ROLL TITLE CREDITS.

CHARMED

1X 02: I’VE GOT YOU UNDER MY SKIN

ORIGINAL AIR DATE ON WB: 10/14/1998

TRANSCRIBED FROM WB

Written by BRAD KERN

Directed by JOHN T. KRETCHMER

Transcript by Intrepid

Courtesy of http://www.webphilia.com/~anthology/wnp.html

Do not archive this transcript without permission from the Transcriptionist.

==========================

RATING: TV-PG-LSV

==========================

DISCLAIMER:

==========================

"CHARMED", “The Charmed Ones” and other related entities are owned, (TM) and (c) by CONSTANCE M. BURGE, AARON SPELLING Television Inc (A Paramount / Viacom Co.) and WB (AOL Time Warner Company). All Rights Reserved. This transcript was made without their permission, approval, authorization or endorsement. For Fair Use, for Entertainment and for Educational Purposes Only. Any reproduction, duplication or distribution of this material in any form is expressly prohibited. It is absolutely forbidden to use it for commercial gain.

CONDITIONS OF USE: (1) Do not alter the content of this file. (2) Leave the headers/disclaimers intact because it lists all those who have made this transcript possible for your enjoyment. (3) Provide a link back to the site where this file originated: http://www.webphilia.com/~anthology/wnp.html

Contact the Transcriptionist at (intrepidly002@yahoo.com)

==========================

SUMMARY: The Charmed Ones cross paths with Javna, a demon who steals the life

force from the young.

==========================

CHARMED

1X02: I’VE GOT YOU UNDER MY SKIN

==========================

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.

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.

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.

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.

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.

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.

==========================

THE END

==========================

[Captioning made possible by spelling entertainment captioning performed by the national captioning institute, inc.]

Courtesy of http://www.webphilia.com/~anthology/wnp.html

Contact the Transcriptionist at (intrepidly002@yahoo.com)

Do not archive this transcript without permission from the Transcriptionist.

==========================

Date: 2016-03-03; view: 585