBE: Stefan was going to take some pictures of me.

ANDY TRUDEAU: You have any idea how lucky you are? This guy's the stalker.

DARRYL MORRIS: No Sign of him inside. His car's here, so he might still be
around. Stay with them.

(Darryl leaves.)

ANDY TRUDEAU: Excuse me.

(On a hunch, Andy reaches into the van and turns the key. The engine starts.)

PIPER: Hey, how about that? You fixed it.

ANDY TRUDEAU: How about that?

PHOEBE: Maybe we should go.

ANDY TRUDEAU: Good idea.

(Phoebe and Piper step away. Andy steps up to Prue.)

PRUE: Thanks. (He nods.) Call me?

(He nods again.)

ANDY TRUDEAU: Sure.

(Prue leaves. Andy turns and watches her go.)

FADE OUT.



[EXT. SAN FRANCISCO BRIDGE (STOCK) – DAY]



[INT. QUAKE – MAIN DINING ROOM -- DAY]

(Phoebe walks into the restaurant. She passes people on her way to Prue and
Piper.)

PHOEBE: Oops. Excuse me. Excuse me.

(She passes by the red-haired woman sitting at the bar – the one who was with
Stefan last.)

PHOEBE: Hey. How are you?

(The red-haired woman looks at Phoebe and shrugs. Confused, Phoebe turns and
makes her way toward Prue and Piper who are sitting at the bar.)

PIPER: Do you know that girl?

PHOEBE: I almost was that girl. She was one of Stefan's victims. Obviously
doesn't remember.

PRUE: Lucky her.

PHOEBE: No. Lucky me. I learned my lesson. I have got to be more careful.

PRUE: Excuse me. Did I just hear right? Did she actually admit to doing
something wrong?

PIPER: That's what I heard.

PHOEBE: Frame it. It won't happen again.

PIPER: At least we helped those people. I mean, it's nice to know our powers
really are good.

PRUE: Yeah. Good for everything but our love lives, unfortunately. Although I
must admit, they do come in handy once in a while

PHOEBE: uh-huh. Hypocrite.

TV: And last night's winning lotto numbers are ...

(They turn to the television set as the numbers appear on screen: 4 16 19
30 32 40.)

PHOEBE: The winning numbers.

(Phoebe grabs the ticket out of her bag.

PHOEBE: I won. Well, I did.

(Phoebe looks at her ticket. Sure enough, it’s the winning ticket. Right
before her eyes, the numbers and all the information vanishes from the ticket.)

(Phoebe sighs. Piper grabs the ticket out of her hand and looks at it.)

PRUE: See? I told you. You can't intentionally use the powers for your own
personal gain. Remember?

PHOEBE: It's a good thing I didn't take the tags off that dress. Oh, well, at
least the old couple didn't lose their house.

(Piper picks up her glass.)

PIPER: A toast to the Power of Three. Whether we like it or not.

(They toast.)

FADE TO BLACK.
1.03 - THANK YOU FOR NOT MORPHING by Mitchell
FADE IN.

[EXT. HALLIWELL MANOR -- NIGHT]

(The front door opens and the girls walk out. They're dressed to go to a
party.)

PRUE: So, we're agreed. Twenty minutes?

PIPER: Prue, you can't do a party in twenty minutes.

PRUE: Watch me.

PHOEBE: Prue's party tips--meet, greet, and bail.

PRUE: Hey, I'm sorry, but some of us have a job.

PHOEBE: And some of us have fun.

PIPER: And some of us are having a really bad hair day.

PRUE: You know what? That is a sign. Let's turn back now before it's too
late.

(Prue turns back to the house, but Piper grabs her hand and urges her forward.
They continue walking down the front walk.)

PIPER: No.

PHOEBE: Prue, it's never too late for a party.

PIPER: It's never too late, Prue.

PHOEBE: Remember my sweet 16?

(As they continue, we see a black dog panting in the bushes watching them. The
dog watches them head into the neighbor's house where the party's taking place.
It's eyes glow yellow.)

(cc) PIPER: At least give it a chance, Prue. It's the first housewarming party
on our block where you don't have to check your walker at the door.

PHOEBE: Hey, I have an idea. Why don't we throw a party and charge admission?
It's a great way to make extra cash.

(They head into the house.)

PRUE: Hey, I have an even better idea, why don't you just get a job.

CUT TO:



[INT. FRITZ, MARSHALL & CYNDA'S HOUSE - NIGHT -- CONTINUOUS]

(The party is in full swing. The hosts spot them.)

MARSHALL: Oh! The sisters Halliwell. Now the party can begin.

CYNDA: It's about time you chicks showed.

FRITZ: Hey, Prue. I'm glad you made it.

PRUE: Wouldn't miss it for the world, Fritz.

PIPER: Marshall, the place looks great.

MARSHALL: Thank you. We're mostly just restoring it. I didn't want to change
it too much. You guys knew the old owners, didn't you?

PHOEBE: We basically grew up with their kids. We probably know the house
better than you guys.

MARSHALL: I know. Hey, how's the bar?

FRITZ: Dry. I'll take care of it.

(Fritz steps forward to check; Cynda pulls him back.)

CYNDA: No. My turn.

(Cynda looks at the girls and crushes her empty beer can in her bare hands. She
leaves.)

MARSHALL: Try to behave, Cynda. We have guests.

FRITZ: You know, sisters.

PRUE: (nods in understanding) Tell me about it.

(Piper and Phoebe glare at Prue.)

MARSHALL: Um, so listen, enjoy the party.

PHOEBE: Okay.

(Fritz and Marshall leave.)

PRUE: Okay. I came, I saw, I was perky. Now I just want my head on a pillow
because I have to wake up early.

PHOEBE: No. I mean, not yet.

PIPER: Yeah, Prue. We just got here. It wouldn't look good.

PRUE: All right. What's going on?

PHOEBE: Going on? What do you mean?

(Prue glares at them. Phoebe looks past Prue.)

PHOEBE: Oh! What a coinkidink! Look who's here.

(Prue turns around and sees Andy. He waves to her.)

PRUE: Phoebe, you didn't.

PHOEBE: Well, your fingers weren't doing the walking. Somebody's had to.

PRUE: We've been through this, ok? Cop, witch--it's not a love connection.

PHOEBE: Boy, girl. Lighten up.

(Phoebe and Piper step aside. They pass Andy who heads toward Prue.)

PIPER: Hi, Andy.

(Andy reaches Prue.)

PRUE: We're, uh, working on their subtlety.

ANDY TRUDEAU: Then it's on to ending hunger and creating world peace, right?

PRUE: But what will I do with my Saturday?

ANDY TRUDEAU: Funny you should ask. I don't mean to push it, but I was
wondering, if you're not doing anything, I kind of have these tickets, but
they're for a warriors game, and you probably wouldn't be interested.

PRUE: Well, the team can't do any worse than they did last year. Did you see
them get creamed by the Lakers?

ANDY TRUDEAU: Impressive. Is that a yes?

PRUE: (hesitates) You know, um, I need to check my book because I might have a
... thing.

ANDY TRUDEAU: A thing?

(Fritz joins them.)

FRITZ: So, Prue, I hear your friend is a cop.

PRUE: Inspector, actually.

FRITZ: Oh, yeah. I got these parking tickets.

ANDY TRUDEAU: My focus is mainly homicide, robbery.

FRITZ: Yeah. Yeah. So I have these parking tickets.

(Prue takes the opportunity and leaves. Wanting to follow her, but stuck, Andy
watches her go.)

PRUE: Got to go.

ANDY TRUDEAU: Prue, wait!

CUT TO:



[EXT. NEIGHBOR'S HOUSE - NIGHT -- CONTINUOUS]

(Prue steps out of the party house and heads back home. She walks up the front
stairs and notices that the front door is open.)

PRUE: Phoebe.

(She slips into the house and closes the door behind her. As she walks in, she
finds a black dog on the stairs. It barks and growls at her. Prue slowly backs
away toward the front door. The dog growls and advances toward her.)

(Prue turns and runs out of the house. The black dog stands in front of the
door barking at her as she runs.)

(It's eyes glow.)

FADE TO
END TEASER.
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

[EXT. VARIOUS SAN FRANCISCO (STOCK) - NIGHT]

[EXT. HALLIWELL MANOR (STOCK) - NIGHT]



[INT. MANOR - KITCHEN -- NIGHT]

(Phoebe sits on the table munching on a snack.)

PHOEBE: So how big was this dog again?

PRUE: Huge. Did you see the scratches on the attic door?

PIPER: What was it doing in the house?

PRUE: I don't know. Someone obviously left the front door open again.

(She turns and looks pointedly at Phoebe.)

PHOEBE: Why do you always assume it was me? What about Piper?

PIPER: Not it.

PHOEBE: It's not a big deal. We checked the house, and nothing is missing,
except my Pat Boone Christmas CD.

(Piper rolls her eyes and shares a look with Prue.)

PIPER: You know, this is really creepy. If there was a dog in the house, then
it had to have an owner. No dog I know can open that front door, let alone
reach the top shelf.

PHOEBE: Maybe we should get a security system.

PRUE: No. They are way too expensive. Besides, after what happened, Andy will
be checking on us every five minutes.

PIPER: Ooh. You told him.

PHOEBE: Convenient. So what should we do?

PRUE: Well, either we could rely on our vicious guard cat to protect us, or we
could remember to lock the doors.

(Prue takes some clothes out to the utility room.)

PHOEBE: That is a really good idea, Prue.

(Phoebe puts her snack container on the side, slips off the table and goes over
to the utility door. She locks it.)

(Prue returns to find the door locked. Phoebe and Piper giggle as Prue
struggles with the door.)

PRUE: Unlock the door, Phoebe!

CUT TO:



[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]



[INT. BUCKLAND'S AUCTION HOUSE - PRUE'S OFFICE - DAY]

(Prue is at her desk working. A shadow crosses over her desk and a man clears
his throat. She looks up.)

VICTOR BENNETT: I was told that you might be able to help me.

(He takes off the ring he's wearing and puts it on her desk in front of her.)

VICTOR BENNETT: I'd like to have this appraised.

PRUE: You would be better off going to the house's appraiser.

(Prue picks up the ring and looks at it.)

VICTOR BENNETT: I've been there. He'd need a week, and I just--well, I
wouldn't feel right without it. It's a family heirloom.

PRUE: I feel like, um ... I think I've seen a ring similar to this before. The
setting is quite old, at least 17th century. (Prue gets up and takes a book off
the shelf. She returns to her seat.) The stones look like chrysolite. Keep in
mind this is just an educated guess.

VICTOR BENNETT: Please ... guess away.

(Victor sits down and watches her.)

PRUE: If I am not mistaken, it's a stone that the Egyptians believed would
protect them against spells, curses, evil spirits. This wouldn't be a wedding
band, by any chance, would it?

VICTOR BENNETT: You tell me.

PRUE: The stones are set in twos, the symbol of duality ... man, woman ...
again, protection.

VICTOR BENNETT: And what does all that tell you?

(She looks at him.)

PRUE: Where did you get this ring? (He leans forward.) What did you say your
name was?

VICTOR BENNETT: I think you know what my name is ... Prudence.

(She stands and gives him back his ring.)

PRUE: Get out and stay away from us.

(He puts his ring back on his finger.)

VICTOR BENNETT: I'm staying at the Beaumark. What do you say you and your
sisters join me for dinner? Let's say, tomorrow night. We can talk.

PRUE: After how you abandoned us? How dare you?

VICTOR BENNETT: Fiery temper. I like that. It reminds me of someone I know.

PRUE: I'm nothing like you. I would never leave my responsibilities to my
family.

VICTOR BENNETT: I can see we have some issues to work through.

PRUE: Oh, we've got the whole subscription. Now, get out before I have you
thrown out.

VICTOR BENNETT: Is that any way to talk to your father?

(Prue glares at him. Victor smiles, turns and leaves the office. Off screen,
we hear the door close.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. SAN FRANCISCO (STOCK) - DAY]



[EXT. SIDEWALK CAF… -- DAY]

(Prue, Piper and Phoebe sit at a table discussing their father's reappearance.)

PIPER: I wonder why he went to you first. I mean, why not Phoebe or me?

PRUE: Piper, it's not like I won the lotto.

PHOEBE: What was he like? Did he ask about us?

PRUE: Actually, no. (Phoebe looks away, disappointed by the response.)
Phoebe, think about it. He abandoned us. He was a no-show for twenty years,
and then, what, suddenly here he is? Why now?

PIPER: Maybe he just wants to be part of our lives.

PRUE: After all this time? Don't get your hopes up.

PHOEBE: There's only one way to find out. Why wait till dinner? Let's go see
him now.

PRUE: Will you be rational? Don't you find it just a little suspicious that
just when we find out -

(She stops abruptly when a waitress appears next to her to clear the table.)

WAITRESS: Let me get that for you.

(The waitress leaves.)

PRUE: Just when we find out we're witches, he shows up, but when mom died, he
was nowhere to be found?

PHOEBE: He sent us birthday cards.

PRUE: Selective memory. Grams always told us that he was a threat to us.
There's no reason to think that that's changed.

PIPER: Prue, it's not that I don't see your point, but you knew him. We
didn't. Why can't we have a chance to know him now?

PRUE: Because we really don't know why he's here, and until we do, we can't
trust him.

CUT TO:



[EXT. HOTEL BUILDING (STOCK) - DAY]



[INT. HOTEL ROOM - HALLWAY / ROOM -- DAY]

(Phoebe knocks on the door.)

VICTOR BENNETT: (through door) Entrez.

(Phoebe opens the door and steps inside. She finds Victor having a massage.)

PHOEBE: Daddy?

(He turns and looks at her.)

VICTOR BENNETT: Well, well. What a nice surprise.

(He gets up and the masseuse helps him put his robe on.)

PHOEBE: I'm sorry to just show up like this. I know I was supposed to wait for
dinner, but I --

VICTOR BENNETT: No. Nonsense. Welcome. Let me get a good look at you. This
is my baby girl, little ... Piper?

(Phoebe looks disappointed and he reads it off her face.)

VICTOR BENNETT: (sighs heavily) Phoebe.

PHOEBE: Yeah. That's okay. People confuse us all the time.

VICTOR BENNETT: Are you kidding? I should be slapped and persecuted. Let me
make it up to you. How about some room service?

PHOEBE: I just ate, actually.

VICTOR BENNETT: A drink? You are legal, right?

PHOEBE: Barely, but no, thanks.

VICTOR BENNETT: A massage. I can call Lucy back.

PHOEBE: No, really. I don't want anything. I just wanted to look at you.

VICTOR BENNETT: It's like looking in a mirror, isn't it? You've got your
daddy's eyes, you know that?

PHOEBE: (pleased) I noticed that.

VICTOR BENNETT: How about a hug?

(Phoebe hugs him.)

VICTOR BENNETT: Aww! Ha ha!

(As she hugs him, Phoebe gets a premonition of Victor carrying the Book of
Shadows and he's out in front of the house. He smiles. End of premonition.)

(Phoebe gasps and pulls away from the hug. The telephone rings.)

VICTOR BENNETT: Oh, they always manage to find me.

PHOEBE: You know, it's ok. I'll just see you at dinner. I got to go.

(Phoebe rushes out of the room.)

VICTOR BENNETT: Phoebe. Phoebe, wait!

(The door closes behind her.)

CUT TO:



[EXT. MANOR - FRONT WALK -- DAY]

(The mailman whistles as he rushes up the front walk. Midway, he pauses and
looks at the front door. He smiles and heads straight for the door.)

(At the door, his carefully unfurls his index finger and we watch as the tip of
his finger morphs into the end of a house key. He slips the key-finger into the
front door lock and unlocks the door.)



[INT. MANOR - FOYER - DAY - CONTINUOUS]

(The front door opens and the 'mailman' steps inside. He heads straight up the
stairs.)



[INT. MANOR - OUTSIDE ATTIC DOOR - DAY - CONTINUOUS]

(The mailman puts his bag down and tries to open the attic door. It's locked.
He uses his shoulder and starts to pound the door. He takes a step back and
kicks the door in.)



[INT. MANOR - ATTIC - DAY - CONTINUOUS]

(The 'mailman' steps into the attic. He heads for the Book of Shadows on the
pedestal, grabs it and heads out of the attic.)



[INT. MANOR - MAIN HALL/FOYRER - DAY - CONTINUOUS]

(The 'mailman' comes down the main stairs with the Book of Shadows tucked under
his arm. He heads for the front door. He opens the door and steps outside. As
if hitting a force field of some kind, the Book of Shadows flies out from his
arm and back into the house.)

(The house won't let the Book go. He turns back frustrated and heads for the
Book on the floor in the foyer.)

(He picks the Book up and suddenly, he's tugging on it as if something invisible
were holding onto it. He grabs the Book and throws it at the door. The Book
hits a shield at the door and falls to the floor.)

(He steps outside, grabs the book and tries to pull it out the door. The Book
glows gold and doesn't get past the door.)

(The mailman turns around and sees Prue headed up the walk. She's looking down
at her keys and hasn't seen him. He quickly steps inside the house and closes
the door. He tosses the Book aside and morphs into Andy.)

(He calmly walks aside to wait for Prue.)

(Prue unlocks the front door and opens it. She steps inside and sees Andy
looking up the stairs.)

PRUE: Andy, what are you doing here?

("Andy"s looking up the stairs and jumps with surprised.)

"ANDY": Oh! Uh, door was open.

PRUE: Again?

"ANDY": Yeah. I came by to check up, and it was open. I looked around.
Everything seems to be in order.

(Prue spots the Book of Shadows on the floor in the next room.)

"ANDY": Do you want me to check upstairs?

PRUE: Um, no, no. That's ok, really.

(She looks at the book and telekinetically pushes the Book under the far shelf.)

PRUE: Oh, and about tomorrow night, I've changed my mind. We're on.

"ANDY": Excuse me?

PRUE: Well, yeah. You'll never believe who popped back into my life after
twenty years -- Victor, my dad.

"ANDY": Your dad?

PRUE: Yeah. He wants to have dinner, and I would really rather avoid that. Too
bad the game's not tonight.

(Someone opens the door and knocks on the wood inside. It's Cynda.)

PRUE: Hi, Cynda.

CYNDA: Hey. Oh. Everything ok?

PRUE: Yeah. Thanks.

CYNDA: Bye.

PRUE: Nice party last night.

(Cynda leaves.)

ANDY TRUDEAU: Guess I'll get going, too.

(He nervously kisses Prue on the cheek. He leaves. Prue picks the Book up off
the floor.)

(She doesn't think too much about it. She heads up stairs.)



[INT. MANOR - OUTSIDE ATTIC DOOR - DAY - CONTINUOUS]

(Prue turns the corner and sees the attic door blown off its hinges. This is
not good.)

PRUE: What the hell?

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR (STOCK) - DAY]



[INT. MANOR - KITCHEN -- DAY]

(Phoebe shakes her head and takes her cup of coffee back to the table. She sits
down.)

PHOEBE: Prue, you don't know for sure.

(Piper and Prue are in the back looking for something.)

PRUE: I know plenty. First someone rips off the attic door. Then the book of
shadows is found downstairs. Isn't that enough?

(Piper grabs the yellow pages and hands it to Prue.)

PIPER: Why would somebody want the book? Here.

(Prue and Piper sit down at the table on each side of Phoebe.)

PRUE: For one reason-they know what it can do. They want its power, our power.

(Prue starts looking through the yellow pages.)

PIPER: That would mean it's someone who knows us and knows that we're witches.

PRUE: Yeah. Someone like Victor.

PHOEBE: What? Dad?

PRUE: Look, just think about it. The moment he shows up, someone makes two
attempts to grab the book? Coincidence? I think not.

PIPER: The craft is a chick thing, Prue. It's passed on down through the
female line. There's a good chance dad doesn't even know we're Charmed.

PRUE: And there's just as good of a chance he does.

(Phoebe remembers her premonition.)

(Quick flashback of: Victor stands in front of the house with the Book of
Shadows in his hands. He smiles. End of premonition.)

PIPER: What would he want with the book? And why would he take it from us?
Phoebe, help me out here. (Phoebe's quiet.) Phoebe.

PHOEBE: Okay. Let's just say for the sake of argument that he is after it.
Wouldn't he have taken it with him? He wouldn't have left it behind.

PIPER: Okay. We have to call the cops and report it as a break-in.

PRUE: And tell them what? That someone broke into our house to try and steal
our broomsticks? I mean, please. Besides, Andy has already been here.

PHOEBE: Oh. So Andy was here ... again. Talk about convenient. Did you ever
think of pointing the finger at him?

PRUE: He's probably the one who scared Victor away. Until we find out what's
going on and whether Victor is involved or not, we've got to hide the Book.
Either that, or we can't leave the house.

PIPER: Fine. Then we hide the Book, because I'm going to dinner tonight. I
want to see dad.

PHOEBE: So do I.

PRUE: I've already seen him.

(That settled, Piper and Phoebe stand up and leave the table.)

FADE TO:



[EXT. HOTEL BUILDING (STOCK) - NIGHT]

VICTOR BENNETT: (v.o.) Girls, it's so nice to see you.



[INT. HOTEL RESTAURANT -- NIGHT]

(Victor, Piper and Phoebe are sitting at their table.)

VICTOR BENNETT: It's not like we don't have a lot to talk about.

PHOEBE: (smiles) We do. (She glances at Piper who bites into a carrot.) I--I
mean, yeah. We have a few questions.

VICTOR BENNETT: (to Piper) You know, the last time we ate together, you would
only eat food that was white. I'm glad to see you've outgrown it.

PIPER: That's right. I was four.

VICTOR BENNETT: And, Phoebe, that would have made you, what, one? You know,
you couldn't walk yet, but you could swim. You were a fish. (Phoebe laughs.
Piper smiles at Phoebe's pleasure.) This feels right, doesn't it? It feels
natural, almost like normal.

PIPER: Almost. It's just, um ... well, why? I mean, after all this time, why
here? Why now?

VICTOR BENNETT: Well, I heard the food is pretty good here, and it is
dinnertime.

(Phoebe laughs.)

(The waiter puts Phoebe's dinner plate in front of her.)

WAITER: Here you are, ma'am.

PHOEBE: (to the waiter) Oh, thank you.

VICTOR BENNETT: Bon appetit.

CUT TO:



[INT. MANOR - KITCHEN -- NIGHT]

(The microwave oven beeps. Prue removes the plastic container of broccoli from
the oven and empties it on her plate.)

(The doorbell rings. Prue goes to answer it.)




[INT. MANOR - FOYER - NIGHT - CONTINUOUS]

(Prue opens the front door and finds Andy on the porch.)

ANDY TRUDEAU: My plans for tonight fell through. Figured I'd stop by.

(Prue smiles slightly. Andy laughs embarrassed. Wordlessly, Prue steps aside
to let him in. He enters the house. She closes the door behind him.)

CUT TO:



[INT. MANOR - KITCHEN - NIGHT - SHORT TIME LATER]

(Prue carries two coffee cups over to the table where Andy is sitting. She puts
his cup down in front of him.)

PRUE: And then, all of a sudden, there he was. He just showed up at work.

ANDY TRUDEAU: I can't believe it. How are you dealing?

PRUE: Honestly? I'm not.

(Prue sits down.)

ANDY TRUDEAU: I don't blame you. What do you think he wants?

PRUE: Dinner. Piper and Phoebe are there with him now. You know, they just
don't understand. They don't know him like I do. I can't believe I let them
go. (scoffs) I can't believe they went. He's acting like no time has passed,
like I'm still his little girl, and I'm not. There are things that I want to
tell him. I want him to know what he missed, you know, like the time I broke
my arm or the day that I finally passed my driver's test, our prom.

ANDY TRUDEAU: (deadpans) Didn't we miss that, too?

(He smiles.)

PRUE: I want him to know. I want him to want to know. And I'm sorry, but I
also want some answers, like where the hell has he been my whole life? Why
didn't he come back until now? He needs to know that that's not ok.

ANDY TRUDEAU: So tell him. I'll drop you off.

CUT TO:



[EXT. HOTEL BUILDING (STOCK) - NIGHT]



[INT. HOTEL RESTAURANT -- NIGHT]

(Prue walks into the restaurant and finds Piper, Phoebe and Victor at their
table. When she reaches the table, Victor stands to greet her.)

VICTOR BENNETT: Prudence.

(Piper and Phoebe both appear surprised to see her.)

PRUE: Did I miss much?

PHOEBE: (warily) Uh ... just catch up. Dad was filling us in. Memory lane.

PRUE: Has he mentioned where's he's been all of our lives?

PIPER: (warning) Prue.

PRUE: I don't understand. If you can afford a spread like this, why didn't you
help out when Grams died? We actually could've used it then.

PIPER: Give him a chance, Prue. Dad's explained. The money, all this -- it's
new.

(Victor sits back down.)

VICTOR BENNETT: That's okay, Piper. I'm a big boy. I didn't come back earlier
because I was afraid I might disappoint you.

PRUE: Too late.

PIPER: (nervously) Wonder what's keeping that dessert.

(Phoebe remains quiet.)

VICTOR BENNETT: Please sit down. Have something to eat.

PRUE: I'm not hungry.

VICTOR BENNETT: Always in a hurry, Prue. You skipped crawling and went
straight to walking.

PRUE: Oh, we're sharing memories. Well, I've got one of my own--your back
walking out the door.

PHOEBE: (sighs) Oh.

(Things get awkward very quickly. Victor looks around. Behind him, a waiter
turns the corner carrying a flambé. He deliberately sticks his foot out and
trips the waiter. The waiter loses his balance and tosses the flambé up into
the air.)

(Piper sees the disaster about to happen and automatically freezes everyone.
The entire restaurant freezes. She sighs and rushes over to grab the flambé out
of the waiter's hands.)

(As soon as she lifts the flambé up, time resumes.)

(The waiter falls on the floor.)

PIPER: Who wants flambé?

(The waiter gets to his feet.)

VICTOR BENNETT: Nice reflexes. (unabashed) Now, let me get this straight.
Piper, you freeze time. Prue, don't you move objects? And what's your special
trick, Phoebe? Premonitions? (Phoebe nods.) Maybe we should talk about this
elsewhere, hmm?

(Prue shares a look with Piper who is still holding the flambé. Phoebe glares
at both her sisters.)

CUT TO:



[EXT. HALLIWELL MANOR (STOCK) - NIGHT]



[INT. MANOR - SITTING ROOM -- NIGHT]

("Piper" is sitting on the couch reading a magazine. "Phoebe" is sitting on
another couch and leafing through a magazine.)

(The Mailman turns the corner and walks into the sitting room. "Piper" sees him
and quickly stands up.)

CYNDA (as "PIPER"): What are you doing here?

FRITZ (MAILMAN): What do you think?

("Phoebe" stands up and glares at the Mailman.)

MARSHALL (as "PHOEBE"): Get out...now.

FRITZ (MAILMAN): No. You've got to get out.

MARSHALL (as "PHOEBE"): We've got it under control.

FRITZ (MAILMAN): No, you don't. They're on the way back.

(The Mailman shapeshifts back into Fritz.)

FRITZ (MAILMAN): I thought you were in charge. Shapeshift into yourselves, and
we'll get the book later.

("Phoebe" shapeshifts back into Marshall.)

FRITZ (MAILMAN): Nice plan, Marshall.

MARSHALL: Don't piss me off, Fritz. How was I supposed to know Prue would come
back with her sisters?

CYNDA: The little witch was supposed to be out on a date with that cop.

FRITZ: You really think you would have been able to trick Prue into getting the
book out of the house?

MARSHALL: Well, we sure as hell can't now, can we?

FRITZ: So what now, genius?

(Cynda laughs. Both men turn to look at her as she shapeshifts into a vampire.)

CYNDA: (demon-voiced) We kill them!

CUT TO:



[EXT. HALLIWELL MANOR - FRONT WALK - NIGHT -- CONTINUOUS]

(The SUV pulls up to the curb and stops. Phoebe, Piper, Prue and Victor exit
the car.)

CUT TO:



[INT. MANOR - FOYER - NIGHT -- CONTINUOUS]

(Marshall glares at Cynda who is still in her vampire form growling and gnashing
her teeth.)

MARSHALL: Cynda ... heel. Plenty of time for that later. Heel.


[EXT. MANOR - FRONT PORCH - NIGHT - CONTINUOUS]

(Prue walks up to the front door and puts the key into the lock. She glances
behind her at everyone as she unlocks the door.)



[INT. MANOR - FOYER - NIGHT -- CONTINUOUS]

(She opens the front door and we hear crows cawing.)

(Inside the house are three black crows. They fly out the front door over their
heads.)

(Victor looks at Prue.)

VICTOR BENNETT: Friends of yours?

(Without another word, Prue steps into the house.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR (STOCK) - NIGHT]



[INT. MANOR - SITTING ROOM -- NIGHT]

(Victor shares a laugh with Phoebe and Piper. Prue returns to the sitting room
after checking the house.)

PRUE: Someone left the window open, which is probably how the birds got in.
What is so funny?

(Piper walks over to her and shows her the framed photo.)

PIPER: Do you remember the day this was taken?

PRUE: (takes the photo) Yeah. Family picnic. It rained.

VICTOR BENNETT: And your mother packed us all up, and she brought us home, and
we had the picnic right here in the living room. Do you remember that, Prue?

PRUE: Barely.

PHOEBE: Prue.

(Victor picks up another framed photo off the table and looks at it.)

VICTOR BENNETT: This one ... mmm. (He walks over to Prue.) This one was at
one of your piano recitals. Not a very good shot. My fault. I had to take the
pictures that day. Your mother was too busy holding her breath. If you look
closely ... you see there? (He hands her the photo and points.) That's her.

PRUE: I never noticed that before.

VICTOR BENNETT: Uh-oh.

(Victor sees another photo and picks it up. He looks at it and sighs.)

VICTOR BENNETT: And this one used to be a 5 x 7 ... when I was still in it.

(He turns the photo around to show the large cut-out space on the right. Piper
grimaces.)

PHOEBE: I think Grams cut you out.

PIPER: There's a bunch of other stuff in the attic. Grams left us so many
things.

PHOEBE: That's not all she left us.

PRUE: Phoebe, let's not go there.

PHOEBE: What? It's not like he doesn't already know, and I'm sorry, but it's
kind of a relief to talk to someone about it.

PIPER: Um, does anybody want coffee?

PHOEBE: I mean, one day I'm a member of the "Y" generation, with average hair
and a thing for caffeinated beverages, and the next, I am a witch.

PIPER: Dad, do you take cream or, um, sugar with that?

PHOEBE: I just read from the book, and wham! I am Tabitha. The only thing is,
is I got stuck with the power to see the future. How uncool is that?

VICTOR BENNETT: From what your mother always said, it was actually considered
one of the more desirable powers.

PHOEBE: Unless you see things you don't desire.

PRUE: So how long have you known ... about us, our powers?

VICTOR BENNETT: How long? I didn't. I knew there was a possibility. That's
why I came back -- to find out. It must have happened when your grandmother
died, right?

PHOEBE: Yep. I just read an incantation from the book, and --

(At the mention of the Book, Prue glares at Phoebe.)

PRUE: Phoebe.

VICTOR BENNETT: Ah ... the Book of Shadows. Not exactly summer reading. Is it
still up in the attic? You know, I haven't seen it in years. Mind if I have a
look?

CUT TO:



[EXT. NEIGHBOR'S HOUSE -- NIGHT]



[INT. NEIGHBOR'S HOUSE - LIVING ROOM - NIGHT]

(Angry, upset and frustrated, Cynda smashes a chair against the wall.)

CYNDA: (sighs) Disappointed.

MARSHALL: Patience, my sweet.

CYNDA: Patience is highly overrated. We could have destroyed them right there.

MARSHALL: Then we'd have three dead witches and no way to get the book out of
the house. Where would that put us?

CYNDA: Satisfied.

FRITZ: I still like my idea. We just kill two of them, and we force the third
to get the Book out.

MARSHALL: Let me explain this once again for the cerebrally impaired. These
are not schoolgirls we're dealing with. These are good witches. We cannot
alert them to our presence. At their full strength, battling them ... oh, would
be unpleasant. However, once we possess the Book, we get its powers, we weaken
theirs, and they're easy prey.

(Fritz stands up.)

FRITZ: You know, that sounds good in theory, but, uh ... we've already tried
everything!

MARSHALL: (calmly) We still have Victor.

CUT TO:



[INT. MANOR - SITTING ROOM -- NIGHT]

(Prue and Victor face off.)

VICTOR BENNETT: What exactly are you accusing me of, Prue?

PRUE: Figure it out.

PHOEBE: Come on, Prue. Take it easy.

PRUE: Are you kidding me? Am I the only one who sees what's going on here?

PIPER: Couldn't we all just take a deep breath -

PRUE: Think about it, Piper. He wines and dines us. Now he's back in a house
he hasn't set foot in in twenty years, and the first thing he wants to know is
where's the Book of Shadows?

PHOEBE: You're just looking for something to blame him for.

PRUE: (to Victor) Admit it. Tell them why you're here.

PIPER: Prue, stop.

PRUE: For the first time in your life, Victor, tell them the truth.

VICTOR BENNETT: All right. Fine.

(He sighs.)

VICTOR BENNETT: (con't): You're right. I am after the book. That's exactly
the reason why I came back.

PHOEBE: Dad--

VICTOR BENNETT: but not for the reasons you would like to believe. It would
make it easy for you Prue, wouldn't it, if I were evil? Well, I'm sorry to
disappoint you. I'm not. I'm here to protect you.

PRUE: Yeah, right.

PIPER: To protect us from what?

VICTOR BENNETT: From yourselves. That's why I want that damn book. It's where
the Power of Three started, and it's where it must end.

PHOEBE: But it's part of us. It's part of who we are.

VICTOR BENNETT: That's what your mother believed, too ... before they killed
her.

PIPER: What are you saying?

VICTOR BENNETT: You have no idea what evil is out there.

PRUE: I think we've got a pretty good idea.

VICTOR BENNETT: Listen to me, Prue. That book is a magnet for evil. As long
as you have it, as long as you use it, you're in danger ... all of you.

PRUE: You are unbelievable. After all these years of being an absentee dad,
then you waltz back into our lives and try and tell us how to live?!

VICTOR BENNETT: I never wanted you to have those powers in the first place. I
battled with your grandmother after your mom died. She wanted you to find out
you were witches when you grew up. I didn't. I fought for you ... hard. Your
grandmother was too strong.

PIPER: Wait. You're blaming Grams for why you disappeared? She loved us! She
raised us!

PRUE: What did she do -- put a spell on you?

VICTOR BENNETT: Believe me, nothing short of that would've kept me away. You
have to believe me. All I want is what's best for you.

(He sighs and turns away.)

VICTOR BENNETT: Phoebe, you believe me, don't you?

(Phoebe sighs and shakes her head.)

PRUE: We've done fine without you.

VICTOR BENNETT: Prue, you can't fight this. I couldn't.

PRUE: I'm not you.

VICTOR BENNETT: Are you sure? Are you sure you can protect your sisters
forever?

PHOEBE: We'll protect each other.

VICTOR BENNETT: Then you'll die together!

PRUE: No one can hurt us as bad as you!

(Angry, hurt and crying, Prue glares at Victor.)

PHOEBE: Prue, no!

(Victor is sent flying backwards across the room. He hits the far door frame
hard and falls to the floor.)

(He picks himself up.)

VICTOR BENNETT: If you wanted me to leave, all you had to do ... was ask.

(Victor heads for the door. Phoebe brushes past Prue to follow him.)

PHOEBE: (to Prue) Why did you have to do that?

(Piper glares at Prue.)

PIPER: Did you have to throw him so hard?

PRUE: Piper.

PIPER: We could have just talked about it like normal people.

PRUE: We're not normal.

(Piper turns and leaves. Prue walks out of the room, passing Phoebe on her way
out.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HOTEL BUILDING (STOCK) - NIGHT]



[INT. HOTEL - VICTOR'S ROOM -- NIGHT]

(The hotel room door opens and Victor walks in. He shuts the door behind him
and heads over to the couch. He sits down, puts his head in his hands and
sighs.)

(The lights turn on. He looks up and finds Marshall, Fritz and Cynda in his
room.)

MARSHALL: Hello, Victor. Where have you been?

VICTOR BENNETT: How did you get in here?

MARSHALL: I think you should be a little more concerned with what we're doing
in here.

VICTOR BENNETT: I was wondering when evil would rear its ugly head.

MARSHALL: Consider it reared. I don't know the kind of people you're used to
dealing with, but I'd lay serious coin that they aren't willing to rip you into
a thousand pieces and dance on your entrails.

VICTOR BENNETT: Oh, so you're lawyers, and here I was assuming you were
shapeshifters.

FRITZ: Oh, those are clever words for a man about to be an appetizer.

VICTOR BENNETT: Cocky words for a man who can't get a simple Book out of a
house. Close your mouth. I mean, it's obvious. You're going to shapeshift
into me. You're going to try to get to the girls that way. Am I right? It
won't work.

CYNDA: Why not?

VICTOR BENNETT: Do you mind if I poke holes?

MARSHALL: Poke away.

VICTOR BENNETT: After tonight, the girls won't let me or anything that looks
like me back into their lives, let alone the house. I've officially been kicked
out. There is, however, one sister I can reach -- Phoebe.

CYNDA: So why don't I just become you, and I'll reach her?

VICTOR BENNETT: Because only her real father would know what buttons to push,
the ones that would get me back in. If you kill me, you'll never know what they
are, you'll never get back into the house, and you'll never get The Book of
Shadows.

(Victor calmly continues to smoke his cigar.)

FADE TO:



[EXT. HALLIWELL MANOR (STOCK) - DAY]



[INT. MANOR - DINING ROOM -- DAY]

(Prue plays with her breakfast absently moving her food on the plate with the
tip of her fork as she reads. Piper is also at the dining room table doing the
exact same thing. Both are very quiet. Phoebe walks up to them carrying her
cup of coffee and looks at the depressing scene in front of her.)

PHOEBE: Good morning, Phoebe!

(She doesn't get any response from them. Phoebe grabs a white napkin off the
table and waves it.)

PHOEBE: Uh, guys ... can we call a truce just for five minutes, please? I have
a confession. Remember when we agreed to not see dad? Yeah, well, um ... I
did.

PIPER: Hello. I was with you.

PHOEBE: No. By myself before dinner ... and I had a premonition about dad.
When he hugged me, he was stealing the Book of Shadows. Yeah, you were right
about him, Prue. I didn't want the premonition to be true. I was hoping,
praying that there was a perfectly good explanation for it, hoping that ... that
he was really here to be with us. I just wanted him back in our lives. He's
our dad.

(Prue stands up and hugs Phoebe.)

PRUE: I know, Phoebe. I know.

(Piper turns away to give them a moment, when she sees something on the floor.)

PIPER: Hey. Look.

(She goes over and picks it up. She looks at it as Prue and Phoebe walk over to
her.)

PRUE: It's dad's ring. What's it doing here?

(She hands the ring over to Prue who examines it.)

PHOEBE: It must have slipped off when he, uh ... fell.

PRUE: We'll have it sent back to the hotel.

(Prue puts the ring on the hallway table.)

CUT TO:



[EXT. MANOR - SIDEWALK -- DAY]

(Open on the daily paper on the sidewalk. Phoebe walks over to it and picks it
up. She looks up and waves to Marshall and Fritz leaning against their car
parked on the opposite side of the street. They wave back.)

(Phoebe turns around and nearly bumps into Victor. She gasps.)

VICTOR BENNETT: Don't be afraid.

PHOEBE: What are you -- you have to leave.

(Victor glances past Phoebe at Marshall and Fritz watching them.)

VICTOR BENNETT: Phoebe, please. This is very important.

PHOEBE: (shakes her head) I can't. I don't want to talk to you anymore.

(Again, Victor glances at the neighbors. He sees that Marshall and Fritz are
keeping a close eye on him.)

VICTOR BENNETT: Phoebe, you got to get the Book out of the house.

PHOEBE: You have to leave.

(Phoebe brushes past him and heads toward the house. In an attempt to make her
listen to him, Victor grabs Phoebe by the upper arms.)

VICTOR BENNETT: Phoebe, trust me. Look!

(Behind them, Marshall and Fritz head toward them. Suddenly, Phoebe has a
premonition.)

(Quick flash of: The Book of Shadows is out the house. Camera rises to show
Victor holding the Book of Shadows. Victor smiles, then morphs back into
Marshall. Marshall turns and walks away. He's joined by Fritz and Cynda.)

(End of Premonition. Resume to present.)

(Marshall and Fritz arrive and interrupts them.)

MARSHALL: Excuse me. Hey. (Victor releases Phoebe.) Is this guy bothering
you?

PHOEBE: (warily) Uh, no. This is my, uh ... this is Victor.

VICTOR BENNETT: We were just saying good-bye.

PHOEBE: (smiles) Yeah. I got to run.

(Phoebe waves, turns and runs up the front steps into the house. Marshall looks
at Victor. Victor turns to look back at Marshall.)

VICTOR BENNETT: What's the matter? Don't you trust me?

CUT TO:



[INT. MANOR - FOYER - DAY -- CONTINUOUS]

(The front door opens and Phoebe runs into the house. She heads for the stairs
and sees Prue)

PHOEBE: Dad's not after the book. It's Marshall.

PRUE: He's what?

(Phoebe stops on her way up the stairs to explain.)

PHOEBE: (rushed) The premonition -- it wasn't dad. Got to find a spell and
banish them.

PRUE: Banish who?

PHOEBE: The neighbors. They're shapeshifters. Fritz and Marshall and the --

CYNDA: (o.s.) Cookies? (Cynda and Piper step into the dining room from the
kitchen.) Just baked.

FRITZ: (o.s.) Hey. (Fritz steps into the main hall.) The door was unlocked.

(Phoebe doesn't say anything. She turns and continues up the stairs.)

PIPER: (puzzled) Where you going, Phoebs?

(Piper starts climbing up the stairs. She pauses by Prue.)

PHOEBE: (slowly) Uh, just to get something. (Phoebe smiles at Cynda.) Will
you save me a cookie?

(Cynda smiles.)

PHOEBE: Okay.

("Victor" steps into the foyer from the front door.)

VICTOR BENNETT: Daddy's home!

(Prue and Piper stand on the stairs and stare at "Victor".)

CUT TO:



[INT. MANOR - ATTIC - DAY -- CONTINUOUS]

(Phoebe runs into the attic. She heads for the Book of Shadows hidden behind
the clothes rack. She starts flipping through the book.)

PHOEBE: Come on. Come on. (She stops flipping.) I have no idea what I'm
looking for.

(A rush of wind sounds and the pages in the Book of Shadows magically start to
flip on its own.)

PHOEBE: Ok. I can take a hint.

(Phoebe watches as the pages open to the exact spell she's looking for.)

PHOEBE: (reading quickly to remember it)
When in the circle that is home
Safety's gone and evils roam,
Rid all beings from these walls,
Save sisters three. Now heed our call."
(repeats to herself)
Rid all beings from these walls.
Save sisters three. Now heed our call. Okay!

(Phoebe turns and rushes out of the attic.)

CUT TO:



[INT. MANOR - MAIN HALL - DAY - CONTINUOUS]

(Phoebe rushes down the stairs and stops next to Prue and Piper. She looks and
sees Victor.)

PHOEBE: Dad...you can't be here. You have to leave now.

(The front door closes and a second Victor Bennett walks into the house and
stops near the other "Victor".)

PIPER: Whoa! Time out. What's going on here?

VICTOR BENNETT 1: Don't worry about it, sweetie. Everything's going to be fine.

VICTOR BENNETT 2: Don't trust him.

PIPER: Wait a sec. Last week we had no dad, and now we have two?

VICTOR BENNETT 1: Phoebe, remember ... (steps forward) ... remember when you
were little and you were afraid of the dark and I would leave the hall light on
and the door open just a crack?

(Phoebe shakes her head, Prue turns to look at Phoebe's confusion.)

VICTOR BENNETT 2: That's original. What kid isn't afraid of the dark?

VICTOR BENNETT 1: Prue--she's never been afraid of anything.

PIPER: He's right, Prue. You were never afraid of the dark.

VICTOR BENNETT 2: Lucky guess. I said I came back to protect you. Now,
there's only one way to do it. Kill us both.

VICTOR BENNETT 1: You're bluffing.

VICTOR BENNETT 2: Am I? Just do it, because I want to go out with a bang.

PRUE: Do it, Phoebe.

PHOEBE: The spell will kill everyone, including dad.

VICTOR BENNETT 2: It's the only way. Prudence?

PIPER: Prue. The protection ring.

(Prue telekinetically pushes the ring on the hallway table toward Victor.
Victor picks up the ring. He glances over at Prue. Their eyes meet and she
nods to him. Victor puts the ring on.)

PRUE: Phoebe, now.

PHOEBE:
When in the circle that is home
safety's gone and evils roam,
(Cynda changes into the vampire monster.)
rid all beings from these walls,
save sisters three. Now heed our call.

(The spell starts. A wind blows downstairs.)

PHOEBE:
When in the circle that is home
safety's gone and evils roam--

(Victor 1 morphs back into Marshall. The three neighbors start to magically
melt under the power of the spell. The Real Victor falls to his knees.)

PHOEBE: Daddy!

VICTOR BENNETT 2: It's okay! Keep it going!

PRUE, PIPER & PHOEBE:
Rid all beings from these walls,
save sisters three. Now heed our call.

(The three neighbors melt into goo and disappear. Prue, Piper and Phoebe rush
down the stairs. Prue helps Victor to his feet.)

VICTOR BENNETT: For a moment there, I wasn't sure what you would do.

PRUE: For a moment there, neither was I.

PHOEBE: I thought you didn't want us to use our magic.

VICTOR BENNETT: I didn't, not as long as I still thought of you as my little
girls, but you're obviously not anymore.

PIPER: We're still your little girls. We're just...

PRUE: Witches.

VICTOR BENNETT: Yeah. Witches. You obviously don't need your old man to
protect you from anything.

(They all share a smile.)

FADE TO:



[EXT. HALLIWELL MANOR - FRONT (STOCK) - DAY]



[INT. MANOR - SITTING ROOM -- DAY]

(Prue is on the phone with Andy.)

PRUE: No, Andy, I'm fine, really. Dad's going to be here any minute, so can I
take a rain check on dinner? Ok. Thanks for the good advice. Bye.

(Phoebe and Piper join her. They're all dressed and ready to go out.)

PHOEBE: So he's dad now?

PRUE: Yes, Phoebe, he is, and by the way, my dress looks good on you, but--

PHOEBE: I don't have any nice clothes, Prue.

PRUE: Dad said it was casual.

PHOEBE: I don't care. I want to look nice for him. Who knows how long it will
be before we see him again?

PIPER: You don't think he's going to stay around?

PHOEBE: Well, let's just say I no longer have a romanticized image of him, and
I'm glad about that, actually. At least dad is real now.

PRUE: And at least he's not a monster, which is very reassuring, considering we
share his genes.

PIPER: I'm just glad he came back, no matter how long he stays. Kind of nice
feeling like a normal family again, whatever that means.

(Phoebe nods in agreement. They lapse into silence. The door bell rings.)

PIPER: Speak of the devil.

(Piper turns to answer the door.)

(Off screen, we hear the front door open and close. Piper and Leo Wyatt appear
in the hallway.)

PRUE: Um, hi. You must be Mr. Wyatt.

PHOEBE: (eyes wide with surprise) The handyman?

LEO WYATT: Call me Leo.

PHOEBE: Gladly.

(He holds out the envelope to Prue.)

LEO WYATT: This was on the steps.

(Prue takes it.)

PRUE: Oh, thanks.

(We can hear Prue opening the envelope. Leo looks around the house and smiles
appreciatively.)

LEO WYATT: This place is, uh ... (He puts a hand on the wooden door frame near
him.) ... you don't find many like this one anymore.

PIPER: Yeah. It's kind of falling apart.

LEO WYATT: The problem isn't the manor. It's the manner in which it was
treated. I'd love to see more.

PHOEBE: (smiles) And I would love to show it to you.

(Phoebe stands up and heads toward Leo. She pushes Piper aside to grab his arm,
turning him toward the stairs.)

PHOEBE: The attic is right this way.

PRUE: Guys ...

(Phoebe and Piper turn around.)

PHOEBE: (to Leo) I'll be right up.

PRUE: He's not coming.

PIPER: Who's not coming?

PRUE: Dad. But he sent this. Um ... (reading) "Girls, something's come up.
I had to leave town. Can't make dinner. Probably best if we let the dust
settle, anyway. I know there's a lot you would like to forget, but here's what
I remember. Love, Dad."

(Prue holds up the video tape. They look at each other, the disappointment
evident on their faces.)

CUT TO:



[SHORT TIME LATER]

(On the television set, the girls watch a Christmas home movie. They're all
sitting around the Christmas tree opening presents.

VICTOR: (from video) What did you get? What's in there? You can open it.
Come on.

(On the video, Little Prue opens her present and finds a pair of ballet
slippers. She holds it up and waves it around.)

VICTOR: (from video) Oh! It's like magic!

(From the video, we hear everyone squeal with delight and laugh.)

PRUE: (from video) Oh, daddy.

PATTY: (from video) Oh, what is it?

VICTOR BENNETT: (from video) Come here, come here. Let me see those shoes.

PATTY: (from video) What is it?

VICTOR: (from video) Ballet slippers, huh?

PATTY: (from video) What is it?

(The camera pulls back and we find Prue, Piper and Phoebe all crowded together
sitting closely to each other on the same chair as they watch the video of a
time when the entire family shared a happy moment.)

PRUE: (from video) Oh, daddy.
VICTOR: (from video) Ok.

(On the video, Victor grabs his daughter, laughs and gives her a big kiss as she
giggles.)

PIPER: (from video) Again.
VICTOR: (from video) Again. Oh, gosh.

(He kisses her again.)

PRUE: (from video) Mommy!

PATTY: (from video) What is it? What is it? What is it?

VICTOR: Oh, Prudence.

(On the video, he gives Little Prue a kiss.)

VICTOR: Look at that face. Look at that face.

PATTY: Who is it?

VICTOR BENNETT: Hey! Piper ! Hey!

(On the video, he picks Little Piper up and gives her a kiss. They laugh. The
camera zooms in on Little Phoebe with an open present in her lap, looking around
at everyone with wide-eyes.)

PATTY: What's in there?
VICTOR: What have you got, Phoebe?

(Little Phoebe holds up the present.)

PHOEBE: Barbie! Yay! Barbie!

VICTOR BENNETT: Yes! Yes!

(On the video, the family laughs.)

FADE TO BLACK.
1.04 - DEAD MAN DATING by Mitchell
FADE IN:

[EXT. HALLIWELL MANOR (STOCK) -- DAY]

CUE SOUND: The doorbell rings.



[INT. MANOR - FOYER - DAY]

(Prue opens the front door and finds Andy on the porch. She smiles.)

PRUE: Andy. Hi.

ANDY TRUDEAU: I was ... nowhere near the neighborhood. Thought I'd stop by.

PRUE: Honest man. I like that.

(She lets him into the house and closes the door. They linger in the foyer.)

PRUE: So, um ... I had a great time last night.

ANDY TRUDEAU: Yeah. Me, too. But I forgot to give you something very
important.

(He reaches into his coat pocket and removes a square box. He holds it out to
her.)

ANDY TRUDEAU: Happy birthday.

PRUE: But it's not my birthday till next week.

(She reaches for the box, but he teases her and pulls it away from her grasp.)

ANDY TRUDEAU: Consider this a preview.

(She grabs the box from him and opens it. She looks inside.)

PRUE: A key?

ANDY TRUDEAU: To the Calistoga Spa. We leave Friday night after work.

(He smiles. She hesitates.)

ANDY TRUDEAU: Don't worry. I got us adjoining rooms.

PRUE: Adjoining rooms?

ANDY TRUDEAU: Well, I wouldn't want to assume something I'm not supposed to be
assuming. Although it has been over a month since we ... then decided to take
it slow, but no pressure. I just want to be with you. Away ... together.
Think about it.

PRUE: Okay.

(Andy smiles, reaches for her and kisses her.)

ANDY TRUDEAU: Let me know. Bye.

(Andy leaves. Prue closes the door behind him and considers the key.)

PRUE: Happy birthday to me.

CUT TO:



[EXT. CHAO RESIDENCE - FRONT WALK -- DAY]

(Open on a large mylar balloon that says, "Happy Birthday" on it.)

MARK CHAO: (exasperated) Give me a break, mom.

(MARK watches as his mother kneels down in front of her front door and does a
ritual blessing.)

MRS. CHAO: (cc) Birthday cake for the spirits. (in Chinese) [Subtitle:
There are a lot of hungry spirits out there, Mark.]

(She walks up to him.)

MARK CHAO: (teases) You're like the Chinese Shirley MacLaine, you know that?

MRS. CHAO: (in Chinese) [Subtitle: Better safe than sorry.]

MARK CHAO: I'll risk it.

MRS. CHAO: You should have more respect for ghosts, Mark. If your grandmother
were here --

MARK CHAO: She'd warn me about all the evil spirits walking the streets of
Chinatown. I know. I know.

(MRS. CHAO turns and rushes back to the front porch. She reaches for the red
lion amulet hanging on the nail on the door frame.)

MRS. CHAO: You should take this. For protection.

(She removes it and offers it to Mark. Mark scoffs as he takes the amulet and
puts it back on the door frame.)

MARK CHAO: Maybe the ghosts need protection from me.

(Though she looks at him with worry, she doesn't say anything. Mark gives his
mom a kiss on the cheek.)

MARK CHAO: I'll be okay, mom. I'm 23 now. I can take care of myself. Okay?
I got to go.

(He hands her the birthday balloon, turns and leaves. She chases after him.)

MRS. CHAO: Happy birthday, Mark.

MARK CHAO: (over his shoulder) Thanks.

CUT TO:



[EXT. CHINATOWN - SIDEWALK MARKET -- DAY]

(Mark walks through the sidewalk market passing vendors along the way.)

WOMAN: Hi, Mark.

MARK CHAO: (waves) Hey, how are ya?

(Mark continues along his way. Unknown to him, he's being watched by an Asian
Thug. The Thug specifically follows Mark.)



[EXT. CHINATOWN - ALLEY - DAY - CONTINUOUS]

(Mark turns the corner and walks into the alleyway. He turns when he realizes
that he's being followed. Additional Asian Thugs block off his exit as well.
He's surrounded.)

(The Thug looks at his boss, Tony Wong.)

THUG: This the guy?

TONY WONG: That's him. (to MARK) Today your birthday?

MARK CHAO: Who are you? What do you want?

TONY WONG: You! Make a wish.

(Tony Wong pulls out a gun and shoots Mark. Mark falls to the floor.)

(They laugh.)

(As we watch, Mark's spirit stands up, turns and looks back down at his dead
body.)

(Tony Wong steps forward and places his ring on Mark's finger.)

TONY WONG: Perfect fit.

(Mark watches as the Thug opens a container of gasoline.)

THUG: Come on now, douse him.
THUG: Come on, hurry up!

(They douse his body with the liquid. The Second Thug takes out a match book
and rips off a match.)

MARK CHAO: What are you doing? Hey, wait! No!

(The Thug sets the body on fire.)

TONY WONG: (o.s.) Let's get out of here.
TONY WONG: (o.s.) Let's go. Come on!

(Mark watches in shock as his body burns.)

FADE TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR (STOCK) -- DAY]



[INT. MANOR - KITCHEN -- DAY]

(Piper walks into the kitchen. She carries a slip of paper and a pen in her
hand. She opens the refrigerator and looks at the things inside for a moment.
She closes the refrigerator door and walks over to the desk. She opens the
drawer and finds the SURPRISE PARTY invitations inside and incomplete.)

(She gathers the invitations out of the drawer and sighs as she heads over to
the table to finish them. She adds a bit of confetti to the envelope with the
invitation.)

PHOEBE: Good morning. (She sees what Piper's doing.) What are you doing?
Prue's coming down. Put those away.

(Phoebe heads for the table to hide them.)

PIPER: (exasperated) Phoebe, you were supposed to send these invitations last
week. The party is Friday.

PHOEBE: And we're right on schedule -- the restaurant's reserved, the menu's
selected, the cake has been ordered.

(She hides the invitation envelopes in the drawer.)

PIPER: That's because I did all those things. At least tell me you've managed
to buy Prue something other than your traditional birthday gift.

PHOEBE: What's my traditional gift?

PIPER: A card, three days late.

PHOEBE: Yeah. Well, I decided to break that tradition and start a new one.

PIPER: You bought Prue a gift?

PHOEBE: Mm.

PIPER: Where did you get the money to pay for it?

(The conversation is halted when Prue walks into the kitchen.)

PRUE: Morning.

(Prue walks over to the fridge to get something to drink.)

PHOEBE: Good morning. Hey, I forgot to ask. How was your date with Andy?

PRUE: Great ... until he asked me to spend my birthday at a spa with him.

PHOEBE: Oh, I hate when they do that.

PIPER: For this weekend? You didn't say yes, did you?

PRUE: Well, my body did. Screamed it, actually, but I don't know. I just have
to think about it.

PHOEBE: A weekend of rest, rubdowns, and room service? What's to think about?
(Piper angrily slams her notebook on the table. Phoebe sees Piper's glare and
immediately changes her tune.) I mean, you could be right. Going away with a
guy is like --

PIPER: It's like bringing them home to meet the parents. It changes
everything. And if you're not sure if you're ready to make a commitment or not,
you know, you don't want to send the wrong signal.

PHOEBE: Plus, you need a week to prepare for a weekend away. I mean, there's
lingerie shopping, waxing, manicure, pedicure, I mean, it's basically a full-
time job, and you've already got one. So you'll never be ready. Not even if
you started packing this second.

PIPER: Wow.

PHOEBE: Bottom line, unless you're ready to put your toothbrush next to his,
you shouldn't go.

PRUE: You guys aren't trying to plan another surprise party for me, are you?

PIPER: No. Never.

PHOEBE: We've given up on trying to surprise you, Prue.

PRUE: That's good, because you both know how much I hate surprises.

(Prue grabs her drink and leaves. Piper glares at Phoebe.)

PIPER: Ah ... damn it, Phoebe, if you had sent Andy his invitation, we wouldn't
be in this mess.

PHOEBE: Okay, what are you talking about? You heard Prue. She doesn't want a
party. So you should be glad that I flaked. Besides that, you know as well as
I do she's going to go away with Andy. Now if you will excuse me, I have a
present to pay for, which means I have a job interview.

(Phoebe sweeps out of the kitchen leaving Piper more frustrated than ever.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HOTEL NEPTUNE BUILDING (STOCK) -- DAY]



[INT. HOTEL NEPTUNE - BAR - DAY]

(Frankie, the hotel manager, shows Phoebe around the hotel bar.)

FRANKIE: No other hotel does psychic readings at the bar. It's kind of our
trademark.

PHOEBE: Well, that's why I'm here. I saw your ad in The Chronicle. I am a
natural born psychic.

FRANKIE: (scoffs) Yeah, right. So what's your act? Tea leaves? Tarot cards?
Crystal balls? What?

PHOEBE: No, I can see the future. I mean, I can't always see it, I never
actually know when it's going to work. Usually when I touch someone, or I'm in
the same general area as them. It's kind of hard to explain.

(Unconvinced, Frankie looks past Phoebe intending to brush her aside.)

FRANKIE: Next.

PHOEBE: No, wait. Frankie. (Phoebe grabs him.) Hold it. (He stops.) I see
it. You're having dinner with a blonde woman. She's gorgeous, all over you.
Then some redhead shows up. You look surprised. Ooh. She looks pissed.
(shocked) Your wife!

(Frankie smiles. He turns around and looks at Phoebe.)

FRANKIE: When can you start?

CUT TO:



[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]



[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- DAY]

(Prue is on the phone with Piper and looking at a painting at the same time.)

PIPER: So did you make your mind up about Calistoga?

PRUE: I don't know. I keep thinking it's a bad idea, but then I think, well,
what's the big deal? It's not like we haven't already slept together.

INTERCUT WITH:

[INT. MANOR - KITCHEN - DAY]

(Piper's on the phone as she finishes the invitations.)

PIPER: I think you should go ... on Saturday.

PRUE: On Saturday, why? Piper, you promised no surprise party.

PIPER: It's not what you think. It's Phoebe. She bought you a present.

PRUE: Phoebe doesn't give presents. She gives cards three days late.

PIPER: Not this year. Surprise. And she really wants to give it to you
Friday, so could you please just ask Andy about leaving on Saturday instead?

PIPER: You have no idea how much Phoebe has put herself through. She even -
(Piper picks up the newspaper.) -- she even got a job and everything.

(The ad circled in the newspaper reads:
PSYCHICS WANTED
(415) 555-0163

PRUE: Hey, I'll ask, if I decide to go. So what kind of job did Phoebe get?

PIPER: Don't know. Got to go. Ciao.

(Piper hangs up. She looks at the newspaper and sighs.)

CUT TO:



[INT. HOTEL NEPTUNE - BAR - DAY]

(Open on a large poster board advertising THE AMAZING PHOEBE, Psychic
Revelations. A photo of Phoebe in a genie costume graces the center of the
board.)

(Phoebe is sitting at the bar with a middle-aged woman. On the center of the
table is a large glass for cash tips.)

PHOEBE: You're in a large room with lots of other people. With lots of other
women.

WOMAN: Go on.

PHOEBE: You're standing at a podium. No. Wait. You're on a scale. (giggles)
Oh, it's a weight watchers meeting. Ooh, honey, it looks like you've gained
some weight.

WOMAN: That's impossible. I only cheated once this week.

(Offended, the woman gets to her feet.)

PHOEBE: No, no. I'm not judging. I'm just seeing.

WOMAN: You're a fraud. That's what you are. I've never been so insulted in my
life. I want my $20 back.

(The woman reaches for her money, but Phoebe snatches the glass out from her
reach.)

PHOEBE: No way! I saw you. You know I saw you. (The woman scoffs, then walks
away.) Hey, you want me to lie next time? Just say so!

(Piper walks up to Phoebe.)

PIPER: Phoebe!

PHOEBE: Piper. Ha. (She puts the glass back down on the table.) I am so
busted aren't I?

PIPER: Are you out of your mind again?

PHOEBE: No. I'm the Amazing Phoebe.

PIPER: This is not funny. Our powers are supposed to be a secret, not a
marketable job skill.

PHOEBE: Relax. They didn't hire me because they think I'm a witch. They hired
me because they think I'm a psychic.

PIPER: Hair-splitting. You know you can't use your powers for personal gain.
Not without consequences.

PHOEBE: No, but it's for Prue. It's not for me. It's to pay for her present.
It's completely selfless. Besides, this is the last place anyone would expect
to find a real psychic. Believe me.

(Mark walks up to them.)

MARK CHAO: (interrupts) Which one of you is the psychic?

PIPER: She is.

PHOEBE: Oh, I am.

MARK CHAO: You can see me? Both of you?

PIPER: Of course we can see you. Now back off.

MARK CHAO: Oh, thank god. I've tried communicating with every psychic in the
city. Y-you were my last chance.

(The manager walks up to them.)

FRANKIE: Phoebe. What are you doing? You've got customers waiting.

MARK CHAO: (interrupts) Okay, listen to me. You're the only ones who can help
me.

PIPER: (to Mark) Excuse us. We're trying to have an argument here.

(Frankie turns to look who Piper's talking to, but sees no one there. He looks
back at Piper.)

FRANKIE: Who are you?

PHOEBE: Uh ... she's just leaving. Bye. Go. Now.

(Piper turns and leaves. Mark, not one to miss the opportunity, follows her out
of the hotel.)

MARK CHAO: (o.s.) Wait a minute. I need your help.

PIPER: (o.s.) Yeah? Talk to the psychic.



[EXT. HOTEL NEPTUNE - SIDEWALK - DAY - CONTINUOUS]

(Piper and Mark walk out of the hotel.)

MARK CHAO: Please, I'm begging you. I was murdered last night. I can prove
it.

PIPER: Stop harassing me, buddy.

MARK CHAO: Please, I'm desperate. You got to help me.

PIPER: Leave me alone, or I'll call the police. (to the woman) Can you
believe this guy?

(The woman walking by turns and sees Piper talking with no one. Piper continues
to walk toward her car.)

MARK CHAO: All you have to do is come with me to Chinatown and see for yourself.

PIPER: All right. That's it. Look, either back off or -- look out!

(Piper shouts out a warning to Mark, but he doesn't see the bike rider riding
toward him. The bike rider passes clear through Mark.)

(He turns to look at Piper.)

MARK CHAO: Now do you believe me?

PIPER: Oh, my god. I can see you, but no one else can.

MARK CHAO: I'm dead. I'm a ghost.

CUT TO:



[EXT. QUAKE (STOCK) - DAY]



[INT. QUAKE - RESTAURANT -- DAY]

(Prue walks into Quake and sees Andy sitting at a table with a tall, blonde-
haired woman.)

ANDY TRUDEAU: So this little boy says to his girlfriend, he says, "if you let
me kiss you, I'll show you my brass belly button."

(The woman giggles.)

ANDY TRUDEAU: So he leans over and he gives her a kiss, right on the cheek.

(Andy leans forward and kisses the woman on her cheek. Prue walks up to the
table interrupting them.)

PRUE: Hi.

ANDY TRUDEAU: Prue.

PRUE: Um, I tried calling the station house for you. They said that you would
probably be here. Hi.

SUSAN TRUDEAU: Hi.

(Andy stands up and makes the introductions.)

ANDY TRUDEAU: Oh. Prue, this is, um -

SUSAN TRUDEAU: Susan. Susan Trudeau. Nice to meet you.

PRUE: Pleasure. Trudeau. Sister?

ANDY TRUDEAU: No. Actually--

SUSAN TRUDEAU: Wife.

(Andy chuckles. Prue turns and leaves.)

ANDY TRUDEAU: Uh, ha. Ex-wife.

(Andy follows Prue.)

ANDY TRUDEAU: Prue, wait. I can explain.

PRUE: Don't bother.

(As she heads out, she sees the dessert cart. She uses her power and moves the
dessert cart behind her and into Andy's path.)

ANDY TRUDEAU: No, it's not what you think. We divorced -

(Andy doesn't see the cart and trips over it, falling to the floor making a
mess.)

CUT TO:



[EXT. CHINATOWN - STREET/ALLEYWAY -- NIGHT]

MARK CHAO: (o.s.) Thanks for helping me.

PIPER: When you wouldn't leave my front door step, you didn't leave me much of a
chance.

(Mark leads Piper into the alleyway where he was murdered. It's very dark and
spooky.)

PIPER: (hesitant) Maybe this isn't such a good idea.

MARK CHAO: Please, I don't have much time. Somebody has to find my body before
it's too late.

PIPER: Too late for what?

MARK CHAO: It's a Chinese myth. At least I always thought it was a myth.
It's called da hoi, when the gates of hell open. We're almost there.

PIPER: The gates of hell? I don't understand.

MARK CHAO: If the gatekeeper, Yama, captures my soul before my body's properly
buried, he'll take me to hell. Forever.

PIPER: But you said you were murdered. How can--

MARK CHAO: Yama doesn't care about good or evil. He just wants souls. I
should've listened to my mother.

(They reach the spot. Piper looks down and gasps. The body is burned to a
crisp and not recognizable.)

PIPER: Is that you?

(At the far end of the alleyway, a white mist rises. Through the mist, an
ancient asian figure appears -- in costume, riding an armored horse and carrying
a large staff.)

(Mark turns and sees the figure galloping toward them.)

MARK CHAO: Yama.

PIPER: Yama? (Piper turns and sees him.) Well, then ... run.

MARK CHAO: It's too late. You better go. (shouts) Run!

(Piper waves her hands and freezes Yama.)

MARK CHAO: What happened?

PIPER: I'm a good witch, remember?

MARK CHAO: But how?

PIPER: I don't know. I panic, I put up both hands, and bad things tend to
freeze.

MARK CHAO: For how long?

PIPER: Not very. Let's go.

(They both turn and run out of the alleyway. As soon as she disappears from
sight, Yama unfreezes. He points his long staff and gallops down the alleyway
and stops near the body.)

(He turns his head and in the blacked holes of his warrior's mask, his eyes glow
eerily.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR (STOCK) - NIGHT]



[INT. MANOR - HALLWAY -- NIGHT]

(Phoebe pounds on the bathroom door.)

PHOEBE: Prue, you can't do this. Piper's going to be crushed.

(Piper appears in the hallway.)

PIPER: (puzzled) I'm going to be crushed?

(Prue opens the bathroom door. She's in a bath towel.)

PRUE: The surprise party is off.

PIPER: What party?

PHOEBE: She's on to us. The restaurant called while we were out.

PIPER: Oh. Is that why you were so upset earlier?

PRUE: Let's just say it hasn't been a great day.

PHOEBE: Does it have anything to do with why Andy's been calling all night?

MARK CHAO: Piper, where'd you say today's paper was?

(Mark steps into the hallway looking for Piper. He stops when he sees Prue.)

PRUE: Hey, I'm practically naked here!

(He turns his head, but doesn't leave.)

MARK CHAO: Whoops. Sorry.

PHOEBE: What's the drunk from the hotel doing here?

MARK CHAO: The name's Mark, and I'm not a drunk.

PIPER: He's a ghost.

PRUE: Excuse me. A what?

PIPER: A ghost. He was murdered, and he obviously needs our help. Why else
would we be able to see him?

(Phoebe tries to use her jacket to cover Prue.)

PHOEBE: Well, he can see us. That's for sure.

PRUE: Hey.

MARK CHAO: (mutters) Of all the days to be a dead man.

PHOEBE: You sure this guy's really a ghost?

(Piper tosses the mug to Mark. It passes right through him and smashes on the
floor behind him.)

PIPER: Positive.

FADE TO:



[INT. MANOR - KITCHEN - NIGHT - LATER]

(Phoebe, Piper and Prue discuss Mark.)

PHOEBE: So, how do we know that the guy doesn't really belong in hell?

PIPER: Because we can see him. He's one of the innocent we have to protect.

PRUE: Protect from what? He's dead.

PIPER: All we have to do is get Mark's family to give him the proper burial,
and then he can move on to wherever it is he moves on to.

PRUE: Okay, so I'll call the police and let them know where the body is.

PIPER: I already did. I just want to give them a little time to notify Mark's
mom before I go and talk to her.

PHOEBE: Talk to her? And tell her what? That you're a witch in touch with the
ghost of her dead son?

PIPER: No. I'm just going to try and get her to have a funeral as soon as
possible before Yama gets Mark's spirit.

(The phone rings. Phoebe answers it.)

PHOEBE: Hello. (She turns away and lowers her voice.) Oh. Hi. I can't really
talk right now. It's important? Ok, I'll be at the hotel in a little while.
All right. Bye. (She hangs up.) That was my new boss calling. I got to run.

(Phoebe leaves the kitchen. Prue gets to her feet.)

PRUE: Um, ok, so, so, when you called the police you didn't talk to Andy, did
you?

PIPER: No. It was anonymous. Why? Did you decide to not go away with him?

PRUE: Actually, I decided to go, until I went to tell him and found him having
dinner with his ex-wife.

PIPER: His what?

PRUE: Yeah, I mean, uh, you would think that he would've remembered to reveal
that little fact before we jumped in the sack.

PIPER: Well, what did he say? Why didn't he tell you?

PRUE: I don't know. I didn't hang around long enough to ask.

(Mark sticks his upper body through the kitchen door.)

MARK CHAO: How's it going in there?

(Prue turns her head from the sight.)

PRUE: Aah.

(Piper covers her eyes and sighs.)

MARK CHAO: Sorry.

(Mark retreats back through the door.)

PRUE: You know? Don't these guys knock?

(They both shake their heads.)

CUT TO:



[INT. HOTEL NEPTUNE - BAR -- NIGHT]

(Frankie fills Phoebe in on the client he wants her to read.)

FRANKIE: Look, the guy's staying in the grand suite. He could be a sultan, I'm
not sure. Anyway, that's why I called. Make this bozo's night. Read his
future. Tell him something good, and he'll extend his stay. Guaranteed.

PHOEBE: Look, like I said, I don't always know when my psychic switch is going
to be in the up position.

FRANKIE: I have the utmost confidence in you, Phoebe, baby. I don't know how
you do it, but keep it up, and you'll always have work here.

(Phoebe smiles. She turns and sees the man at the counter finish his drink,
grab his things and leave. He forgets his wallet on the table.)

PHOEBE: Oh! Oh, excuse me, sir. Y-you forgot your -- ohh.

(Phoebe picks up the wallet and promptly has a premonition.)

(Quick flash of: The man walks out of the hotel. He walks down the front
steps. As he crosses the street, he drops his briefcase. He leans forward to
pick it up and a car approaches him from behind. The car horn blares. He turns
and looks up, but it's too late. The car hits the man.)

(End of premonition. Resume to Phoebe.)

FRANKIE: You okay? What's the matter?

PHOEBE: (hesitates) Nothing. I, uh ... nothing.

(Phoebe looks down at the wallet in her hands.)

CUT TO:



[EXT. HALLIWELL MANOR (STOCK) - NIGHT]



[INT. MANOR - LIVING ROOM -- NIGHT]

(Mark sits in front of the television set. He tries to turn it on and watches
as his finger passes clear through the set. It's a strange experience for him
... to be dead.)

(Piper walks into the room carrying a blanket. She pauses as she watches him.
He turns and sees her.)

MARK CHAO: Still new to me. I keep forgetting I'm -

(He can't say it. He sees the blankets and stands up.)

MARK CHAO: Those for me?

PIPER: Yeah. Uh, stupid question -- do ghosts sleep?

MARK CHAO: I don't even get cold anymore.

PIPER: Sorry.

MARK CHAO: Oh, it's okay. It's the thought that counts. I guess, um, it's
finally sinking in, what's really happened. What I've lost. No more sucking
down a bucket of oysters at the Wharf, playing pickup ball with friends, coming
home and ... hearing my mother's voice on the machine -- nagging 'cause I
haven't married a nice Chinese girl.

(Piper smiles as she hears the wistfulness in his voice.)

PIPER: Your mom means a lot to you, huh?

MARK CHAO: She's a great friend. Was. (Mark sits down.) It was just me and
her after my father died. Taught me everything I know. Especially how to cook.
Mom's a great cook.

PIPER: My grams taught me how to cook. Actually, I loved it so much I became a
chef.

MARK CHAO: Really? Ever make a Peking Duck?

PIPER: No. You?

MARK CHAO: It's a piece of cake. Mom told me I could've been a great chef if I
hadn't sold out to the molecular biology program at Stanford.

PIPER: So you can make Peking Duck and clone DNA?

MARK CHAO: The duck's harder.

(They share a laugh. She sits down.)

PIPER: Well, I can talk about food all night long.

MARK CHAO: Yeah? Well, I can talk about it forever.

(They laugh.)

CUT TO:



[EXT. SAN FRANCISCO CITY LIGHTS (STOCK) - NIGHT]



[INT. HOTEL NEPTUNE - HALLWAY -- NIGHT]

(Phoebe paces the hallway floor waiting for Mr. Correy to show up. He turns
into the hallway and stops in front of his door.)

PHOEBE: Oh, Mr. Correy, thank goodness. Uh, I need to talk to you.

NICK CORREY: You do?

PHOEBE: Yeah.

NICK CORREY: Me? Oh, hey, you're that psychic, right?

PHOEBE: Yeah, right, look--

NICK CORREY: Is that how you knew my name?

PHOEBE: No. Uh, yes. Did you get the note that I left for you?

NICK CORREY: That note warning me not to go outside? That was you?
(irritated) You get your jollies out of trying to scare people, or is--is that
how you drum up business?

(He turns to go into his room.)

PHOEBE: What? You don't understand. I--

(The door opens and Mrs. Correy steps out into the hallway.)

MRS. CORREY: Honey, where do you want to eat?

PHOEBE: Hi.

MRS. CORREY: What's she doing here?

NICK CORREY: She sent the note.

PHOEBE: It's not what you think. Look here, when I picked up your wallet-

(She holds up the wallet to show him.)

NICK CORREY: You stole my wallet?

(He grabs the wallet from her.)

PHOEBE: I didn't steal your wallet.

MRS. CORREY: I don't know what you want, but just stay away from us. You
understand?

(The Correys turn to leave.)

PHOEBE: But he's going to die.

(They step into the elevator. They both turn and stare at her.)

PHOEBE: Ah, that didn't come out right.

(The elevator door starts to close. Phoebe puts a hand out and stops it.)

PHOEBE: Ooh. Look, I can't tell you how I know this, but, I swear, if you go
outside you're going to get run over by a pink-- wait. You don't have your
briefcase. That's good. That's really good. It doesn't happen without your
briefcase.

NICK CORREY: Leave us alone, or I'm going to call hotel security.

(Nick Correy pushes the elevator door button and the doors close on Phoebe.)

CUT TO:



[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]



[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE - DAY]

(Prue opens her office door and finds a bouquet of flowers on her desk. She
pushes the door behind her and walks into the office. Standing behind the door
near the wall is Andy. Prue hasn't seen him yet.)

(She leans in and smells the flowers. Andy pushes the door closed.)

ANDY TRUDEAU: Hi.

PRUE: You, of all people, should know that bribery is a crime.

ANDY TRUDEAU: Apologizing isn't, is it? Look, Prue, I'm sorry I didn't tell you
I was married before. I should have. I was going to.

PRUE: Really? When? Before or after the door to our adjoining rooms swung open
this weekend?

ANDY TRUDEAU: Okay, I deserve that.

PRUE: I don't understand how you couldn't have found the time to tell me,
unless you really were trying to hide it from me.

ANDY TRUDEAU: Come on, Prue. You know me better than that.

PRUE: Do I?

ANDY TRUDEAU: Prue, it was an innocent dinner. That's all. I've got an ex-
wife and I don't hate her. Is that so horrible?

PRUE: No. No, it's not. But not being honest and telling me up front is.

ANDY TRUDEAU: Which I've already apologized for. Why are you trying to turn
this into something it's not? (His instincts kick in and he focuses in on Prue.
She starts getting uncomfortable.) What's really bugging you, Prue? (She
doesn't say anything. She can't even meet his eyes.) Looks like I'm not the
only one trying to hide a secret.

(Andy turns and leaves the office.)

CUT TO:



[EXT. CHAO'S RESIDENCE -- DAY]

(Piper and Mark arrive at the house. Piper walks up the porch and rings the
bell. She turns to Mark.)

PIPER: Are you sure this is going to work?

MARK CHAO: If you speak her language, she'll trust you.

(Mrs. Chao steps out of the house.)

MRS. CHAO: Can I help you?

MARK CHAO: (in Chinese) Ni-hao. [subtitled] Hello.

PIPER: (repeats in Chinese) Ni-hao. [subtitled] Hello.

MARK CHAO: (in Chinese)

PIPER: (repeats in Chinese) [subtitled] My name's Piper

MARK CHAO: (in Chinese)

PIPER: (repeats in Chinese) [subtitled] I need to talk to you.

MRS. CHAO: (in Chinese) [subtitled] You - speak Chinese?

(Piper turns to look at Mark. She has no clue what Mrs. Chao just said. Mrs.
Chao sees Piper turn. She looks at the sidewalk and sees no one there.)

MARK CHAO: Uh, berlitz. (in Chinese)

PIPER: (repeats in Chinese) Berlitz. It's about Mark.

(Mrs. Chao reaches for Piper's hands. She's worried about him.)

MRS. CHAO: (in Chinese) You know where he is?

MARK CHAO: (confused) She asked if you know where I am?

PIPER: (in English) Wait. You -- you don't?

MRS. CHAO: (in English) No, and I'm worried sick. I haven't heard from him
since his birthday.

MARK CHAO: What, the police haven't notified her yet?

PIPER: How's that possible? I mean, that he hasn't called yet.

MRS. CHAO: I don't know. It's not like him. When did you last see him?

PIPER: (hesitates) Um, well ...

MARK CHAO: Piper, you have to tell her. You have to tell her where my body is
so she can bury me.

(Again, Piper turns to look at Mark. Mrs. Chao also turns but sees no one.)

PIPER: I can't. (to MRS. CHAO) I can't remember the last time, actually, but
if I see him or hear from him, I'll let you know.

(Piper turns and walks down the front steps.)

MRS. CHAO: Thank you. Thank you.

(Mark stops her.)

MARK CHAO: You can't walk away, Piper. You have to tell her.

(Mrs. Chao turns and heads back inside the house. Desperate, he chases after
her.)

MARK CHAO: Mom. No!

(He runs up the steps and heads for the front door. He's immediately stopped by
a force shield. He falls back to the ground. The eyes of the lion amulet
hanging on the nail on the door frame glows and fades.)

PIPER: What happened?

MARK CHAO: She's got the house protected against ghosts. All the Chinese fairy
tales she told me growing up are true, and I'm going to burn in hell.

FADE TO:



[EXT. HALLIWELL MANOR (STOCK) - NIGHT]



[INT. MANOR - KITCHEN -- NIGHT]

(Prue is scrubbing the stove when Phoebe walks into the kitchen.)

PHOEBE: Man trouble?

PRUE: I don't want to talk about it. By the way, where were you last night?

(Phoebe walks over to the table and grabs a pair of latex cleaning gloves and a
cleaning sponge.)

PRUE: Something wrong?

PHOEBE: I don't want to talk about it.

(Phoebe puts the gloves on.)

PRUE: Ok, you never clean, and you'll talk about anything. What's up?

(Phoebe starts scrubbing.)

PHOEBE: Nothing.

(Concerned, Prue reaches over and stops her.)

PRUE: Phoebe.

PHOEBE: Okay. I had a premonition. A really bad one, too. I saw a guy getting
run over by a pink cadillac.

PRUE: A pink cadillac?

PHOEBE: I know it sounds ridiculous, but it's true. I saw it, and I don't know
what to do about it.

PRUE: Did you warn him?

PHOEBE: Yeah, I tried. He thought I was out of my mind, thought I was stalking
him or something. I mean, how do you tell a complete stranger that you know
they're going to die?

PRUE: Where is he now?

PHOEBE: (sighs) The Hotel Neptune.

PRUE: Oh, what were you doing there?

PHOEBE: I knew you were going to ask that. I wanted to get you a really great
birthday present to make up for all those cards, so I got a job at the hotel as
their lounge psychic. Go ahead. Yell at me.

PRUE: Phoebe, you have to save him. You can't let him out of your sight.

PHOEBE: Oh, don't worry. I waited until he went to sleep, and then I broke a
key off in his door to lock him in. He's safe till morning.

(Phoebe waits for the rest, but Prue returns to scrubbing the stove.)

PHOEBE: (confused) Hey, wait. That's it? You're not going to get mad at me?

PRUE: You were trying to do something good, and now you're going to get to do
something wonderful. I couldn't ask for a better birthday present than that.

(In the background, we hear the front door open and close. Piper and Mark walk
into the kitchen.)

PIPER: You guys have to see this.

MARK CHAO: They found my body.

(Piper turns the television set on.)

REPORTER: (from tv) Although police reported that the body was burned beyond
recognition,

MARK CHAO: It's finally over.

REPORTER: (from tv) ... personal effects found at the scene preliminarily
identify him as Tony Wong, head of the Chinatown triads.

MARK CHAO: Hey. That can't be! That's the guy who killed me.

REPORTER: (from tv) ... Wong, who was a suspect in two gang-related slayings
last year...

(Phoebe gets a premonition.)

(Quick flash of: Tony Wong sits in his office filling his gun with bullets.
End of premonition. Resume to Phoebe.)

PHOEBE: Oh, no. Wait. I see him. Wong. He's still alive.

MARK CHAO: Of course he's still alive. That's me they found.

PRUE: Can you see where he is now?

(Phoebe concentrates on the premonition and she receives it again.)

(Quick flash of: Tony sits in his office. Behind him is a sign with two
Chinese characters on it. Tony stands up and leaves. The premonition lingers
on the sign. End of premonition. Resume to Phoebe.)

PHOEBE: I--I see a sign. Uh, quick, give me a pen.

(Piper gets a pen out of the drawer.)

MARK CHAO: I don't understand why Wong would want to kill me. I never did
anything to him.

PRUE: Yeah, but you look a lot like him. Maybe he used you to fake his own
death.

(She writes the characters on the palm of her hand and shows it to Mark.)

PHOEBE: What does that mean?

MARK CHAO: Wu Han imports. It's a warehouse over in Chinatown.

FADE TO:



[EXT. CHINATOWN BUILDING (STOCK) -- DAY]



[INT. WU HAN IMPORTS - OFFICE - DAY]

(Piper and Mark walk into the office.)

MARK CHAO: I don't know about this, Piper. I think it's too dangerous.

PIPER: It's your only chance.

(Piper and Mark make their way up the stairs to the second floor office.)

MARK CHAO: Piper, listen to me. You don't want to go up there. Those men
pulled the trigger on me without even thinking. They'll kill you.

PIPER: I can freeze things, remember?

MARK CHAO: But there are three thugs in there.

PIPER: Keep talking.

MARK CHAO: With guns.

PIPER: Even better.

MARK CHAO: Wait, wait, wait. He's got an amulet on the door. I can't go in.

(Piper reaches up and takes the amulet off the door. She tosses it to the
ground below. Problem solved.)

MARK CHAO: Never mind. Aren't you scared?

PIPER: Terrified. Trust me, that's a good thing.

(Taking a breath, Piper rushes into the office.)



[INT. WU HAN IMPORTS - SECOND FLOOR OFFICE - DAY - CONTINUOUS]

(The door bursts open and Piper runs into the office. The four men in the
office turn around. Tony Wong holds out his hands.)

(Piper sees them and gasps. She freezes them.)

PIPER: Ok. Whew. We got to hurry.

(Piper puts the newspaper on Tony Wong's open hands. The headline reads: TONY
WONG FOUND DEAD. She steps back and holds up the camera.)

PIPER: Say cheese.

(She snaps the photo and everyone unfreezes. She sees them move, screams, turns
and runs out of the office)

MARK CHAO: Run!

(Tony looks down at the newspaper in his hands.)

THUG: Come on.
THUG: Let's get her.

(The four of them run out of the office after Piper.)



[EXT. CHINATOWN - STREET IN FRONT WU HAN IMPORTS - DAY -CONTINUOUS]

(Piper runs for her car. She gets in and starts the engine.)

(Tony Wong and his thugs step out into the street. They point their guns at
Piper's retreating car, license #3B583Y8, as they wave the bystanders away.)

THUGS: Move! Move!

(As she drives away, Tony Wong writes down her license number.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. POLICE DEPARTMENT - PARKING LOT -- DAY]

(Piper walks out of the police department. She meets up with Mark and they
slowly make their way to her car.)

PIPER: Ok, all set. I snuck the photograph into Andy's interoffice mail.

MARK CHAO: My afterlife's in the hands of a cop named Andy.

PIPER: He's an inspector, and he's very good, Mark. After he sees Wong is
alive, he'll know exactly what to do.

MARK CHAO: Busts Wong maybe, but that doesn't help me. They won't have any way
of identifying the body as mine.

PIPER: I put your name in with the picture. Andy'll get dental records or
something and match it up. All we have to do is keep Yama away from you until
then.

MARK CHAO: I don't know what to say.

(Piper opens the door for Mark.)

PIPER: Don't say anything. I made you a promise, didn't I?

(On the other side of the parking lot, Andy gets out of his car. He takes a sip
from his coffee cup, turns and sees Piper standing by her open car door.)

(He makes his way toward her.)

PIPER: As much as I like you, I have no intention of joining you.

ANDY TRUDEAU: (o.s.) Talking to yourself, huh?

(Piper turns and sees Andy. She slams the car door shut and smiles
embarrassedly at him.)

PIPER: Andy. Hi. Yeah, it's an old habit. I do it all the time.

ANDY TRUDEAU: My mom used to call it interesting conversations with an
interesting person.

PIPER: Yeah? Interesting.

MARK CHAO: (drawls) Very.

ANDY TRUDEAU: Not that it's not a pleasure, but what are you doing here?

PIPER: Oh, nothing. You know, just ... passing by.

ANDY TRUDEAU: Prue tell you what's going on?

PIPER: No. Well, yeah. I mean, sort of. Kinda screwed up, huh?

ANDY TRUDEAU: Any idea what I should do?

MARK CHAO: (realizes) Oh, that Andy.

PIPER: (automatically to Mark) Yeah.

(Andy turns and looks at who Piper's talking to and he doesn't see anyone.
Piper tries to cover.)

PIPER: (to ANDY) I mean, yeah, um ... hmm. Just give her some space. Let her
work it through.

(She shrugs.)

ANDY TRUDEAU: Yeah, ok. (He gives Piper a hug.) Thanks. Take care.

(Andy turns and leaves.)

PIPER: You, too.

(Piper turns and sees Mark smiling at her.)

PIPER: What?

MARK CHAO: You're really a sweet person, you know that? No, I mean that. I
want to take you somewhere. Something I wanna do for you.

(Piper glances around again, opens the car door and motions Mark to get into the
car. He slips into the car and she shuts the door.)

CUT TO:



[EXT. HOTEL NEPTUNE BUILDING (STOCK) - DAY]



[INT. HOTEL NEPTUNE - LOBBY - DAY]

(The elevator door dings, the doors open and Nick Correy steps out into the
lobby. Phoebe intercepts him.)

PHOEBE: Oh, Mr. Correy -

(He heads across the lobby; Phoebe follows him.)

NICK CORREY: Stay away.

PHOEBE: Please, you have got to believe me.

NICK CORREY: You locked me in my room, didn't you?

PHOEBE: Yeah, but just for your own protection.

NICK CORREY: What do you want, money? Is that what this is, a shakedown?

PHOEBE: No. I'm trying to save your life, for god sakes. Listen to me!

NICK CORREY: You're crazy!

(He heads for the front door. Phoebe has the premonition again.)

(Quick flash of: We hear Nick Correy groan and see the car hit him. He hits
the pavement. End of premonition. Resume to present.)

PHOEBE: If you walk out that door, you're a dead man!

NICK CORREY: (to the bellhop) Call security.

PHOEBE: Mr. Correy, don't do it!

(He turns and leaves. Phoebe runs after him.)



[EXT. HOTEL NEPTUNE BUILDING - FRONT -- DAY]

(Nick Correy glances at his watch and heads to the road. Phoebe runs out of the
hotel chasing after him.)

PHOEBE: Watch out!

(In the middle of the road, he drops his briefcase and leans down to pick it up.
He doesn't see the pink Cadillac driving toward him.)

(The car horn blares. Nick Correy glances up. Phoebe dives and pushes him out
of the way.)

PHOEBE: Mr. Correy!

(They both fall to the pavement as the pink Cadillac drives away. Phoebe picks
herself up.)

(Mrs. Correy rushes over to him.)

MRS. CORREY: Nick!

(They both glance up at Phoebe.)

PHOEBE: That'll be $20. Tip not included.

(Phoebe fixes her jacket. The Correys stare at her. Phoebe turns and leaves.)

FADE TO:



[EXT. CHINATOWN LIGHTS (STOCK) - NIGHT]



[INT. MARK'S PLACE -- NIGHT]

(Piper opens the door and turns on the lights.)

PIPER: This is your place? It's beautiful.

MARK CHAO: Thanks.

(She picks up a book on the desk.)

PIPER: Camus. I'm impressed.

MARK CHAO: Wish I had a chance to finish it. Of course, I could say that about
almost everything, I guess.

PIPER: (reading) "I love this world as a dead world, and always there comes an
hour where one is weary of prisons, and all one craves for is a warm face, the
warmth and wonder of the living heart."

MARK CHAO: I like that part.

PIPER: Me, too.

(She flips through the book.)

MARK CHAO: Listen, if your cop friend comes through, maybe I'll get a chance to
ask Camus himself how it turns out. (She chuckles.) I want you to reach for
something. (He shows her. She takes the box down from the shelf.) Go ahead,
open it.

(She sits next to him on the couch.)

PIPER: What are they?

MARK CHAO: My grandfather's recipes. My dad translated them when I was born.
They've been serving these in my family's restaurant for decades. They're
yours.

PIPER: (surprised) But they belong in your family.

MARK CHAO: I want you to have them, for everything you've done for me. I just
ask one favor: Use them for your sister's surprise birthday party.

PIPER: Prue doesn't want a party.

MARK CHAO: Birthdays are important. I know. I walked out on my last one, and
it never occurred to me that I wouldn't get another. She may not know it, but
she needs to celebrate her birthday. You all do. Don't take it for granted.

CUT TO:



[EXT. HALLIWELL MANOR (STOCK) - NIGHT]



[INT. MANOR - PRUE'S ROOM -- NIGHT]

(Prue is in her bedroom flipping through the television channels. Phoebe opens
the door and walks into the room.)

PHOEBE: Prue, what are you doing?

PRUE: I'm just flicking through channels.

PHOEBE: You don't flick. You never flick.

PRUE: Well, I flick now. Are you okay? You look --

PHOEBE: Awful? (smiles) I know, but I feel fine.

PRUE: Did you warn that guy?

PHOEBE: I did better than that. I saved that guy ... and it was great, too. I
mean, I knew doing it would be good for him, but I had no idea what a rush it
would be for me. I felt so good, and not just about myself, but about
everything -- that even in my own little way, I could make a difference. Can
you believe it's me saying this?

PRUE: What can I say? It's been a week full of surprises.

PHOEBE: Yeah. Speaking of surprises, what are you gonna do about Andy?

PRUE: I don't know. Andy kept something from me, but ... the truth is ... I
keep something from him every day. And it's not like I'll ever be able to tell
him about our secret, so what's the point?

PHOEBE: We're The Charmed Ones, Prue, not The Doomed Ones. We have lives like
everyone else. Call him. Go see him. Do something. Give to get. That is the
secret of life, not our powers.

CUT TO:



[INT. MANOR - FOYER -- NIGHT]

(The front door opens. Piper and Mark walk into the house. Piper closes the
door. Mark is thoughtfully quiet.)

PIPER: You okay?

MARK CHAO: Yeah. I was just thinking ... in walking under the stars -- what's
really up there? What's waiting for me?

PIPER: I don't know. Maybe you can give me a hint when you get there.

MARK CHAO: I don't want this night to ever end. I'm not ready to say good-bye,
Piper.

(Piper feels the same way. She places her palm about an inch away from his
cheek as if to touch him.)

PIPER: Close your eyes. Pretend you can feel my hand on your skin ... that my
touch gives you comfort.

MARK CHAO: No, I ...

PIPER: Just close your eyes.

(He automatically leans forward, she reaches up ... and their lips almost touch
in a pretend kiss.)

(Piper and Mark pull away from each other.)

MARK CHAO: Where were you my whole life?

(Piper chuckles.)

(The front door bursts open. Piper screams. Two of Tony Wong's Thugs grab
Piper.)

MARK CHAO: No!

MARK CHAO: Piper!

THUG: (in Chinese)
THUG: (in Chinese)

(The two thugs pick Piper up and carry her out the front door.)

MARK CHAO: No! Somebody help! Help!

(Helpless to stop them, Mark watches them carry her out of the house.)

(Prue and Phoebe run down the stairs.)

PRUE: What's wrong? What happened?

(Mark runs back into the house.)

MARK CHAO: They took her. Wong's men took Piper.

PHOEBE: Do you know where they took her?

(He shrugs. Phoebe reaches for the phone.)

PHOEBE: I'm calling 911.

PRUE: No. Do it from the car. Let's go. We've got to find her.

(Prue and Phoebe grab their coats as they head out the door. Mark follows
them.)

MARK CHAO: Even if it takes all night.

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. WU HAN IMPORTS BUILDING (STOCK) -- DAY]



[INT. WU HAN IMPORTS - SECOND FLOOR OFFICE - DAY]

(Piper is tied up in her chair while Tony Wong sits at his desk filling his gun
with bullets.)

TONY WONG: The first time I saw you, I thought you were a ghost.

PIPER: You know, these ropes are really tight. If you could just untie my
hands?

(Tony Wong snaps the gun back into place. He stands up.)

PIPER: Why did you kill Mark?

TONY WONG: I needed his identity. (He grabs a handful of Piper's hair and
pulls back. She grunts.) Who else knows I'm alive?

(She doesn't say anything. He walks around Piper.)

TONY WONG: I ... had plans. I had a boat ready to take me to Hong Kong. I had
a whole new life, but you screwed it all up.

CUT TO:



[EXT. POLICE DEPARTMENT BUILDING (STOCK) - DAY]



[INT. POLICE DEPARTMENT - BULLPEN -- DAY]

(Andy sits at his desk. He picks up the case file folder. The mail person puts
the interoffice mail on his desk.)

ANDY TRUDEAU: Thanks.

(Andy picks up the phone to make a call. As he goes through the file folder, he
absently picks up the envelope in his in tray. He opens it and finds the photo
of Tony Wong with the newspaper.)

(Andy puts the phone down as he stares at the photo.)

CUT TO:



[INT. WU HAN IMPORTS - DAY]

(Mark runs down the stairs just as Prue and Phoebe run into the building.)

MARK CHAO: Quick, they have her upstairs -- look out!

(Prue gasps and squints at the two thugs running toward them.



[INT. WU HAN IMPORTS - SECOND FLOOR OFFICE - DAY - CONTINUOUS]

(Tony hears the commotion down stairs.)

TONY WONG: I'll take her. You shoot anyone who comes through that door.

(He unties Piper as his Thugs run to the door.)



[INT. WU HAN IMPORTS - STAIRS - DAY - CONTINUOUS]

(Prue, Phoebe and Mark rush up the stairs. At the top of the stairs, Prue stops
and blasts the door open.)



[INT. WU HAN IMPORTS - SECOND FLOOR OFFICE - DAY - CONTINUOUS]

(The door opens into two thugs and knocks them out. Tony steps toward, aims his
gun at Prue and fires.)

PIPER: Look out!

(Piper waves her hands and freezes the bullet mid-air. Prue gasps.)

PRUE: Thanks, sis.

(Prue and Phoebe rush over to free Piper.)

PIPER: Right back at you, sis.

MARK CHAO: How long does this last again?

PIPER: Not very.

(Time resumes. The bullet continues and hits the vase near the wall. Tony
turns around and is startled when he finds them behind him.)

TONY WONG: Who are you people?

(Prue uses her power and pushes Tony out the door.)



[INT. WU HAN IMPORTS - FIRST FLOOR -- DAY]

(Tony Wong falls out the door and down the stairs. He lands on the floor. In
the background, we hear sirens approach.)

(Tony scrambles to his feet and runs out the front door.)



[EXT. WU HAN IMPORTS BUILDING -- DAY]

(Andy and a couple of police cars stop in front of the Imports Building just as
Tony Wong runs out the front door.)

(They take up position behind their open car doors, their guns on Tony Wong.)

ANDY TRUDEAU: Police! Freeze!

(Tony holds his hands up for a moment, then takes a shot.)

(Andy fires and shoots Tony. Tony Wong falls to the ground dead. Andy stands
up and keeps his gun on Tony.)

(From the second floor balcony, Piper, Phoebe, Prue and Mark look down at Tony's
body on the road.)

PIPER: I've never seen anybody killed before.

PRUE: Jeremy.

PHOEBE: Javna.

PIPER: (mutters) I mean humans.

PRUE: Come on. We need to get out of here before Andy sees us.

(They turn and leave the balcony.)

(Meanwhile, down below, Tony Wong's spirit leaves his body. He stands up, turns
around and looks back at his body still on the road.)

(Shocked at seeing himself dead, he backs away and heads for the alley.)

(Andy and the other officers cautiously approach the body on the road.)



[EXT. WU HAN IMPORTS BUILDING - ALLEYWAY - DAY -- CONTINUOUS]

(Piper, Prue, Phoebe and Mark head down the back fire escape and into the
alley.)

(As they run out the back of the alley, Mark sees Tony Wong running into the
alley.)

MARK CHAO: Wong!

(The two men stare at each other.)

TONY WONG: But ...you're dead.

MARK CHAO: Yeah. So are you.

(Behind Tony, Yama materializes.)

PIPER: Mark, I think you should get outta here.

(Tony sees Yama and backs away. Mark grabs Tony by the shirt.)

MARK CHAO: Make a wish, you bastard.

(He turns Tony toward Yama and pushes him into the spear. The spear impales his
ghostly form. Tony vanishes into mist.)

(Yama then turns and points his spear at Mark.)

(cc) YAMA: Now ...you are next.

(Piper shouts and stands in between Mark and Yama.)

PIPER: No! You can't take him. He's a good man. He doesn't belong with you.

(Yama's eyes glow green. Prue and Phoebe step up and flank Piper; the three of
them stands between Yama and Mark.)

(Yama's eyes glow as he moves a bit closer to them.)

(As if silently thinking this over, Yama's eyes stop glowing. He lifts his
spear up and vanishes in a golden haze.)

FADE TO:



[EXT. CEMETERY -- DAY]

(Prue, Piper and Phoebe attend Mark's funeral.)

MINISTER: Let us remember, though we gather in sorrow, we are here to celebrate
the joy of Mark's life, and the redemption of his spiritual journey. (cc) Let
us take a moment of silence.

(Mark stands on the side and watches his mother grieve.)

MARK CHAO: All those stories ... all those legends you taught me ... they saved
my soul, mom. You were right.

(Mark walks over to Prue, Phoebe and Piper.)

MARK CHAO: Take it from me, Prue. Don't miss your birthday. Not any of them.
They're precious.

PRUE: I won't.

(Piper looks at Mark.)

MARK CHAO: I wish ...

PIPER: (nods as she cries) I know. Me, too.

(Mark reaches out his hand and places his palm near Piper's cheek. Phoebe and
Prue turn away for a moment.)

MARK CHAO: I'm gonna miss you, Piper.

(Piper smiles at him through her tears.)

(On the other side of the grass, the ghostly figure of an asian man
materializes. Phoebe sees him.)

PHOEBE: Who's that man?

(Mark turns around and smiles.)

MARK CHAO: That's my dad. I guess this really is good-bye.

(Piper nods. Phoebe waves. Mark heads over to the man waiting for him. When
he reaches him, they put their arms around each others' shoulders. They turn
and continue walking. They vanish mid-stride.)

(Piper takes a shuddering breath. Phoebe puts her arms around Piper.)

PIPER: Leave it to me to fall for a dead guy.

(Prue reaches over and holds onto Piper's hand.)

PHOEBE: It's an improvement. At least he wasn't a warlock.

PIPER: Yeah.

FADE TO:



[INT. MANOR - FOYER / MAIN HALL / SITTING ROOM -- NIGHT]

(The front door opens. Phoebe, Prue and Piper return home from the funeral.)

PRUE: You know what? I've changed my mind. I think maybe we should have a
party after all.

PHOEBE: Are you serious?

PRUE: Yeah. Why not? I mean, Mark is right.

(Piper puts her arm around Prue's shoulders and gently leads her over to the
living room.)

PIPER: Well, Prue, I'm glad you said that ...'cause ...

(They turn the corner and find the room filled with guests and decorated for a
birthday party.)

GUESTS: Surprise!
GUESTS: Surprise!
GUESTS: Surprise!

(They clap for her.)

PIPER: (smugly) Did I get ya? I got ya.

PRUE: Yeah, you got me.

(Phoebe holds out the gaily wrapped birthday present.)

PHOEBE : And an actual birthday gift that's paid for. I hope you like it.

(Prue takes the box and gives Phoebe a hug.)

PRUE: I'm speechless.

PHOEBE: Happy birthday.

(Prue turns around and sees Andy standing at the back of the room smiling at
her. She nods at him and smiles back.)

FADE TO BLACK.
1.05 - LOVE HURTS by Mitchell
FADE IN.

[EXT. SAN FRANCISCO BRIDGE (STOCK) - DAY]



[EXT. FREDDY'S MINI-MART - SIDEWALK -- DAY]

(Scene opens on the FREDDY'S MINI-MART sign. DAISY carries a bag of groceries.
She nervously looks both ways before hurriedly crossing the street. She glances
behind her, then looks down as she makes her way to her car.)

(A car horn beeps. Daisy jumps and drops her bag of groceries, the glass
breaking as it hits the concrete curb.)

DAISY: Ohh!

(Daisy kneels and reaches for the bag and cuts her hand on the broken glass.)

DAISY: Ow! Damn it!

(She looks down at the bleeding cut on her hand. Behind her, we hear the
familiar sound of someone orbing in.)

LEO: (o.s.) It's all right, Daisy.

(Leo's hand breaks frame and touches Daisy on her shoulder. She turns and
stands up.)

DAISY: (relieved) Oh, Leo, thank god it's you. I have been so scared.

LEO: You just have to stay strong a little longer, and then you'll be safe.

DAISY: But he's out there, Leo. He's going to find me. I've seen what he can
do, his powers.

(Leo reaches for Daisy's hand. He holds his hand over her bleeding cut and
magically heals the wound. Daisy looks at Leo.)

DAISY: How did you do that? Who are you people?

LEO: You just have to trust me, Daisy.

DAISY: But why me, Leo? I still don't understand.

LEO: You have a very special future ahead of you. That's why I wanted you to
come to San Francisco. I have powerful friends here who can help you.

DAISY: Yeah. What if Alec finds me first?

LEO: He won't be able to. I made you invisible to him.

ALEC: (o.s.) Hello, Leo. (Daisy and Leo turn. They see Alec walking toward
them.) Been looking all over for you. I figured you could only be here for one
reason, hmm? (louder) Where are you, Daisy? I know you're close by.

(Alec looks around.)

LEO: It's ok, Daisy. He can't see you. Don't say a word, just leave quickly.

ALEC: Don't listen to him, sweetie. Don't do it.

(Daisy turns and runs.)

LEO: She's already gone, Aec.

ALEC: I love her, Leo, much like you love your little witch -- what's her name
... Piper?

LEO: Darklighter's aren't capable of love, Alec.

ALEC: This one is. I love Daisy, and you are keeping me from her. It was only
a couple of days ago, all I had to do was think about her and then, bang! I'd
be there with her, right there. Then suddenly she vanishes from my radar,
cloaked by a Whitelighter ... by you.

LEO: Well, if you know I cloaked her, then you also know that you won't find
her as long as I live.

ALEC: (sighs) Yes. Well, I have a solution for that.

(Alec turns and takes a couple of steps away from Leo. He holds out his hand
and a black crossbow appears. With one motion, he turns, raises the crossbow,
aims and fires a single arrow point black at Leo. The arrow pierces Leo's right
shoulder.)

LEO: Unh! Ah!

(Leo looks back at Alec. Alec grins smugly at him.)

(In pain, Leo turns and orbs out.)

(Alec put his crossbow down and smiles.)

CUT TO:



[EXT. HALLIWELL MANOR (STOCK) -- DAY]



[INT. MANOR - MAIN HALL - DAY]

(Phoebe and Prue walk down the stairs carrying the travel bags with them.)

PHOEBE: I can't believe you're wearing your bikini on the plane.

(They reach the main hall and put their bags down.)

PRUE: Time-saver. We have all of 48 hours in Cabo. The minute we land, I'm on
the beach getting all golden brown.

PHOEBE: I know, but you're making me look frumpy. It's like a sign of the
apocalypse.

PRUE: I practically had to beg the guy in accounting to lend us his condo.
There are no warlocks in sight, Andy finally found out our big secret. I'm
going to get crazy.

PHOEBE: It's about time. How long have I been after you to find some new male
blood, preferably tan and buff?

PRUE: Hmm ... with limited verbal skills.

PHOEBE: Hmm. And ...

PRUE/PHOEBE: (together) No strings attached.

PHOEBE: Stella, we are gettin' our groove back.

(They high five each other, deliberately missing.)

PHOEBE/PRUE: Whoo!

(There's a slight pause.)

PHOEBE: Okay, um ... so ... speaking of which, where's Piper?

(They both turn and head past the dining room and into the kitchen.)

PRUE: I think Piper's gonna be in a groove-free kind of mode for a while.



[INT. MANOR - KITCHEN - DAY - CONTINUOUS]

(Prue and Phoebe walk into the kitchen.)

PHOEBE: Oh, she's not seriously ...

PRUE: Taking a vacation from men. Yep. Afraid of falling in love again, I
think.

PHOEBE: So while we're partying all weekend, what is she going to be doing?

PRUE: I don't know. The last I checked, she was in the attic searching for a
suitcase to carry her books in.

PHOEBE: Books? What kind of books?

PRUE: The kind they make into Kevin Costner movies.

PHOEBE: (aghast) Oh, no. We've got to stop the insanity.

PRUE: Maybe we should just let her be. I mean, we're not the ones who fell in
love with a warlock, a ghost, a geographically undesirable handyman, and a very
dorky grad student.

PHOEBE: Maybe she's just in a slump. It happens. (Prue stares at Phoebe.)
All right, it happens to Piper a lot, but celibacy is not the answer.

PRUE: A couple of dates not picking up the check -- that's a slump. This is
more like a sucking void.

(From the attic, there's a loud, heavy-sounding thump and a crash.)

PIPER: (o.s.) Prue! Phoebe!

(Prue and Phoebe both head out of the kitchen.)



[INT. MANOR - HALLWAY TO ATTIC/ATTIC - DAY - CONTINUOUS]

(Prue and Phoebe walk into the attic. They both stop next to Piper who is
staring at something on the floor in front of her.)

(Leo is on the floor in front of them, grunting and writhing in pain from the
arrow in his shoulder.)

LEO: Oh.

PRUE: Leo?

(He grunts with pain.)

LEO: Um ... unh ...

(Prue, Piper and Phoebe stare at him in shock.)

SMASH CUT TO
END OF TEASER
ROLL TITLE CREDITS



FADE IN.

[EXT. VARIOUS SAN FRANCISCO (STOCK) -- DAY]

[EXT. HALLIWELL MANOR (STOCK) - DAY]



[INT. MANOR - SECOND FLOOR BATHROOM - DAY]

(Prue bursts into the bathroom and scrambles to get the necessary supplies to
help Leo. She opens the drawer, grabs an empty wicker basket and starts dumping
bandages and other random supplies into it. She opens the cabinet under the
sink and grabs bottles and dumps it into the basket as well.)

PRUE: Oh, god.

(She opens the medicine cabinet and randomly adds more things to the wicker
basket.)

PRUE: Oh!

CUT TO:



[INT. MANOR - ATTIC - DAY -- CONTINUOUS]

(Phoebe and Piper help move Leo to the couch.)

PHOEBE: Careful.

PIPER: (angry) I am being careful. I can't believe you knew. (They put Leo
on the couch.) The fact that our handyman, the man I was dating, was
supernatural just happened to slip through your mind.

(Piper gets a pillow and puts that behind Leo.)

PHOEBE: There was no slipping, ok? I told you, but you didn't want to believe
me.

LEO: Piper, I wanted to ...

PIPER: But you didn't.

PHOEBE: Okay, we've got to get your legs up.

(Phoebe grabs Leo's legs and moves him.)

LEO: Don't worry about me. There's someone -- aah!

PHOEBE: We have to get the arrow out.

LEO: No. Don't touch it. It's tipped with poison.

PHOEBE: How are we supposed to pull it out if we can't touch it?

(Prue walks into the attic.)

PRUE: Well, you came to the right girl. Here. (She hands the wicker basket to
Phoebe.) (to Leo) You ready?

(He nods, bracing himself.)

(Using her powers, Prue raises her hand and pushes the arrow out through Leo's
shoulder.)

LEO: Unh! Ah! Ow!

(She flings the arrow clear across the attic where it hits a chest.)

LEO: (panting) Unh!

(Prue and Piper remove Leo's jacket.)

PRUE: Okay, I brought everything that I could find. I just didn't know what to
use on -- what is he again?

LEO: A Whitelighter.

PHOEBE: Yeah. They're sort of like -- you know how Peter Pan has tinker bell?
They're sort of like that, only minus the tutu and the wings. He guides
witches.

(Piper takes some gauze from Phoebe and puts it flat against Leo's wound.)

LEO: And future Whitelighters. That's why I came to you.

PIPER: (to Phoebe) You should have told me.

(Phoebe's momentarily flustered by the accusation.)

LEO: I should have told you. (Piper presses down hard on the gauze covering
the wound. Leo grunts with pain.) Ah!

PIPER: Oh, did that hurt? Good.

LEO: There's a woman -- Daisy. You have to protect her from the Darklighter.

PRUE: A Darklighter? Is that what shot you?

LEO: They, uh ... they seduce innocent women. Their goal is to create evil
through reproduction.

PHOEBE: Great. Generation 666.

LEO: Only he broke the rules. He, uh, he fell in love with one of his victim's
-- a human. (His eyes shift to Piper.) And she loved him back.

PIPER: Until she found out who he really was, right?

LEO: Look, Piper, you have every right to be mad at me --

PIPER: Thanks for the permission. I'll get some more gauze.

(Piper leaves the room.)

LEO: Now, please, you have to find daisy before he does, otherwise she won't be
able to do the good that she's destined to, and she won't be able to become a
Whitelighter.

PRUE: Ok, where is she?

LEO: I don't know. The last time I saw her, she was at a mini-mart in the
Castro, headed for her rental car. If he finds her first, he'll never let her
go, ever.

PRUE: Any tips on how to vanquish a Darklighter, in case we run into him?

LEO: No. Just -- just don't let him touch you. His power is in his hands, and
when he chooses to, he has the power to kill.

PRUE: And we have the Power of Three. All right, call the airline, cancel our
tickets. I'll call Andy, see if he can help me locate her, and Piper should --

PHOEBE: I'll talk to her. Someone's got to stay with Leo.

PRUE: Perfect.

CUT TO:



[EXT. POLICE STATION (STOCK) -- DAY]

DARRYL MORRIS: (v.o.) You enjoying this as much as I am?



[INT. POLICE DEPARTMENT - BULLPEN - DAY]

(Darryl and Andy sit at their desks facing each other. The silence between them
is thick. Andy's reading a file.)

ANDY: What's that?

DARRYL MORRIS: Oh, you know, the silent treatment, the cold shoulder.

(Andy puts down the file and glances behind him at the other detectives standing
at the far end of the office looking at them.)

ANDY: (sighs) I know. It's been a week since Internal Affairs has made a move.
What are they waiting for?

DARRYL MORRIS: I'm not talking about I.A. I'm talking about you and me.

ANDY: I got no problems.

DARRYL MORRIS: Yeah? That makes one of us. I.A.'s on our ass, and I still
don't know why, but I'm pretty damn sure you do. You feel like sharing?

(The telephone rings. Andy grabs it.)

ANDY: (to phone) Homicide. Trudeau.

INTERCUT WITH:

[INT. MANOR - LIVING ROOM - DAY]

PRUE: Andy, hi. I--

ANDY: (interrupts) Hey! Franklin, how are things in forensics?

(Darryl glances at Andy. At the mention of who Andy's talking to, Darryl's look
changes.)

PRUE: You can't talk.

ANDY: No, actually. Why don't you have it checked out by the FBI lab?

PRUE: Look, Andy, I really need your help. It's important. Quake?

(Andy glances at Darryl.)

ANDY: Ok. I'll be there.

(Andy hangs up. He stands up to grab his jacket.)

DARRYL MORRIS: (low voice) Franklin's wife had a baby girl yesterday. (Andy
realizes that he's busted.) Took a week off. Maternity ward? (Darryl stands
up and walks over to Andy.) You don't wanna tell me what's goin' on, fine.
Just don't lie to me, okay, partner?

(Andy fixes his tie. Without a word, he pats Darryl on the arm, turns and
leaves.)

(Darryl looks at the Internal Affairs Investigators standing in the office next
door. He closes the door on them.)

CUT TO:



[EXT. QUAKE (STOCK) - DAY]



[INT. QUAKE - MAIN DINING ROOM -- DAY]

(Prue and Andy sit at an isolated table at the back of the dining room.)

PRUE: Andy, what's going on?

ANDY: (quietly) Internal Affairs is looking into all my unsolved cases, all
the ones that involve the supernatural.

PRUE: All the cases that involve me. (She glances at the door.) Do you think
that they followed you here?

(He also glances around them.)

ANDY: I wouldn't put it past them.

PRUE: Andy, if we-- if I put you in this situation --

ANDY: I put me here, Prue.

PRUE: Yeah, but you had help. Can they force you to tell them?

ANDY: About you? (shakes his head) I won't. But we have to be careful about
being seen together. It has to look like we're still ... friends.

PRUE: Andy, we are still friends. We always will be.

ANDY: You sure I'm not just someone who's keeping your secret, Prue?

PRUE: You know me better than that. (smiles) I'm glad I told you. I am.

ANDY: So am I. Now when you need me, all you have to do is ask.

PRUE: Well, I am asking. I need to find someone. She's in danger, and I have
to get to her before he does.

ANDY: He? You know what? I don't need to know. Specifics always get me into
trouble. Where was the last place she was seen?

PRUE: Headed to her rental car outside a mini-mart.

ANDY: Well, we can get the security cameras from the mini-mart and surrounding
businesses, see if we can get the car's license plates, and see if it leads us
to where she's staying.

PRUE: Thanks.

(Andy smiles at Prue. She smiles back at him.)

CUT TO:



[INT. MANOR - ATTIC -- DAY]

(Phoebe walks into the attic carrying a tray of food. She heads over to Leo.)

PHOEBE: Leo, I brought you some food in case you're -- you do eat, right?

LEO: Yes, Phoebe, I eat. How's Piper?

(Phoebe puts the tray down near Leo.)

PHOEBE: Oh, you know, she's dealing. I mean, it's not every day that you find
out the guy you're seeing isn't human. Although in Piper's case --

LEO: I wish she didn't have to find out about me like this. (sighs) Being
with her broke the rules, but not being with her breaks my heart.

(Phoebe kneels down next to Leo.)

PHOEBE: You know, Leo, it's not like we rushed to tell you that we're witches.
I think Piper understands about those little secrets that we have to keep.

LEO: Any word on Daisy?

PHOEBE: Yes and no. Prue called. Andy thinks he found out where Daisy's
staying. They're on their way there now.

(Phoebe reaches out and gently removes Leo's bandage to check on the wound. He
flinches as she peels the tape off.)

PHOEBE: Ooh, I'm sorry. I'm sorry. Oh ...

(Phoebe takes the gauze off and looks at the wound. It doesn't look good.

LEO: It's ok. I know it's bad.

(Leo looks down at the wound.)

PHOEBE: Eh-heh ... I guess I need to work on my poker face a little bit, huh?
You know, Leo, didn't you tell me that Whitelighters have the ability to heal?
Why can't you just --

(Phoebe dabs at the wound with some cotton.)

LEO: No. My power is for others. I can't use it on myself.

(He starts coughing -- deep-chested coughs that worries Phoebe.)

PHOEBE: Uh, you know, we just -- we just gotta get you better. Then you and
Piper will have lots of time to talk about stuff, when you're well.

LEO: Phoebe, I'm not gonna get better.

PHOEBE: That's ridiculous, Leo. Of course you will. We just have to find
something in the book of shadows.

LEO: No. The Darklighter's poison, it can't be reversed.

(Leo takes a deep breath.)

LEO: It's meant to kill Whitelighters ... and that's what it's doing. It's
working its way through my system. It's just a matter of time.

PHOEBE: How much time?

LEO: Not much. I'm gonna die and there's nothing you can do about it. My
power is ebbing and, with it, my ability to cloak Daisy.

(Phoebe tears off another piece of tape.)

PHOEBE: We're gonna save you both, Leo.

CUT TO:



[INT. MANOR - KITCHEN - DAY -- CONTINUOUS]

(Piper flips through the Book of Shadows. Phoebe walks into the kitchen. She
looks down at her feet contemplating how she's going to talk with Piper about
Leo's condition.)

(Piper throws up her hands in frustration.)

PIPER: I have looked everywhere in this damn Book for something, anything to
help Leo and I can't. (She turns around and looks at Phoebe.) What's that
face? What's the matter?

PHOEBE: Leo's in pretty bad shape, Piper ... and he's getting worse.

PIPER: I know. That's why I need to find an ointment or a cure or something.

(Piper flips through the Book again. Phoebe sits down next to Piper and pulls
the Book away from her.)

PHOEBE: No, you need to listen. Uh ... this is really hard to say ... but I
think you need to hear it. I think that you need to learn to accept the
possibility that maybe we're not supposed to save Leo. Maybe he's not our
innocent. Maybe we're only meant to save Daisy.

(Phoebe grasps Piper's hand. Piper thinks about it for a moment.)

PIPER: We have to save him whether we're meant to or not.

(She grabs the Book of Shadows, stands and leaves the room.)

CUT TO:



[INT. MANOR - ATTIC - DAY -- CONTINUOUS]

(Camera slowly pushes in on Leo who is sleeping, his breath hitching as he
breathes.)

CUT TO:



[EXT. SENATOR HOTEL (STOCK) -- DAY]



[INT. SENATOR HOTEL - ROOM 354 - DAY]

(Daisy closes the door. She walks across the room and puts her grocery bag down
on the table. She turns and stops when sees the bouquet of daisies in a glass
vase on the television set.)

ALEC: (o.s.) I got you your favorite.

(Daisy gasps and turns around. Alec is standing in front of the door inside the
room.)

ALEC: I thought you'd be happy to see me. I miss this ... us.

DAISY: There is no us, Alec. Please, stop!

ALEC: Never. You're the one, Daisy. You're mine. Indian summer -- do you
remember that, Daisy, when it got so hot in the city, you could barely breathe,
and we sat out on your fire escape, taking turns rubbing ice cubes down each
other's necks ... backs ...

DAISY: Stop!

ALEC: That's when you first said you loved me.

ALEC: (in DAISY'S voice) "Forever, Alec, I'll love you forever."

(Daisy grabs the glass vase and throws it at Alec.)

DAISY: Ooh!

(The vase smashes against the wall.)

ALEC: Now is that any way to treat the man who loves you, hmm?

DAISY: You're not a man. You're not even human!

ALEC: Don't make me regret telling you who I really am. Don't you get it,
Daisy? I love you ... and now no one can stop us from being together. Think
about it. I found you. What do you think that means, hmm? (He reaches out and
touches Daisy's cheek with the tips of his fingers.) Yeah, that's right. I've
clipped Leo's wings and soon he will be gone so I can find you whenever I want.

(Someone knocks on the door.)

MANAGER: Hello! Manager! Everything ok in there?

ALEC: I win.

DAISY: No. You only win if I come willingly, and I never will.

ALEC: Then I'll never go away.

[INT. SENATOR HOTEL - HALLWAY OUTSIDE ROOM 354 - DAY -- CONTINUOUS]

(The Manager unlocks the door.)

MANAGER: Hey, I'm coming in!

[INT. SENATOR HOTEL - ROOM 354 - DAY -- CONTINUOUS]

DAISY: (screams) No! Don't!

(The door opens. Alec turns and heads for the door.)

MANAGER: I thought I-what --

(Alec grabs the Manager by his neck, choking him. He pulls the Manager into the
center of the room.)

ALEC: Nobody's gonna keep us apart now, Daisy!

DAISY: Please, stop!

(Alec's hand starts to glow red. The Manager yells as his face blisters.)

MANAGER: Gah-ah-ah!

(With Alec occupied, Daisy turns and climbs out of the open window. Alec drops
the Manager, his dead body falls to the floor with a thud.)

(Alec looks back and finds Daisy gone.)

ALEC: (shouts) You can't run from me!

PRUE: (o.s.) Daisy!

(Prue runs into the room from the hallway; Andy's close behind her. She stops
and sees Alec. She swings her arm and throws Alec up against the far wall. The
mirror on the wall breaks on impact as he smashes against it.)

ANDY: Oh, my...

(Andy watches in shock as Alec sits up and disappears in a cloud of black orbs
that zoom out the open window.)

ANDY: What the hell was that?

PRUE: Welcome to my world.

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR (STOCK) - DAY]



[INT. MANOR - ATTIC -- DAY]

(Phoebe opens the attic door and walks inside where she finds Piper sitting on
the floor next to Leo with the Book of Shadows open.)

PHOEBE: Hey, Prue's home. She just --

PIPER:
What is mine is yours, what is yours is mine,
Let our powers cross the line--"

PHOEBE: (interrupting) I hear rhyming. What are you doing?

(Piper scrambles to her feet to face Phoebe.)

PIPER: Everything I can. Look, we know Leo can't heal himself, but maybe with
his powers, I can.

PHOEBE: What are you talking about?

PIPER: It's a Power-Switching Spell. If Leo and I exchange powers, then I'll
have the healing touch, and maybe I can fix him.

(Prue walks into the attic.)

PRUE: Hey, what's going on?

PHOEBE: Uh, you know, the usual -- made some coffee, read the newspaper, walked
in on Piper switching powers with Leo. You know.

PIPER: I have to save him, Prue.

PRUE: Okay ... is it safe?

PIPER: To tell you the truth, I don't really care. He's slipping away, and if
either one of you has a better idea, then I'm all ears. If not, then I'm
casting the spell, and I'd like to do it with the support of my sisters.

(Both Prue and Phoebe nod.)

PRUE: Cast away.

(Piper turns and kneels down on the floor in front of the Book. She reads off
the page to "Exchange Powers".)

PIPER: (reading)
What's mine is yours, what's yours is mine,
Let our powers cross the line,
I offer up my gift to share,
Switch the powers through the air."

(There is a swooshing sound.)

PHOEBE: Did it work?

PIPER: I don't know.

(Piper stands up just as Kit runs across the attic floor. She waves her hands
at Kit to freeze her, but the cat continues across the room.)

PIPER: I can't freeze.

PRUE: This is a good sign. The spell must have worked. Ok, that means Phoebe
and I --

(Prue turns and puts a hand on Phoebe's shoulder. Instantly, she has a
premonition.)

(Quick flash of: Kit is on the small table next to the lamp. The lamp suddenly
flies off the table, thrown magically against the attic wall where it shatters.
End of premonition. Resume to present.)

(Prue presses her fingertips to her temple.)

PRUE: Oh, god, I think I just had one of Phoebe's premonition thingies.

PHOEBE: Really? What did you see?

(Prue turns and looks around the attic for the table with the lamp on it. She
points.)

PRUE: That ... shattering.

(Piper turns to look at the table. Kit jumps onto the table. Thinking that Kit
causes the lamp to break, Phoebe raises her hand to shoo Kit off the table.)

PHOEBE: Kit, no!

(Kit meows. The lamp behind her is magically thrown up against the attic wall
where it shatters. Prue turns and looks at Phoebe.)

PHOEBE: Did I just do that?

PRUE: Uh ... uh-huh. And I saw it. (Phoebe and Prue turn and glare at Piper.)
So, ok, you're moving things, I'm having premonitions, and Piper can't freeze
anymore. Which means--

PIPER: Am I gonna get yelled at?

PRUE: It switched all of our powers?

PHOEBE: It's a supernatural Freaky Friday.

(The phone rings.)

PHOEBE: Oh, you know what? I'm gonna go get that, and I'm sure you guys will
have all of this worked out by the time I get back.

(Phoebe leaves the attic.)

PRUE: Ooh ...

(Piper turns to stand over Leo.)

PIPER: Okay ... I can do this. Now ... heal.

(She waves her hands. Nothing happens. She holds her hands over Leo. Still,
nothing happens.)

PIPER: Come on ... heal.

(She turns to Prue.)

PIPER: (frustrated) Why aren't these working?

(Prue steps forward and grabs Piper's hands.)

PRUE: Okay, okay, okay. Piper, relax. Remember when we first got our own
powers it took us a while to figure out how to trigger them?

PIPER: Well, I'm doing what I always do.

PRUE: Yes, but maybe you have to find his trigger, not yours.

(Phoebe returns.)

PHOEBE: Hey, that was Andy. A new charge came up on Daisy's credit card
report. She bought a bus ticket twenty minutes ago. She's running again.

PRUE: If she leaves town, we'll never be able to find her. Let's go.

(Prue heads for the attic door; Phoebe stops her.)

PHOEBE: Wait. We have to switch our powers back.

PIPER: Not until I heal Leo.

PRUE: Piper, we have to go get Daisy.

PIPER: (insistent) And I have to heal him. I'm not losing him again!

PRUE: Okay, you know what? You stay here. We have to find Daisy before the
Darklighter does. We'll just have to do it using each other's powers. Come on.

(Prue and Phoebe leave.)

CUT TO:



[EXT. POLICE DEPARTMENT (STOCK) - DAY]

ANDY: (v.o.) You want to see me?



[INT. POLICE DEPARTMENT - IA OFFICE (ROOM 211) -- DAY]

(Andy walks into the Internal Affairs office where Inspectors Rodriguez and
Anderson wait for him.)

ANDERSON: Sit down.

(Andy sits.)

RODRIGUEZ: You make a habit out of showing up at the scene before the crime is
reported, Inspector?

ANDY: (shrugs) I don't know what you're talking about.

ANDERSON: Motel Capri -- no one called the manager's murder in, Trudeau... not
until you did.

ANDY: I got a tip.

RODRIGUEZ: You're lying. Witnesses place you at the scene with a woman ...
"5'3" or 4 ... brunette ... attractive." Ring any bells?

ANDY: Last time I checked, I didn't have to reveal my informants to you,
Rodriguez.

RODRIGUEZ: Maybe not in a court of law, but last time I checked, we weren't in
one. This is an I.A. investigation. You don't have the same rights. (low
voice, in Andy's face) You have no idea how much I can hurt you.

ANDERSON: Just tell us who you're covering for, Inspector.

(After a long pause, Andy suddenly gets to his feet. Anderson also gets to his
feet. Andy puts up a calming hand as he reaches for his gun. He places the gun
and holster on the table in front of him. He takes his badge out ... )

ANDY: Screw you.

(He puts it on the table next to the gun, turns and leaves the office.)

CUT TO:



[EXT. BUS STATION (STOCK) - DAY]



[INT. BUS STATION - TERMINAL -- DAY]

(Daisy crosses the terminal heading toward the ticket counter.)

DAISY: Excuse me. Where can I find bus 24?

(The employee turns around to answer her: It's Alec.)

ALEC: I told you I'll always be there for you, Daisy.

(Daisy backs away from the ticket counter, terrified of seeing Alec there. As
she walks quickly across the terminal, she accidentally bumps into a traveler.)

DAISY: I'm sorry.

(The traveler turns around: It's Alec.)

ALEC: That's quite all right. I'm in no hurry. I've got forever. You care to
join me?

(Daisy backs away from Alec. She turns and looks up. Standing on the second
floor near the railing looking down at her is Alec.)

(Daisy runs.)

CUT TO:



[INT. BUS STATION - FRONT DOORS - DAY -- CONTINUOUS]

(The front doors open. Prue and Phoebe walk into the station. Prue is poking
Phoebe in her arm trying to annoy her.)

PRUE: Hmm?

PHOEBE: Ok, are you trying to piss me off?

PRUE: That's exactly what I'm trying to do, only it's not working.

PHOEBE: How do you know?

PRUE: 'Cause I don't see anything flying across the room. Look, you're gonna
need to know how to use my power in case the Darklighter shows up, remember?
When I first got my power, it was anger that triggered it, so I need to push
your buttons.

PHOEBE: Ok, it's not so easy to break me.

(They stop walking.)

PRUE: What was it in high school that the guys started calling you after they
caught you making out with someone under the bleachers?

PHOEBE: It's not gonna work.

PRUE: What was that? Oh, yeah. Freebie.

(Annoyed, Phoebe turns and the magazine rack next to her spins, the magazines
falling to the ground.)

PRUE: Well, class is over.

(Prue turns and looks around the terminal.)

PHOEBE: (mutters) Uh, you know, that was just a rumor, right?

(They both approach a blonde-haired woman sitting on one of the waiting seats.
They stop when they see that it's not Daisy.)

PHOEBE: Ok, now it's your turn. We need a premonition. Where's Daisy?

PRUE: Ooh, do I have to? The last time I got all woozy and-and ...

(Prue puts her hand on the back of an empty seat. Nothing happens.)

PHOEBE: Ok, you know, you guys take for granted that I'm your innocent yellow
pages. Ok, this takes work!

(Prue walks over to the ticket counter. She puts her hand on the counter.)

PRUE: It is useless, all right? I am never going to get -

(Quick flash of: [INT. BUS TERMINAL - BATHROOM - DAY] Daisy has her back to
the bathroom wall. She's looking at something off-camera, terrified by what she
sees. End of flash. Resume to present.)

PRUE: Oh ... Do your ears ring when you do that?

PHOEBE: (nods) What did you see?

PRUE: Oh, I can't be sure 'cause it went by so fast, but if I were playing
odds, I would say it was Daisy.

PHOEBE: Where is she?

PRUE: Bathroom.

CUT TO:



[INT. BUS TERMINAL - BATHROOM - DAY -- CONTINUOUS]

(Daisy stands in front of the bathroom sink putting some water on the back of
her neck and trying to calm herself down.)

DAISY: Okay. I'm gonna be okay. I can handle this.

(She turns the water off. She looks up and in the mirror's reflection, she sees
Alec. She turns around to get away from him, but he puts the heel of his shoe
up against the sink counter effectively trapping her.)

ALEC: You can't run from me, Daisy.

DAISY: Why won't you leave me alone?

(He reaches out and touches her cheek with the palm of his hand.)

ALEC: Because we can be happy together. We were once, remember? All you have
to do is come with me willingly.

DAISY: And what, watch while you kill more innocent people?

ALEC: You made me do that. That man would still be alive if you had just come
with me. That's all I ask, and the killing will stop. We can have eternity
together.

(He leans in to kiss her. She knees him in the groin. Alec doubles over in
pain.)

(Angry, he grabs Daisy by the neck. She gasps, her terrified gaze meets his.)

(Behind him, the bathroom door opens. He pushes Daisy away and turns to see
what caused the noise. Daisy stands up against the bathroom wall as Prue and
Phoebe face Alec.)

PRUE: I believe this is the ladies' room.

ALEC: And this is a private conversation.

(Alec holds out his hand to the side, a black crossbow appears in his grip.)

PRUE: Oh. Oh, Phoebe ...

(Phoebe raises her hand. The sink faucets turn on, soap spills out from the
dispensers.)

PHOEBE: Oops.

(Alec looks at the mess and laughs.)

PRUE: Ok, now would be a very good time to get angry.

ALEC: I've never used this on a witch before.

PRUE: Ooh, grandma's car, fender dented. You got blamed for it. I did it.

PHOEBE: Ohh!

(Phoebe waves her hand and Alec goes crashing into the bathroom stall door.)

PHOEBE: I got grounded for that, Prue!

(Prue rushes forward and picks up the crossbow from the bathroom floor. She
raises it to her shoulder and takes aim just as Alec scrambles to his feet.)

PRUE: I never used this on a Darklighter before.

(Prue fires. Alec orbs out. The arrow passes clear through the black orbs and
hits the bathroom wall.)

DAISY: Oh, god. Is he ...

PHOEBE: Daisy, Leo sent us. We have to take you to him. Come on. It's ok.

(Prue grabs Daisy's hand and they both lead her out of the bathroom.)

CUT TO:



[EXT. HALLIWELL MANOR (STOCK) - DAY]



[INT. MANOR - ATTIC -- DAY]

(Piper is standing next to Leo who is lying on the sofa, his eyes closed. She
glances down at the palms of her hands in frustration, willing them to work.)

(She kneels down next to him and places her hands over his wounded shoulder.)

PIPER: Oh, god. Please work. Come on. Work.

(Nothing happens.)

(Leo's eyes open and he turns his head weakly toward her.)

LEO: When I die ...

PIPER: You're not gonna die.

LEO: When it happens ... know ... this is where I want to be.

(beat)

LEO: I love you.

(Distressed, Piper wraps her arms around Leo and rests her head on his chest.)

CUT TO:



[INT. MANOR - MAIN HALL - DAY -- CONTINUOUS]

(Open on a bouquet of flowers on the dining room table. In the back out of
focus, the front doors open. Daisy, Phoebe and Prue walk into the house. Daisy
sees the floral bouquet and groans.)

DAISY: Oh, God. He found me again.

PHOEBE: How do you know?

DAISY: That's what he does. He sends me flowers so I know he's watching.

(Phoebe checks the cards with the flowers.)

PHOEBE: No, honey. These are for Prue.

(She hands the card to Prue who reads it.)

PRUE: They're from Andy. He needs to see me right away.

PHOEBE: Something wrong with his phone?

PRUE: (shakes her head) It's a long story, but I can't leave you guys.

PHOEBE: No, Prue. We'll go up and check on Leo. And, you know, remember, I'm
the one with the active power now. Go.

PRUE: Are you sure?

PHOEBE: Yes. Absolutely. We'll be fine.

(Prue turns and heads back out of the house. Phoebe takes off her jacket.)

PHOEBE: (to Daisy) Let's go check on Leo.

CUT TO:



[INT. MANOR - ATTIC - DAY -- CONTINUOUS]

(The attic door opens. Phoebe and Daisy rush into the attic.)

PHOEBE: Piper, we found Daisy and--

(Phoebe stops in her tracks. In front of her, Piper is sitting on the floor
next to Leo, her arms are wrapped tightly around herself as she rocks back and
forth.)

PIPER: (crying) I tried.

(Phoebe goes over to Piper and kneels down next to her.)

PIPER: He's gone.

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR (STOCK) - DAY]

PHOEBE: (v.o.) Daisy, I really don't think this is the best time for you to be
alone.



[INT. MANOR - MAIN HALL - DAY]

(Daisy runs down the stairs as she heads for the front door. Phoebe follows
her. She grabs her jacket.)

DAISY: Without Leo, it's just a matter of time before Alec finds me again. I
have to get away.

PHOEBE: No. My sisters and I can take care of Alec.

DAISY: I don't want you to try. Too many people are dead now because of me.
And now Leo.

PHOEBE: Honey, that's not your fault.

DAISY: It doesn't matter. When Alec finds me again, he's not gonna let you get
in the way, either. It's better off that I leave. Trust me. I have to go.

(Daisy turns toward the door.)

PIPER: (o.s.) Don't you dare.

(Phoebe and Daisy turn to find Piper headed toward them.)

PIPER: Leo gave up his life to bring you here. If you leave, Alec will find
you for sure, and Leo's death will mean nothing. (coldly) You're not going
anywhere.

(Piper turns and leaves.)

CUT TO:



[EXT. PARK - DAY]

(Andy sits on a two-seater swing hanging from the branch of a large tree.)

(Prue walks up to him and takes the seat next to him on the swing.)

PRUE: So I take it that we're not here for the same reason we used in high
school.

ANDY: Unfortunately, no.

PRUE: Makes me kind of wish for the good ol' days.

ANDY: We tried that already. Prue, I did everything I could to keep Internal
Affairs from finding out about you. There's not much more I can do after today.

PRUE: Why? What happened?

ANDY: I wouldn't tell them what they wanted to know. I turned in my shield.
Automatic suspension. I got to hand it to Rodriguez. He's a pit bull. But
when he connects you to all those unsolved cases, he's gonna put the heat on you
to get to me. And unless you're careful, he's gonna figure out that it's you
and your sisters that he really wants.

PRUE: You just got suspended, and you're telling me to watch my back?

ANDY: Until I.A.'s off my case, it's better if we're not even seen together.
You don't want them to connect the dots, believe me.

PRUE: I can't believe that you're worried about me when you're about to lose
everything you ever worked for.

ANDY: Well, every one of those unsolved cases that Rodriguez is tracking down
is an innocent life that you and your sisters helped to save. What you're doing
is the reason I became a cop. I guess that's how I do it.

PRUE: I'm sorry.

ANDY: No, don't be. Everything happens for a reason. Remember? You taught me
that.

(Prue leans forward and kisses Andy on the cheek.)

PRUE: Thanks.

(Prue stands up to leave.)

ANDY: Take care, Prue.

(Andy continues to sit on the swing.)

CUT TO:



[INT. MANOR - ATTIC - DAY]

(Piper stands near the attic door looking at Leo lying on the sofa. Phoebe
lingers in the attic doorway and joins her.)

PHOEBE: I thought you might like to talk.

PIPER: He could've stayed with us. He could've fought harder.

PHOEBE: He was in pain. He had to let go.

(Phoebe puts a hand on Piper's arm. Piper brushes it aside and steps away from
her.)

PIPER: (upset) He didn't have to. Our magic's never failed before. I cast
the spell. I took his power. All he had to do was show me how to do it, and he
never did.

PHOEBE: How can you be mad at him?

PIPER: Because it should've worked! Prue's having premonitions, and you
figured out how to use her power. Why couldn't I find the trigger? Why
couldn't he just tell me ... give me his power?

(Phoebe walks up to Piper.)

PHOEBE: He wanted to live. He didn't want to leave you. (She takes Piper's
hands.) It's all right to lose someone you love.

(Piper turns away and looks back at Leo. She puts a hand over her eyes as she
cries.)

CUT TO:



[EXT. HALLIWELL MANOR (STOCK) - EVENING]



[INT. MANOR - ATTIC - EVENING -- LATER]

(Piper sits next to Leo on the couch. Her breath hitches as she cries.)

PIPER: I love you, Leo.

(She puts a hand to her mouth and weeps.)

(A single tear falls on the back of her hand and glows. Piper watches as her
entire hand starts to glow.)

PIPER: I found it. Leo? I love you. Can you hear me?

(Piper lifts her hand and caresses Leo's temple. She places her healing hand on
Leo's chest.)

PIPER: I love you, Leo. Please hear me.

(Piper heals Leo. Leo opens his eyes and sees her.)

LEO: Piper.

(Leo sits up and hugs her.)

PIPER: (cries) Oh, thank god. Ohh! I tried so hard, and I couldn't make it
work before. Why didn't you tell me?

LEO: That love was the trigger? You had to find that out on your own. Why
couldn't you tell me?

PIPER: I don't know. I was afraid. I was afraid if I admitted how I really
felt that it would hurt more if I lost you. I'm so sorry. I should've said it
before.

LEO: It's better late than never.

(Piper laughs shakily and kisses him.)

CUT TO:



[INT. MANOR - MAIN HALL - DAY]

(Piper helps Leo down the stairs. Phoebe and Daisy rush up to them.)

PHOEBE: Leo! Oh, my god. How did you--

(Piper leaves Leo on the bottom of the stairs.)

PIPER: There's no time to explain.

LEO: You've been out of the cloak too long. Alec can find her.

PIPER: Where's Prue? We need to get her back here, and we need to find a spell
to vanquish Darklighter.

LEO: A Power of Three spell.

PHOEBE: Okay. I think she has her cell phone on her.

(Phoebe turns to pick up the phone. Alec orbs into the foyer. Phoebe looks up
and gasps.)

PHOEBE: No!

(She waves her hand and blows up the chandelier hanging from the ceiling behind
Alec. The chandelier crashes to the floor.)

(Alec steps forward and grabs Piper.)

ALEC: All right, no more tricks, ladies.

LEO: Let her go, Alec.

ALEC: I don't think so. I have what you love. You've got what I love. Care
to trade?

(Phoebe raises her hand to blast Alec, but he stops her.)

ALEC: Don't ... do that. (He raises his hand and it starts to glow red.) I
will kill her if I have to. You still think I'm incapable of love, Leo? You
wanna see how far I'm willing to go?

DAISY: Alec, no!

PIPER: Daisy, stay back!

ALEC: (to Piper) You shut up!

(The front door opens. Alec turns around and sees Prue just as surprised to
find him there. Alec's hand stops glowing.)

(He throws Piper off to the side into Phoebe, steps forward and grabs Daisy.)

LEO: No!

PRUE: Phoebe, stop him!

(Phoebe raises her hand, but it's too late. Alec orbs out with Daisy, their
orbs zooming out the front door. They're gone.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. HALLIWELL MANOR (STOCK) - EVENING]



[INT. MANOR - SITTING ROOM -- EVENING]

(Phoebe and Prue sit on the couch watching Piper who is sitting cross-legged and
eyes closed in the middle of the floor. Leo is next to her, guiding her.)

PIPER: I can't do it.

LEO: Yes, you can. You have every one of my powers, including the power to
find Daisy.

PRUE: Leo, wouldn't it be faster for you guys to just switch your powers back?

LEO: No. I'm still too weak. It's up to Piper. (Piper takes a deep breath.)
Trust me, Piper, okay, look deep inside yourself. At peace. A place where you
find love.

PIPER: Wait. I can hear her.

LEO: All right, listen to it. Let her tell you where she is.

PIPER: She's ... screaming. She's afraid. He's pushing her past some trees.

LEO: Can you recognize the place? Can you tell where they're at?

PIPER: Heroes' Grove. Golden Gate Park.

PRUE: Let's go.

(They get to their feet.)

PIPER: Um ... what about Leo?

(Piper turns to help Leo to his feet.)

LEO: I'm fine. Save Daisy.

PRUE: Yeah. Piper, we really sort of need the Power of Three to do this.

PHOEBE: Actually, I don't think we do. I think there's a better way. Piper,
you stay with Leo. Prue, you drive. I'll talk.

(Phoebe and Prue leave.)

CUT TO:



[EXT. HEROES' GROVE, GOLDEN GATE PARK -- NIGHT]

(Through the thick dense night's fog, we hear Daisy's protests.)

DAISY: Why are you taking me here?

(Out through the shrubbery, Alec walks into the clearing, his firm hold on Daisy
pulling her along behind him.)

ALEC: You could've been my mate, Daisy! My equal!

DAISY: I don't understand.

ALEC: And now you've made this place your deathbed. It's your own fault that
you won't live.

DAISY: No, Alec. Please don't kill me. If you ever loved me --

ALEC: If I ever loved you, what?! You think I could just get over you, move
on, find somebody else? (He throws her to the ground. The rocks behind her
burst into flames.) You're the only woman I've ever loved, Daisy, and now I'm
the last man that you'll ever leave.

(He kneels over her and grabs her by her shoulders. His left hand glows red as
he brings it dangerously close to her face.)

PRUE: (o.s.) Let her go!

(Alec stops and looks up. He sees Prue and Phoebe running toward them.)

ALEC: She's mine!

PHOEBE: You son of a ...

(Phoebe motions with her hand and tosses Alec through the air up and away from
Daisy. He hits the ground hard.)

PHOEBE: Do it, Prue, now!

(Phoebe uses her fingers and plugs her ears as Prue starts to recite the spell.)

PRUE:
What's mine is yours. What's yours is mine.
Let our powers cross the line.

(Alec gets to his feet and glares at them.)

ALEC: You really should stay out of this.

(He raises his hand and it glows red.)

PRUE:
I offer up this gift to share.
Switch our powers through the air.

(Alec's hand stops glowing. He looks at his hand.)

ALEC: What? Where's my power?

(Prue looks down at her glowing red hand.)

PRUE: It's hate. Hate is his trigger.

(With Daisy safely standing behind her, Phoebe offers up encouragement to Prue.)

PHOEBE: Then hate him.

PRUE: No problem.

(Prue holds out her hand in front of her, palm outward.)

PRUE: Bring him to me, Phoebe.

(Phoebe motions and Alec is magically pulled the distance toward Prue's hand.
Finally her hand rests on his chest and burns him as he screams in pain.)

(Alec falls back to the ground. Prue kneels beside him to finish the vanquish.)

(As his body burns under Prue's glowing red hand, she quickly recites the spell
to exchange powers.)

PRUE:
What's mine is yours. What's yours is mine.
Let our powers cross the line.

(Alec's body burns out.)

(Prue pulls back. Daisy steps forward and kneels down next to Prue.)

DAISY: He's gone. You did it.

PHOEBE: You okay?

PRUE: (shaken) I can't believe how much hate that took. I never want to feel
like that again.

(Prue gets to her feet.)

DAISY: You just gave me my life back.

PHOEBE: (hesitant) You know, when we get home, you're gonna give me my power
back, right?

(Prue turns to look at Phoebe. They both smile.)

DISSOLVE TO:



[EXT. HALLIWELL MANOR (STOCK) - DAY]



[INT. MANOR -- ATTIC]

(Piper and Leo are on the couch in the attic holding each other.)

PIPER: I almost wish I didn't give you your powers back and you wouldn't be
able to leave.

LEO: Me, too.

PIPER: So if Daisy's a Whitelighter-to-be, doesn't that mean that you used to
be ...

LEO: Human? Yes, it does. I was actually born right here in San Francisco. I
had lived here all the way up till I went off to the war.

PIPER: You mean, like Vietnam?

LEO: No. World war II. I left med school and enlisted as a medic. And I
wanted to help save people, not shoot them. The last thing I remember, I was
bandaging a soldier's head wound, and I felt a sharp pain. And then the next
thing I know, I was floating, surrounded by Whitelighters. And they offered me
immortality ... and a chance to help special people like you. And I never once
ever doubted ... that I didn't make the right choice ... till I met you. Ever
since, all I can think is how I'd give it up to have a mortal life again, to
have a family and grow old ... with you.

(Piper sits up and looks at Leo.)

PIPER: Is that possible?

(Leo also sits up.)

LEO: Yeah. I can become human again, Piper, if you want me to.

PIPER: Are you kidding? I want that more than anything. I don't want to lose
you again.

LEO: But ...

PIPER: But ... then you wouldn't be able to help other witches or other future
Whitelighters, would you? You couldn't help save the next Daisy.

(Leo's seriously quiet.)

LEO: I'd better go.

(He reaches for Piper and they kiss.)

LEO: I love you.

(Leo stands up and orbs out.)

PIPER: I love you, too.

CUT TO:



[EXT. CONSTRUCTION SITE NEAR TRAIN TRACKS -- DAY]

(Inspectors Rodriguez and Anderson sit in their car watching as Darryl Morris
meets up with his ex-partner, Andy Trudeau. A train roars by on the tracks.
Inspector Anderson sits behind the steering wheel watching through a pair of
binoculars while listening to the earphones. Rodriguez sits next to him.)

(Off in the distance, Andy walks up to Darryl Morris.)

DARRYL MORRIS: How you doing?

ANDY: Been better. How about you?

DARRYL MORRIS: I.A. sons of a bitch wanted me to wear a mike.

ANDY: Yeah. So you wearing one?

DARRYL MORRIS: What do you think?

(Andy smiles.)

ANDY: You in any kind of trouble?

DARRYL MORRIS: Less than you.

ANDY: I just wanted you to know, I'm doing it for a good cause.

DARRYL MORRIS: Andy, I'm your partner. More importantly, I'm your friend. I
want to believe that you're on our side. It would really help me if I knew why
you were doing this. I'm not asking for I.A., I'm asking for me. I think you
owe me that.

(Back in the car, Rodriguez and Anderson watch the two men meet. Anderson can't
hear a thing.)

RODRIGUEZ: I told you they'd meet, didn't I?

ANDERSON: It doesn't do us any good if we can't hear them over the noise. Sure
wish I could read lips.

(Rodriguez turns and looks out the window at the meet.)

(Darryl looks at Andy. He just has to ask.)

DARRYL MORRIS: Who are you covering for?

ANDY: It's Prue. And all I can tell you is ... she's connected to all of our
unsolved cases.

DARRYL MORRIS: Prue. I was so hoping you weren't gonna say that.

(The train horn blares as another train passes by.)

(In the car, Anderson looks through his binoculars. After a moment, he puts it
down.)

ANDERSON: I can't get a thing.

RODRIGUEZ: He's covering up for Prue Halliwell.

ANDERSON: What? How the hell could you -

(Anderson turns and looks at Rodriguez whose eyes are blood-red.)

ANDERSON: My god.

(Rodriguez opens his mouth and lets out a piercing scream that kills Anderson.)

DISSOLVE TO:



[EXT. HALLIWELL MANOR (STOCK) - EVENING]



[INT. MANOR - ATTIC -- EVENING]

(Piper picks up a long silver chain with a couple of dog tags. She looks at
Leo's old dog tags, then puts the chain around her neck.)

PIPER: Leo.

CUT TO:



[INT. MANOR - KITCHEN -- NIGHT]

(Prue pours herself a cup of coffee. Phoebe walks into the kitchen carrying a
bag. Prue takes her cup of coffee and takes a seat at the table. Phoebe puts
her bag down on the counter and starts emptying it.)

PHOEBE: Is it just me, or can you draw a chalk outline around this place?

PRUE: Well, I don't know what you could possibly mean, Phoebe. I mean, the
weekend's almost over, we never made it Cabo, I'm never gonna see Andy again,
and Piper just lost the love of her life.

(Phoebe walks over to the refrigerator and takes out a couple of pineapple
shells and a container filled with a mixed drink.)

PHOEBE: The glass is way more than half full here, Prue. Piper saved the love
of her life, Alec is long gone, and Daisy is on her way back to her family. We
even managed to straighten out our powers, thank god.

PRUE: Thank god? I thought that you always wanted an active power.

(Phoebe fixes the drink.)

PHOEBE: Maybe. But I never thought I'd actually miss my premonitions. Having
your power was like wearing a dress that was too tight. Not that that would
ever happen.

PRUE: Remember when I said that you had no vision?

PHOEBE: Which time?

PRUE: Oh, you will never hear it again. Takes a lot of strength to see what
you see.

(Phoebe finishes the two drinks. She clutches the pineapples to her and turns
around to look at Prue.)

PHOEBE: I'll drink to that. If we can't go to Cabo, we might as well bring
Cabo to us, right?

(Phoebe puts a pineapple drink in front of Prue - complete with little tropical
umbrella attached.)

PRUE: I don't know, Pheebs. We still have some serious problems.

(Phoebe runs over to the player and turns on the music. She hurries back over
to her seat.)

PHOEBE: Oh ... problems are for Monday mornings. What do you say?

PRUE: It's gonna be a hell of a Monday morning, but until then...

(They pick up and toast their pineapples.)

FADE TO BLACK.
1.06 - DÉJÀ VU ALL OVER AGAIN by Mitchell
FADE IN.
[EXT. APARTMENT BUILDING (STOCK) - NIGHT]



[INT. RODRIGUEZ'S APARTMENT -- NIGHT]

(Inspector Rodriguez sits at the table looking at photos. On the table are
various black-colored candles lit.)

(He stares at a photo of Prue standing in front of a mailbox. He puts the photo
down on the table and stares at the next photo of Piper checking her wrist
watch. He puts that photo down on the table and stares at the photo of Phoebe
looking at her watch.)

(The final photo is of the three girls sitting at a table in their
Conservatory.)

(The flames in the fireplace rise. Rodriguez looks up, his eyes widening as the
flames shoot out from the fireplace engulfing a tall figure in black robes. The
flames disappear leaving the tall figure standing in Rodriguez's living room.
He recognizes him immediately and kneels before the superior demon.)

RODRIGUEZ: Tempus. I never ...

(Tempus turns around and removes the hood from his cloak revealing himself to
Rodriguez.)

TEMPUS: ... expected to see me. Of course not. You were not worthy before
now. What is the name you are using here?

(He motions for Rodriguez to stand up. Rodriguez gets to his feet to answer the
question.)

RODRIGUEZ: Rodriguez.

TEMPUS: Ah, yes. I have been ... sent to you, Rodriguez, ... as a gift.

(He raises his arms with a flourish and the cloak falls to the floor at his
feet.)

RODRIGUEZ: Sent ... by who?

TEMPUS: I think you know who ... and why.

(Rodriguez steps forward, closer to Tempus.)

RODRIGUEZ: (boldly) I can defeat The Charmed Ones on my own. I don't need any
help.

TEMPUS: Really. What makes you think you have actually found The Charmed Ones?

(Tempus turns and walks over to the windows. Rodriguez follows.)

RODRIGUEZ: You kidding? After so many of my colleagues have mysteriously
vanished in San Francisco this year? There can only be one reason why. I posed
as a cop because I believed one was covering for them, and I was right. He was.
That's how I found them. But of course, you already know all that, don't you?
So that makes me so ... worthy now, right?

TEMPUS: Watch your tongue, Rodriguez, lest I split it for you. It's one thing
to have found The Charmed Ones. It's quite another to defeat them. As those
who have gone before you have already discovered. (Tempus glances down at his
pocket watch.) Tomorrow is Wednesday. I want you to get all three witches
together in one place by midnight. Then, give it your best shot. But if you
fail--

RODRIGUEZ: I will not fail.

TEMPUS: Well ... if you do ... I'll be there to help you learn by your
failures. Trust me. Now, how do you expect to get them together?

RODRIGUEZ: (shrugs and smirks) Trudeau.

DISSOLVE TO:



[EXT. STREET (STOCK) - MORNING]

(The paperboy riding his bicycle along the street waves to the driver of a red
convertible as they honk their horn at him. He takes the paper and tosses it
into the Halliwell Manor's yard. A dog barks in the distance.)



[TELEVISION]

(Close of a television set. The WEATHER GIRL is giving the current report.)

WEATHER GIRL: Good morning, San Francisco. Well, it looks like it's going to
be a beautiful Wednesday --

[INT. MANOR - KITCHEN - MORNING]

(Phoebe is on the telephone with Piper.)

PHOEBE: (to phone) Piper, what are you doing at Quake? It's eight o'clock in
the morning.

PRUE: (o.s.) Morning.

(Prue walks into the kitchen.)

PHOEBE: (to Prue) Morning. (to phone) All right. Yes, I'll be there in an
hour. Bye.

(Kit jumps onto the counter and paws at the pepper shaker.)

PRUE: You'll be where in an hour?

(Phoebe hears something hit the counter. She turns and sees Kit playing with
the pepper shaker on its side. Phoebe turns back to answer Prue's question.)

PHOEBE: Uhh ... Quake. Piper's doing that thing for the food network, and she
needs me to bring her another dress because she spilled marinara sauce all over
the one she's wearing.

PRUE: (smiles) Just stay out of my closet.

(Prue turns back to the newspaper.)

PHOEBE: Oh, don't worry. I don't think she'd want to ruin another one of
yours.

PRUE: (reading the paper) I don't believe this.

PHOEBE: I'm kidding. Don't have an aneurysm.

PRUE: No, I'm talking about the paper. Did you see the front page?

(Outside, a car horn beeps, tires screech and a car crashes into something.)

PRUE: Where did you park my car last night?

PHOEBE: In the driveway. I think.

WEATHER GIRL: (o.s.) ... If you're driving south to the san jose-los gatos
area, well, then ...

(Prue grabs the paper and rushes over to the window to check. Phoebe follows
her.)



[INT. MANOR - LIVING ROOM - MORNING - CONTINUOUS]

(Prue looks out the window and sees a jeep stopped in front of an overturned
garbage can on the road.)

PRUE: Mrs. Henderson's car.

PHOEBE: (relieved) Oh, thank god! I mean, that your car's in the driveway,
and I'm not in the doghouse. Is she ok?

PRUE: Yeah. Just a little fender-bender. No big deal.

(Prue turns away from the window.)

PRUE: Phoebe, Andy's in trouble.

PHOEBE: What? Why?

(Prue shows Phoebe the SAN FRANCISCO LEDGER. The Headline reads: INSPECTOR
SUSPECTED IN I.A. MURDER.)

PHOEBE: They think that he killed that Internal Affairs cop? No way.

PRUE: Maybe it's a setup to try and force him to reveal our secret.

PHOEBE: Let me see that.

(Phoebe holds out her hand for the newspaper. Prue hands it to her and Phoebe
gets a premonition when she touches the paper.)

(Quick flash of: [INT. MANOR - LIVING ROOM] Phoebe and Piper kneel next to
Andy who is dead on the floor. Phoebe reaches out and closes Andy's eyes. End
of premonition. Resume to present.)

PHOEBE: Oh, no.

PRUE: What is it?

PHOEBE: I saw ... Andy, Prue. He was dead.

FADE TO
END OF TEASER
ROLL TITLE CREDITS

(COMMERCIAL SET)



FADE IN.

[EXT. VARIOUS SAN FRANCISCO CITY (STOCK) - DAY]

[EXT. HALLIWELL MANOR (STOCK) - DAY]



[INT. MANOR - SITTING ROOM -- DAY]

(Prue questions Phoebe about the premonition.)

PRUE: Now, you said you didn't see a demon or a warlock in your premonition,
right?

PHOEBE: No, but the way he was hurled across the room, there had to have been
one.

PRUE: This room, here?

PHOEBE: Right here, yeah.

PRUE: Ok, and you're positive that it was Andy?

PHOEBE: Prue!

PRUE: I just want to be sure, all right? This isn't just anybody that we're
talking about, you know.

PHOEBE: I know. And I care about him, too.

PRUE: I know you do. I'm sorry. Um ... all right, why don't fill in Piper and
I'm going to warn Andy.

PHOEBE: How? He said it was too risky for you to be seen with him.

PRUE: Yeah, well, I don't care. Let Internal Affairs find out that we're
witches. Andy's life is a lot more important.

PHOEBE: Ok, just please be careful. We don't know what kind of demon we're up
against here.

CUT TO:



[EXT. POLICE DEPARTMENT (STOCK) - DAY]



[INT. POLICE DEPARTMENT - ROOM 211 -- DAY]

(Darryl is in the room with Andy.)

DARRYL MORRIS: You ask me, I wouldn't be surprised if Rodriguez was the one who
whacked his own partner.

ANDY TRUDEAU: I.A. already cleared him.

DARRYL MORRIS: I.A. clearing I.A. Go figure.

ANDY TRUDEAU: Yeah.

(The door opens; Rodriguez walks into the room.)

RODRIGUEZ: What are you doing here, Morris?

DARRYL MORRIS: Backing my partner, Rodriguez. Something you wouldn't know
anything about.

RODRIGUEZ: This is just between him and me.

(Darryl glances at Andy who nods.)

ANDY TRUDEAU: It's ok, Darryl.

(Darryl leaves the room and closes the door behind him. Andy leans back in his
chair and puts his feet up on the desk, his ankles crossed.)

ANDY TRUDEAU: Just for the record ... I'm not saying anything without my lawyer
present.

RODRIGUEZ: You don't need a lawyer. Not if you're willing to help me.

ANDY TRUDEAU: You want me to help you? (Andy laughs.) What, you can't frame
me yourself, Rodriguez?

(Smiles at the humor.)

RODRIGUEZ: Look, Andy --

ANDY TRUDEAU: (interrupts) Oh, it's "Andy" now.

RODRIGUEZ: I don't think you had anything to do with my partner's murder.
That's right. But what I do think is completely off the record, and I think
you'll understand why.

(Rodriguez shows Andy a photo. We see Andy's reaction to the photo. He glances
at the photo and turns his head at the sight.)

RODRIGUEZ: It's my partner ... or, at least, what's left of him. No human
could've done that to him. I think he was killed by something ... supernatural,
and I think you can help me figure out who or what it is.

ANDY TRUDEAU: Really? What makes you think that?

RODRIGUEZ: Come on. I know all about those unsolved cases of yours, and I know
who's behind them, too -- who you've been covering for. It's very noble.
(chuckles) You must care about her very much to give up your career for her.
Prue Halliwell is a witch.

(Andy glances at Rodriguez.)

ANDY TRUDEAU: A witch, huh? You wait here. I'll go warn the Wizard of Oz.

(Andy gets to his feet. Rodriguez moves to stand in Andy's way. He gets into
Andy's face.)

RODRIGUEZ: I don't have time to screw around, Trudeau. I want you to arrange a
meeting between her and me. It has to be tonight. If she can help me find who
killed my partner, I'll drop all charges against you, and I won't tell anybody
about her. You think about it, but not too long.

(Rodriguez turns and leaves the room. Darryl walks back into the room.)

DARRYL MORRIS: You all right?

ANDY TRUDEAU: I'm not sure. I got to go see Prue.

(Andy grabs his jacket and puts it on.)

DARRYL MORRIS: That's funny. She called, said she had to see you, too.

(Andy turns and nods to Darryl. He heads out.)

CUT TO:



[CUCKOO CLOCK]

(Open on the cuckoo clock in a display window. The clock is at 11:45.)

[EXT. SYMPHONY OF TIME - SIDEWALK - DAY]

(Tempus stands in front of the Symphony of Time display window holding up the
newspaper. He glances sideways and sees Rodriguez approaching.)

(Rodriguez grabs a flower off the vendor as he walks by. Obviously in a good
mood, he smells the flower and makes his way toward Tempus.)

TEMPUS: Well?

RODRIGUEZ: I'm sure I made Trudeau suspicious of me. He'll go to Prue, she'll
have no choice but to meet with me.

TEMPUS: But you have to get all three of them together.

RODRIGUEZ: Trudeau cares about her. He won't let her risk meeting me alone.
He'll insist she have the Power of Three there with her. For protection.

TEMPUS: And you think you have the power to defeat them all?

RODRIGUEZ: You don't think I do, do you? (Tempus turns to look at Rodriguez.)
You think I'll fail.

TEMPUS: Time will tell.

CUT TO:



[EXT. QUAKE (STOCK) - DAY]



[INT. QUAKE - MAIN DINING ROOM -- DAY]

(Phoebe walks into Quake carrying the dry cleaning clothes. She looks around
for Piper.)

PIPER: (o.s.) Phoebe, over here.

(Phoebe turns and rushes over to Piper who stands with a cloth over her
shoulder.)

PIPER: Oh, thank god. The segment producer's going to be here any minute, and
I'm a complete and total wreck.

PHOEBE: Piper--

PIPER: I thought I was gonna have to pull a Celine Dion and wear my dress
backwards.

PHOEBE: Piper, you've got to listen to me. I had a premonition of Andy dying.

PIPER: What? When?

PHOEBE: This morning. Don't you check your voice mail? I called, said it was
important.

PIPER: Oh, no. Where's Prue?

PHOEBE: She's warning him. But in the meantime, we have to figure out who the
demon is.

JOANNE HERTZ: (o.s.) Piper?

(Piper turns to see Joanne Hertz walk into the room. Piper grabs Phoebe and
puts her strategically in front of her to cover the marinara stain.)

JOANNE HERTZ: Piper Halliwell? I would recognize you anywhere. You have not
changed one bit. You don't recognize me, do you? (Piper exchanges puzzled
looks with Phoebe.) It's Joanne! Joanne Hertz. Baker High, class of '92.

PIPER: Oh ... sure. Of course. Joanne. Well ... what are you doing here?

JOANNE HERTZ: I'm the segment producer.

PIPER: You're the segment producer. (to Phoebe) She's the segment producer.

PHOEBE: I heard.

PIPER: Heh ... wow! What A ... small world. I thought you moved to New York.

JOANNE HERTZ: I did. And that's where I met my fabulous husband who had this
crazy idea about starting this little cable show and putting me in charge of
everything, and here we are, the Food Network's most popular show. Talk about
dreams coming true! Anyway ... enough about me. What have you been doing?

(Piper's jaw drops. She waves her hand and freezes Joanne Hertz.)

PIPER: Ah.

PHOEBE: Why'd you do that?

PIPER: What am I supposed to say, that I'm a cash-strapped, single restaurant
manager who still lives in the same house I grew up in with my sisters?

PHOEBE: And the cat. Don't forget our cat.

PIPER: Phoebe, this isn't funny.

PHOEBE: Look, I don't know why you're getting so upset. She is a freak. I'm
sorry, but no one is that successful at age 26. Besides, you are successful.
You're talented, you're creative, and the Food Network is here to see you, not
me, not ... her. You. You feel better now?

PIPER: Very little.

PHOEBE: Good. Then unfreeze that bitch in heels. You've got a segment to
shoot, and we've got a demon to find.

CUT TO:



[EXT. PARK -- DAY]

(Andy and Prue meet in front of the swing.)

ANDY TRUDEAU: Has Phoebe ever been wrong about her premonitions before?

PRUE: No. But the good news is, every other time, we've been able to affect
the outcome. Stop the demon or warlock before ...

ANDY TRUDEAU: Before I get killed. Can I get that in writing?

PRUE: Andy, you just have to be extra careful until we figure out who this
demon is and why he's after you, ok?

(Andy's quiet and thoughtful.)

PRUE: Andy ... ?

ANDY TRUDEAU: I was just thinking. What if the demon is Rodriguez?

PRUE: Why would you say that?

ANDY TRUDEAU: He pulled me into the station house this morning. I thought he
was going to arrest me. What he really wanted was a meeting with you.

PRUE: Meet with me? Why?

ANDY TRUDEAU: Because he thinks his partner was killed by a supernatural being,
and somehow ... I don't know how, Prue. He knows you're a witch.

PRUE: How would he know that unless ...

ANDY TRUDEAU: Unless he's the demon.

(They're both quiet as this makes complete sense.)

PRUE: All right. Uh ... tell Rodriguez to meet me at the manor at six o'clock.

ANDY TRUDEAU: (shakes his head) It's too dangerous, Prue.

PRUE: I don't have a choice. If I don't meet with him, he'll frame you and try
and expose me.

ANDY TRUDEAU: But if he is a demon and it turns out to be a trap?

PRUE: I'll have Piper and Phoebe there to back me up. The Power of Three.

ANDY TRUDEAU: Plus one: Me.

PRUE: No. You can't be there, Andy. That's where you were in Phoebe's
premonition when, uh ... just ... promise me you'll stay away.

ANDY TRUDEAU: I can't do that, Prue.

PRUE: I mean it. Don't make me use my magic on you.

(Liking the wording of that, Andy smiles. Prue smiles back.)

PRUE: I don't want anything to happen to you, Andy. You know how much I still
care for you.

ANDY TRUDEAU: (nods) Okay. I promise.

CUT TO:



[EXT. HALLIWELL MANOR - STREET -- DAY]

(Rodriguez arrives and parks his car curbside.)

(Watching from across the street, Andy ducks down behind the steering wheel and
out of view.)

(Rodriguez exits his car and makes his way up the front walk. Andy watches as
he heads toward the front door. As he passes Kit, Kit lets out an angry growl.)

(Rodriguez turns and looks at Kit. Andy watches from his car.)

CUT TO:



[INT. MANOR - SITTING ROOM / MAIN HALL - DAY]

(Prue, Phoebe and Piper walk through the sitting room to the main hall.)

PRUE: All right. Let's go over the plan again.

PHOEBE: Yeah, let's, because I wanna know why I'm the one answering the door.

PRUE: 'Cause you're the one who knows martial arts, all right? That way if
Rodriguez shows up and tries something right off the bat, you can knock him
down.

PIPER: And then I can come in from the living room and freeze him.

PRUE: And I can come down the stairs and send him flying.

PHOEBE: Still feel like cannon fodder.

(The doorbell rings.)

PRUE: What time is it?

(Piper checks her watch.)

PIPER: Just before six.

(The doorbell rings several more times.)

PIPER: That's a little too anxious. That's not a good sign.

PHOEBE: Which means if he doesn't wanna kill Prue, he wants to date her.

PRUE: All right, come on. Let's get this day over with.

(Piper and Prue turn to take their positions. Phoebe heads for the front door.)

PHOEBE: Okay.

(The doorbell continues to ring.)

PHOEBE: All right, already!

(Phoebe opens the front door. Rodriguez shows Phoebe his badge.)

RODRIGUEZ: Inspector Rodriguez. I'm here to see Prue Halliwell.

(Phoebe turns her back on Rodriguez and heads into the house. Rodriguez steps
into the foyer and closes the door behind him.)

PHOEBE: Yeah, no kidding. Prue! Piper! Company!

(When Rodriguez turns around, his eyes are blood red. Phoebe turns around, sees
Rodriguez's eyes and gasps.)

(Rodriguez powers up an energy ball and throws it at Phoebe. It hits her point
blank in the chest. The impact throws her up and over the stairs where she hits
the far wall, smashing into the framed photos. She hits the floor and falls
down the stairs.)

(Piper steps out from the living room.)

PIPER: Phoebe!

(She sees Rodriguez and freezes him just as he throws a second energy ball at
Piper. The energy ball freezes mid-air.)

(Prue rushes down the stairs.)

PRUE: Phoebe!

(Prue sees Phoebe. She waves her hand and pushes the energy ball back into
Rodriguez. He unfreezes on impact and explodes.)

(Piper turns around to check on Phoebe.)

PIPER: Oh, my god.

(Prue runs down the stairs to check on Phoebe.)

PRUE: Oh, god. Phoebe.

PIPER: Prue, is she okay?

(Prue checks and doesn't find a pulse. She starts to cry.)

PRUE: She's dead.

PIPER: What?

(Piper grabs Phoebe and turns her over.)

PIPER: Phoebe. Phoebe!

(Prue cries. Piper sits back in shock.)

DISSOLVE TO:



[INT. RODRIGUEZ'S APARTMENT -- MIDNIGHT]

(Tempus holds an hour glass in the palm of his hand. He checks his watch: a
minute to midnight. He closes the watch and tips the hour glass over to allow
the sand to spill out into the palm of his hand. He sprinkles the sand into a
cauldron. The cauldron explodes with a cloud of white smoke.)

(Tempus puts the hour glass down on the counter near the window. Through the
glass looking out onto the San Francisco city, we see the sky go from dark back
to light.)

(In the middle of the living room in front of the fireplace, Rodriguez
reappears, his arms stretched up wide and screaming from the pain of the
vanquish.)

RODRIGUEZ: Aaahhh!

(He falls to his knees, panting from exhaustion. Tempus turns around to look at
Rodriguez.)

TEMPUS: Hurts to die, doesn't it? Especially at the hands of a witch.

RODRIGUEZ: Wait ... what happened? Where am I?

TEMPUS: Exactly where you were when you first met me. Time has been reset. Or
rather, I have reset time.

RODRIGUEZ: But they killed me.

TEMPUS: That was Wednesday night. This is Wednesday morning -- all over again.
This is why I have been sent to you, to keep resetting time until you learn from
your failures. Only you will carry with you the memory of what has happened
before. And each time you fail, you will learn more until ultimately you will
kill all of them.

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. STREET (STOCK) - MORNING]

(The paperboy riding his bicycle along the street waves to the driver of a red
convertible as they honk their horn at him. He takes the paper and tosses it
into the Halliwell Manor's yard. A dog barks in the distance.)



[TELEVISION]

(Close of a television set. The WEATHER GIRL is giving the current report.)

WEATHER GIRL: Good morning, San Francisco. Well, it looks like it's going to
be a beautiful Wednesday --

[IINT. MANOR - KITCHEN - MORNING]

(Phoebe is on the phone with Piper.)

PHOEBE: Piper, what are you doing at Quake this early? It's eight o'clock ...
in ... the morning.

(Phoebe hesitates as something feels strange. Prue walks into the kitchen.)

PRUE: Morning.

PHOEBE: (to Prue) Morning. (squints) Wait a minute.

(Phoebe turns around to look at Prue.)

(Phoebe hears something hit the counter. She turns and sees Kit playing with
the pepper shaker on its side.)

(Phoebe stops.)

PHOEBE: Whoa. I am freaking out. (to phone) Okay, I'll be there in an hour.

(Phoebe hangs up.)

PRUE: Be where in an hour?

(Phoebe doesn't answer the question immediately. Something really strange is
going on.)

PHOEBE: Okay, pinch me.

PRUE: What?

PHOEBE: No. I mean it. Pinch me. I wanna make sure I'm awake, because if I
am, I am having one killer deja vu.

PRUE: So it's just a deja vu. Everybody gets them.

PHOEBE: Not like this, they don't. (She walks over to Prue who is reading the
paper.) Look, Prue ... something weird is going on here.

PRUE: I don't believe this.

PHOEBE: Trust me, okay? This has happened before. Everything.

PRUE: I'm talking about the paper. Did you see the front page?

PHOEBE: See, like that. Right there. You said that before, I know it.

(Outside, a car horn beeps, tires screech and a car crashes into something.)

PHOEBE: Okay. And that just happened before, too.

PRUE: Where did you park my car, last night?

PHOEBE: In the driveway, and I told you that already the last time you asked
me.

(Prue takes the paper, stands and heads to the living room to check. Phoebe
rolls her eyes and sighs heavily.)

PHOEBE: I think I'm having an aneurysm.

(Phoebe follows Prue out the kitchen.)



[INT. MANOR - LIVING ROOM - MORNING - CONTINUOUS]

(Prue looks out the window and sees a jeep stopped in front of an overturned
garbage can on the road.)

PRUE: Mrs. Henderson's car. Just a little fender-bender. No big deal.

(Prue turns away from the window and looks at the newspaper.)

PHOEBE: Prue, I am not nuts. Ok, maybe just a little, but that's irrelevant
here.

PRUE: Phoebe, Andy's in trouble.

PHOEBE: What?

(Prue shows Phoebe the SAN FRANCISCO LEDGER. The Headline reads: INSPECTOR
SUSPECTED IN I.A. MURDER.)

PHOEBE: Let me see that.

(Phoebe holds out her hand for the newspaper. Prue hands it to her and Phoebe
gets a premonition when she touches the paper.)

(Quick flash of: [INT. MANOR - LIVING ROOM] Phoebe and Piper kneel next to
Andy who is dead on the floor. Phoebe reaches out and closes Andy's eyes. End
of premonition. Resume to present.)

PHOEBE: Now, that was a premonition which I've had before.

PRUE: Of what?

PHOEBE: Of Andy. Here. Being killed by a demon.

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. POLICE STATION (STOCK) - DAY]



[INT. POLICE DEPARTMENT - ROOM 211 -- DAY]

(The door opens and Rodriguez steps into the office. Darryl and Andy are
there.)

RODRIGUEZ: What the hell are you doing here?

DARRYL: I'm backing my partner. You got a problem with that?

RODRIGUEZ: Get out. (shouts) Now!

(Darryl slowly turns around. Andy, completely aware of Darryl puts a hand out
to stop him from lunging at Rodriguez.)

ANDY TRUDEAU: It's okay, Darryl. I got it.

(On his way out the door, Darryl glares at Rodriguez. Rodriguez continues to
stare at Andy. Darryl leaves. Rodriguez slams the door shut behind him.)

(Andy leans back in his chair and puts his legs up on the table, crossing them
at the ankles.)

ANDY TRUDEAU: Just for the record ... I'm not saying anything without my lawyer
present.

RODRIGUEZ: Forget your lawyer, Trudeau. I'm not screwing around this time.

ANDY TRUDEAU: This time? What are you talking about?

(Rodriguez gets into Andy's face.)

RODRIGUEZ: Bottom line ... I know my partner was killed by a supernatural
being. And I think Prue Halliwell can help me figure out who did it.

ANDY TRUDEAU: Really? Well, I'll just get the commissioner to signal Batman,
and then I'll get right on it.

(Andy smiles and stands up. Rodriguez pushes Andy back into his seat.)

RODRIGUEZ: You think I'm joking? I know everything, Trudeau. Everything,
including the fact that Prue Halliwell is a witch. Now, you're gonna arrange a
meeting with her tonight, you understand? Or else I'm gonna bust your ass and
expose hers.

(Rodriguez turns and leaves the office. Andy stands up just as Darryl walks
in.)

DARRYL MORRIS: What was that about?

ANDY TRUDEAU: I'm not sure.

(Andy turns and grabs his jacket. He walks out the office.)

CUT TO:



[CUCKOO CLOCK]

(Open on the cuckoo clock in a display window. The clock is at 11:45.)

[EXT. SYMPHONY OF TIME - SIDEWALK - DAY]

(Tempus stands in front of the Symphony of Time display window holding up the
newspaper. He glances sideways and sees Rodriguez approaching.)

(Rodriguez rips a flower off the vendor as he walks by. He's livid as he makes
his way toward Tempus, shredding the petals off the flower and furiously tossing
the mess to the sidewalk.)

TEMPUS: Well?

RODRIGUEZ: Trudeau will set the meet. But what I need to know is how to avoid
the pain of getting vanquished again.

TEMPUS: Depends on whether you learned enough to vanquish them first. What do
you remember?

RODRIGUEZ: Last time, I killed the youngest one Phoebe without a fight. But
then when I turned to kill Piper, I think she's the one who has the power to
freeze.

TEMPUS: Adjust. Simply anticipate where she's coming from earlier before she
has a chance to freeze you, then kill Prue.

(Tempus looks at Rodriguez and smirks. Rodriguez nods.)

CUT TO:



[EXT. QUAKE (STOCK) - DAY]



[INT. QUAKE - DINING ROOM -- DAY]

(Phoebe has already told Piper about her premonition.)

PIPER: Andy dies? Are you sure that's what you saw?

PHOEBE: Even worse, I know that I've had the same premonition before. I mean,
before I had it earlier today.

PIPER: You mean like yesterday.

PHOEBE: Yes. I mean ... no. It's not just the premonition that I've seen
before. It's everything. And don't tell me that it's just déjà vu because I
know that it's not.

PIPER: Okay, all right, then what is it?

JOANNE HERTZ: (o.s.) Piper?

(Piper turns to see Joanne Hertz walk into the room. Piper grabs Phoebe and
puts her strategically in front of her to cover the marinara stain.)

JOANNE HERTZ: Piper Halliwell. I would recognize you anywhere. You have not
changed one bit. (Piper shakes her head.) You don't recognize me, do you?
It's ...

PHOEBE: Joanne. Joanne ... Hertz. Right? I'm right, aren't I?

JOANNE HERTZ: I'm sorry. Have we met?

PHOEBE: Yes. I-I mean ... sort of ... before. Uh ... Baker High, Class of
'92 ... although I wasn't in that class.

PIPER: Oh, sure. Of course. Joanne! (puzzled) Phoebe, how did you ...

PHOEBE: (mumbles) That's what I've been trying to tell you. I think we're in
some funky time loop here.

PIPER: Phoebe...

PHOEBE: (whispers) Freeze her. I'll show you.

(Piper waves her hands and freezes Joanne Hertz.)

PHOEBE: Okay. Joanne here is the Food Network Segment Producer. She's about to
brag how she's happily married to some rich guy, how she's following her dreams,
how she's had a really bad nose job -- okay. Added the last part. But this is
all gonna make you feel like you're wasting your life away in comparison.
Unfreeze her. Go ahead. See for yourself.

(Piper unfreezes Joanne.)

PIPER: Are you the, uh, Segment Producer?

JOANNE HERTZ: Why, yes, I am.

(She chuckles.)

PIPER: Uh-huh. Following your dreams, are you? Happily married, stininkin'
rich?

JOANNE HERTZ: Well, I don't mean to brag, but -

(She waves her hand showing off her ring and laughs.)

PIPER: (groans) Oh, god.

(Piper freezes Joanne again.)

PIPER: All right, Phoebe, spill it.

PHOEBE: Okay. The best I could figure is some demon has cast a spell, and I'm
the only one who can sort of see it because my power lets me see things that
have happened in different times. Do you have a better explanation?

PIPER: No. All right, so if you're right, you think this has something to do
with Andy being killed?

PHOEBE: I don't know, but we're never gonna find who the demon is unless we get
to --

PIPER: Book of Shadows. I'm right behind you.

(Phoebe leaves. Piper follows her.)

CUT TO:



[EXT. PARK -- DAY]

(Andy and Prue meet in front of the swing.)

ANDY TRUDEAU: But if he is a demon and it turns out to be a trap ...

PRUE: Then I'll have Piper and Phoebe there to back me up. The Power of Three.

ANDY TRUDEAU: Plus one: Me.

(Prue's quiet.)

ANDY TRUDEAU: What is it?

PRUE: This seems a little familiar to me, that's all. Kind of like deja vu.
Never mind. Um ... Andy, you can't be at the meeting. In Phoebe's premonition,
that's where you were when -- just promise me that you'll stay away.

ANDY TRUDEAU: Prue, I can't do that.

PRUE: I mean it. Don't make me use my magic on you.

(Andy smiles.)

PRUE: And I don't want anything bad to happen to you. You know how much I
still love you.

ANDY TRUDEAU: No. I didn't.

(They hug each other.)

CUT TO:



[EXT. HALLIWELL MANOR - STREET -- DAY]

(Rodriguez arrives and parks his car curbside.)

(Watching from across the street, Andy ducks down behind the steering wheel and
out of view.)

(Rodriguez exits his car and makes his way up the front walk. Andy watches as
he heads toward the front door. As he passes Kit, Kit lets out an angry growl.)

(Rodriguez turns and looks at Kit. Andy watches from his car.)

CUT TO:



[INT. MANOR - MAIN HALL - DAY]

(Prue, Piper and Phoebe stand around the main hallway table looking down at the
open Book of Shadows.)

PIPER: Anything in there about time loops?

PHOEBE: There's a spell to accelerate time, but that's about it. I'm telling
you this is all part of his evil plan. I just haven't had enough time to figure
it out yet.

(The doorbell rings.)

PRUE: What time is it?

(Piper glances at her watch.)

PIPER: Just before six.

(The doorbell continues to ring. They look at each other before Phoebe moves
toward the door.)

PHOEBE: I'll get it.

(Piper and Prue leave to take up their positions. The doorbell continues to
ring.)

PHOEBE: All right, already!

(Phoebe heads to the door, but before she gets there, Rodriguez bursts into the
house. He powers up an energy ball and throws it point blank at Phoebe. It
hits her point blank in the chest. The impact throws her up and over the stairs
where she hits the far wall, smashing into the framed photos. She hits the
floor and falls down the stairs.)

(Piper steps out from the living room.)

PIPER: Phoebe!

(Rodriguez powers up another energy ball and throws it at Piper. He hits her
point blank in the chest. The impact throws her through the glass in the
conservatory doors.)

(Rodriguez turns to throw a third energy ball at Prue who is already descending
the stairs. She waves her hand and sends the energy ball back at Rodriguez. It
hits him in the chest and vanquishes him.)

(Prue rushes over to Phoebe and checks her.)

PRUE: Oh, god, no.

(She turns and scrambles over to check on Piper in the Conservatory.)

PRUE: Piper.

(Realizing that both her sisters are dead, Prue cries. She grabs Piper and
holds her.)

DISSOLVE TO:



[INT. RODRIGUEZ'S APARTMENT -- MIDNIGHT]

(Tempus checks hi watch: a minute to midnight.)

(Cut to: Tempus sprinkles the sand in his hand into a cauldron. The cauldron
explodes with a cloud of white smoke.)

(Tempus puts the hour glass down on the counter near the window. Through the
glass looking out onto the San Francisco city, we see the sky go from dark back
to light.)

(In the middle of the living room in front of the fireplace, Rodriguez
reappears, his arms stretched up wide and screaming from the pain of the
vanquish.)

RODRIGUEZ: Aaahhh! Son of a bitch!

(Tempus turns around to look at Rodriguez.)

TEMPUS: Failed again, I see.

RODRIGUEZ: Yeah, but I learned. This time I got two of them. Third time is
the charm.

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. STREET (STOCK) - MORNING]

(The paperboy riding his bicycle along the street waves to the driver of a red
convertible as they honk their horn at him. He takes the paper and tosses it
into the Halliwell Manor's yard. A dog barks in the distance.)



[TELEVISION]

(Close of a television set. The WEATHER GIRL is giving the current report.)

WEATHER GIRL: Good morning, San Francisco. Well, it looks like it's going to be
a beautiful Wednesday in the bay area -

[INT. MANOR - KITCHEN - MORNING]

(Phoebe is on the telephone with Piper as soon as she hears the WEATHER GIRL
with her report, Phoebe picks up the remote and turns the television set off.)

PHOEBE: (to phone) Don't tell me. I already know. You spilled marinara sauce
on your dress, right? Am I right? Think, Piper, think. Doesn't all of this
seem awfully familiar to you?

(Prue walks into the kitchen.)

PRUE: Morning.

PHOEBE: (to Prue) Freeze. (to phone) No, not you, Piper. (to Prue) Kit
knocks over pepper. Meows.

(Sure enough, Kit knocks over the pepper shaker and meows.)

PHOEBE: (to Prue) Hold that thought. (to phone) Piper you need to get home
as soon as you can . We've got major demon hunting to do. Oh, and if you run
into someone named Joanne from high school, just tell her to go stick it. I
will explain later. Just hurry.

(Phoebe hangs up and turns to look at Prue.)

PRUE: Okay. What's going on?

(Phoebe puts the phone down on the counter.)

PHOEBE: Quick. Follow me.

(Phoebe walks out of the kitchen and heads for the living room. With the
newspaper in her hand, Prue follows her.)



[INT. MANOR - LIVING ROOM - MORNING - CONTINUOUS]

(Phoebe heads over to the window. She pulls the curtain aside and lets Prue
look out to the street.)

PHOEBE: Five, 4, 3, 2, 1. Car honks ...

(Off screen, a car horn beeps ... )

PHOEBE: Skids...

( ... tires screech ... )

PHOEBE: Crashes.

( ... a car crashes.)

(Phoebe lets go of the curtain. Prue turns and looks at Phoebe.)

PHOEBE: Mrs. Henderson's car. Little fender bender. Good thing I parked your
car in the driveway last night, huh?

PRUE: How did you know that?

PHOEBE: Because this has all happened once before, Prue, maybe even more than
once. The day keeps repeating itself. I know it. And every time it happens, I
think I figure it out just little bit faster. It must be my power of
premonition.

(Thinks about it.)

PHOEBE: Premonition ... I'm supposed to be having a premonition right about
now.

PRUE: Supposed to? What do you mean?

(Phoebe glances and sees the newspaper in Prue's hand.)

PHOEBE: The paper. Look at the front page.

(Prue looks at the SAN FRANCISCO LEDGER and sees the headline: INSPECTOR
SUSPECTED IN ... )

PRUE: Andy.

PHOEBE: ... is in trouble. More than you know, Prue. If I touch that paper, I
will have a premonition, the same one that I've had before, where Andy gets
killed here ... by a demon. You have got to believe me.

PRUE: No, I believe you. The question is, what do we do about it?

PHOEBE: Well, you've got to go warn Andy. Keep him away from our house at all
costs. Meanwhile, I've gotta dig through the Book of Shadows, find a way to
vanquish this time demon before he can kill Andy.

(Prue nods.)

CUT TO:



[CUCKOO CLOCK]

(Open on the cuckoo clock in a display window. The clock is at 11:45. A gun
fires and the cuckoo clock in the display explodes.)

[EXT. SYMPHONY OF TIME - SIDEWALK - DAY]

(Rodriguez puts his gun away. He walks up to Tempus who is standing in front of
the Symphony of Time display window holding the newspaper.)

TEMPUS: You really shouldn't have done that. You shouldn't do anything
differently if you expect to succeed tonight.

RODRIGUEZ: (smugly) I will succeed tonight, old man. There'll be no more time
loops. This time I'll kill Prue first, and then the other two. And when they
die, they're gonna feel every ounce of pain they've given me, and then some.

CUT TO:



[EXT. QUAKE (STOCK) - DAY]



[INT. QUAKE - MAIN DINING ROOM -- DAY]

(Piper talks with Joanne.)

PIPER: Uh, Joanne, I'm so sorry, but I can't do the segment right now.
Something's happened. Something bad. I have to go.

JOANNE HERTZ: What, run out of marinara sauce? (She points to the stain on
Piper's blouse.) Kidding.

PIPER: Look, I know I don't have the flashy job or the flashy ring or the
flashy designer suit, but that doesn't make me less than you or anybody else.
And just because I may not have realized my dreams yet like you think you have
doesn't mean I won't find a way to do exactly that. And when I do, you can be
damn sure I'll be doing it with my own nose and not the one some discount doctor
gave me.

(Piper turns and leaves.)

CUT TO:



[EXT. PARK -- DAY]

(Andy and Prue meet in front of the swing.)

ANDY TRUDEAU: A time loop? You mean demons can actually do that sort of thing?

PRUE: None that I've ever seen before. But if it is a demon, it's the most
powerful one that we've ever come up against.

ANDY TRUDEAU: And he's going through all this just to kill me. No way, Prue.
If he's as powerful as you say, then he's got to be after you.

PRUE: Just let us handle this. Whatever you do, you have to promise me that
you'll stay away from the manor.

ANDY TRUDEAU: I can't promise you that, Prue. If you're right, and Rodriguez
is the demon, then it's a trap.

PRUE: Then I'll have Piper and Phoebe there to back me up, all right. The
Power of Three.

ANDY TRUDEAU: What if that's what he wants, all three of you together? What if
that's the reason he set the time loop?

PRUE: We'll just have to take our chances.

ANDY TRUDEAU: You could get killed, Prue.

PRUE: I mean it. This is not your fight. Don't make me use my magic on you.
(Andy doesn't smile.) Andy, I would die if anything happened to you. I love
you.

(Andy smiles.)

ANDY TRUDEAU: I love you, too, Prue.

(They hug each other.)

CUT TO:



[EXT. HALLIWELL MANOR - STREET -- DAY]

(Rodriguez arrives and parks his car curbside. California license plate
#E999004.)

(Across the street Andy watches.)

(Rodriguez exits his car and makes his way up the front walk. Andy watches as
he heads toward the front door. As he passes Kit, Kit lets out an angry growl.)

(Rodriguez turns and looks at Kit, his eyes are blood red. Kit growls. Andy
gasps when he sees Rodriguez's eyes. Kit jumps down from the fence and runs
away.)

ANDY TRUDEAU: Oh, my god. Prue.

(Andy opens the glove compartment and takes out his gun. He opens the car door
and gets out.)

CUT TO:



[INT. MANOR - MAIN HALL -- DAY]

(Prue, Phoebe and Piper stand around the main hall table. Phoebe reads out of
the Book of Shadows.)

PHOEBE: (reading) The Devil's Sorcerer Tempus. He can manipulate time any way
he chooses.

PIPER: Does it say how to vanquish him?

PHOEBE: Uhhh. Take him out of the time that he's in? Whatever that means.

(The front door bursts open as Rodriguez kicks the door open. Prue, Phoebe and
Piper looks up from the book and see Rodriguez power up an energy ball. He
throws it at Prue.)

(Piper pushes Prue out of the way and the energy ball passes harmlessly past
Phoebe where it hits the wall behind her.)

(Prue is knocked over backward and is rendered unconscious. Rodriguez steps
forward.)

(Andy opens the door and runs into the house.)

ANDY TRUDEAU: Nooo!

(Andy fires twice at Rodriguez and hits him in the shoulder. Rodriguez powers
up and energy ball and throws it at Andy.)

PHOEBE: Andy!

(The energy ball hits Andy. The impact sends Andy flying backward where he
crashes into the glass cabinet at the far end of the room. He falls to the
floor.)

(Phoebe looks over at Piper to gets to her feet and promptly freezes Rodriguez.)

PIPER: Are you okay?

PHOEBE: Yeah. Is Prue okay?

(Piper checks Prue.)

PIPER: She's out cold.

(Phoebe turns and looks over at Andy who is on the floor, unmoving.)

PHOEBE: Oh.

(Piper and Phoebe rush over to Andy. Piper checks for a pulse and doesn't find
any.)

PIPER: Oh, my god. He's dead.

(Phoebe reaches out and gently closes Andy's eyes.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. MANOR - MAIN HALL]

(It's 6:15 pm and the clock bell chimes. The camera swings around low and we
find Rodriguez tied securely to a chair. Piper sits near Prue who is still
knocked unconscious.)

(Phoebe paces and glares at Rodriguez.)

PHOEBE: The only reason you're still alive is because I haven't figured out how
to kill you yet.

RODRIGUEZ: (taunts) Go ahead. Kill me, witch. I don't care.

(Piper stands up and moves near Phoebe.)

PIPER: Phoebe, what are you doing?

PHOEBE: I'm trying to save Andy.

PIPER: Andy?

(She glances at the living room where Andy's body is. They've covered him with
a blue cloth.)

PIPER: You can't save him, Phoebe.

PHOEBE: No? We're in a time loop, aren't we? All we have to do is start this
day over and Andy lives. (Phoebe turns and glares at Rodriguez.) And I'm
willing to bet that his death somehow triggers the time loop.

RODRIGUEZ: I'm impressed. I was told you wouldn't know that.

PHOEBE: Really? Mm-hmm.

(Phoebe leans forward and looks closely at Rodriguez.)

PHOEBE: By who? Tempus? (He looks away.) Yeah, we know about him, too. And
we also know that you're not him, otherwise you would've restarted the day by
now. So where do we find him?

(Rodriguez looks at Phoebe.)

RODRIGUEZ: In your nightmares. Kill me. I dare you.

(Piper pulls Phoebe aside and away from Rodriguez.)

PIPER: Why is he so willing to let us kill him?

PHOEBE: Who cares? He dies, Andy lives. End of story.

PIPER: What if that's exactly his plan? To reset the day and he can kill us
all next.

RODRIGUEZ: It doesn't matter. The day's gonna reset itself anyway. There's
not a damn thing you can do to stop it.

PIPER: Shut up. Come on. We have to wake up Prue.

(Piper and Phoebe kneel down next to Prue.)

PHOEBE: Prue? Prue. Come on. We need your help, Prue.

ANDY: (v.o.) Prue. Prue. Come to me, Prue.

DISSOLVE TO:



[INT. PRUE'S SUBCONSCIOUS]

(Andy walks around a two-seat swing. Prue's sitting on the swing in a white
unknown place.)

PRUE: Andy? What's going on? Where are we?

(Andy looks around.)

ANDY: Not quite sure, really. I hoped I'd end up here, but not so soon. One
thing I do know, though, is that I'm staying. You're not.

PRUE: I don't understand.

(Andy sits next to Prue on the swing.)

ANDY: I broke my promise, Prue. I came to your house tonight. Turns out
Phoebe's premonition was one you couldn't stop, after all. Weren't supposed to
stop.

PRUE: (shakes her head) Wait a minute, Andy. No.

ANDY: It's ok, Prue, really. Trust me. This is my Destiny. I know that now.
Yours is to continue on. Everything happens for a reason, remember? You taught
me that.

PRUE: This isn't fair.

ANDY: You need to go back. You need to keep the time loop from being reset
again, or you and your sisters will be killed and I will have died in vain.

PRUE: I'll kill Rodriguez for this.

ANDY: No, you won't. You're not a murderer, Prue. You're a good person who
does good things.

PRUE: I don't wanna lose you.

ANDY: Don't worry. You won't.

(Andy leans forward and they kiss.)

ANDY: I'll always be there for you, Prue.

(Andy vanishes in a blur of white light.)

PHOEBE: (v.o.) Prue, come on, honey. Prue. Prue.

BLUR IN TO



[INT. MANOR - MAIN HALL]

(Prue regains consciousness. Piper and Phoebe help her up.)

PIPER: Prue, come on. Wake up, sweetie.

PHOEBE: Come on, honey.
PIPER: Come on. We need your help.
PHOEBE: Easy, easy, easy.

PIPER: Okay.

(Piper and Phoebe help Prue to her feet.)

PRUE: Where's Andy?

PHOEBE: Prue, something terrible has happened.

(Prue looks over at the living room and sees Andy's body.)

PRUE: Oh, my god.

PIPER: It all happened so fast, Prue. He ran in the door when Rodriguez
attacked. He was trying to save us.

(Prue takes a couple steps backward and they help her sit down on the hallway
seat.)

(Prue's eyes are glued to Andy. Her eyes shift and she looks at Rodriguez. Her
eyes harden.)

PRUE: And he'll succeed. Where's the Book of Shadows?

PHOEBE: Uh, it's right here.

(Phoebe stands and gets the Book. She takes it back to Prue.)

PHOEBE: Why?

PRUE: Where's the spell that you saw to accelerate time?

(Phoebe flips the page. Rodriguez starts to get nervous.)

RODRIGUEZ: What are you doing?

PHOEBE: There.

RODRIGUEZ: What's going on?

PIPER: We don't want to accelerate time. We want to reverse it.

PRUE: No, we don't. Trust me. The only chance that we have to get rid of
Tempus is to do this by breaking the time loop, ok?

PHOEBE: But if we break the time loop, we won't be able to save Andy.

PRUE: I know.

PIPER: Prue, are you sure?

PRUE: No, I'm not.

(They stand up. Prue looks at Rodriguez, then starts to read the spell.)

PRUE:
Winds of time, gather around.
Give me wings to speed my way.

RODRIGUEZ: Wait a minute.

PRUE:
Rush me on my journey forward.
Let tomorrow be today.

RODRIGUEZ: What's happening?

(All around them, something happens. They wait.)

(Prue looks at the clock and notices that the hands are rapidly moving forward.)

CUT TO:



[INT. RODRIGUEZ'S APARTMENT]

(Tempus stands at the window watching the city outside. The sky changes from
light to darkness.)

(Tempus looks around, then glances down at his pocket watch. The hands on his
watch move rapidly forward.)

(They suddenly stop at 12:01 a.m.)

(Tempus closes the watch and lets out a loud roar.)

TEMPUS: Nooooo!

(Flames engulf him as he is vanquished. The flames glide across the room toward
his robe where it vanishes along with the flames into the fireplace.)

CUT TO:



[INT. MANOR - MAIN HALL -- NIGHT]

(The grandfather clock chimes.)

PIPER: (o.s.) Prue ...

(Prue stares at Rodriguez. Her eyes shift over and she sees Andy's body on the
floor in the next room.)

PRUE: We'll just untie him, get him out of here.

PHOEBE: What?

PIPER: He'll kill us.

PRUE: No, he won't. He doesn't have the power to kill us, otherwise he
wouldn't have needed Tempus.

PHOEBE: I will not untie him, Prue.

(With a wave of her hand, the ropes binding Rodriguez fall away. The handcuffs
come off. Rodriguez glares at Prue as he slowly stands up.)

PRUE: Get out of here before I change my mind.

RODRIGUEZ: You stupid witch.

(Rodriguez turns and heads for the front door. Halfway there, he turns around,
his eyes blood-red. He powers up an energy ball and hurls it at Prue.)

(Prue raises her hand and reflects the energy ball back at Rodriguez where it
hits him square in the chest. Rodriguez yells as pulses of electricity course
through him. Finally, he explodes.)

PRUE: We may not be murderers, but we're no angels, either.

(Prue walks into the next room and kneels down next to Andy's body. Phoebe and
Piper watch as Prue cries. She leans forward and rests her head on his chest.)

(The camera slowly pulls away.)

DISSOLVE TO:



[EXT. CEMETERY -- DAY]

(Police cars, a couple of police officers on bikes and a couple of cars drive
away on the road to the cemetery.)

(Camera moves down and we see Phoebe, Darryl and Piper standing on the side.
Prue stands in front of the coffin and places a single red rose on the closed
casket. She wipes the tears away from her eyes with the palm of her hand.)

(Long shot of Prue standing in front of the casket as the others look on.)

DISSOLVE TO:



[EXT. HALLIWELL MANOR (STOCK) -- DAY]



[INT. MANOR - KITCHEN - DAY]

(On the television morning program, the WEATHER GIRL gives the forecast.)

WEATHER GIRL: Good morning, San Francisco. Well, it looks like it's going to
be a gorgeous Monday morning here in the bay area.

(Phoebe picks up the remote and turns the television set off. She looks over at
Piper.)

PHOEBE: She really needs another schtick. That one's getting boring.

PIPER: Maybe she should hire Joanne Hertz, boost her ratings.

PHOEBE: Speaking of the she-devil herself, did you ever call to reschedule your
segment?

PIPER: No. I'm not going to.

PHOEBE: Why?

PIPER: I've decided to quit my job.

PHOEBE: (smiles) What?

PIPER: And actually, I owe it all to Joanne. She made me realize that somehow
I'd forgotten what my dreams were, still are. I always wanted to be a chef and
have my own restaurant, not manage one. It's a good job and the pay's okay, but
it's not my dream job.

PHOEBE: I think that's great. I really do. And don't worry. If you need any
help trolling the classifieds, I am an expert.

(Piper and Phoebe head out of the kitchen to find Prue.)



[EXT. MANOR - FRONT STEPS - DAY - CONTINUOUS]

(Prue sits on the front steps of the manor looking outside. The front door
opens. Piper and Phoebe walk out and join her.)

PIPER: Prue? You all right?

PRUE: Yeah. Actually, I am. Andy's been exonerated. (She shows them the
newspaper.) They're now looking for Rodriguez.

PIPER: Good luck.

PHOEBE: Hey, are you sure you're all right?

PRUE: Yeah. I was just thinking about all that we've been through since we
became witches.

PHOEBE: Hmm? Give you a headache?

PRUE: No. Actually, it gave me a good feeling. I mean, look, it's a hassle.
It can sometimes screw up our personal lives.

PIPER: Amen to that.

PRUE: And we do good things together. Helps offset the bad things.

PHOEBE: I'm going to really miss Andy.

PIPER: It's going to be very sad without him.

PRUE: Something tells me that he'll always be with us. (Prue glances back at
the front door.) We better get ready for work.

(Prue stands up. Piper brushes past Prue and Phoebe on her way back into the
house.)

PIPER: I'll tell her later.

PRUE: Tell me what?

PIPER: Nothing. It's not important.

(Phoebe follows Piper into the house.)

PHOEBE: Nothing. Nothing.

(Prue follows them into the house. She steps into the foyer and contemplates
the open door. With the flick of a finger, she telekinetically pushes the door
shut.)

FADE TO BLACK.
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