...Mightier Than the Sword
A Fan Fiction Archive
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.


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