CHARMED
1X05: DREAM SORCERER
ORIGINAL AIR DATE ON WB: 11/04/1998
TRANSCRIBED FROM WB/TNT
Written by CONSTANCE M. BURGE
Directed by NICK MARCK
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
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==========================
SUMMARY: Prue finds herself attacked in her dreams by the Dream Sorcerer.
Piper and Phoebe cast a lust spell.
==========================
CHARMED
1X05: DREAM SORCERER
==========================
FADE IN:
[EXT. QUAKE (STOCK) - NIGHT]
[INT. QUAKE - DINING ROOM -- NIGHT]
(Phoebe walks across the dining room heading for Prue and Piper.)
CUSTOMER: Ooh, excuse me.
(She finds them and waves to them. A man with a drink walks up to her.)
PHOEBE: (to someone off screen) Hi.
JIM: Are your parents terrorists? 'Cause, baby, you're the bomb.
(Two other men join him.)
MAN 2: Jim, Jim, ask her if it hurt when she fell.
PHOEBE: Ah, excuse me?
MAN2: When you fell from heaven, did it hurt, 'cause I know an angel when I see
one.
PHOEBE: Huh, I'm no angel. I'm a witch. But don't tell my sisters I told you.
(Phoebe walks past they and continues on toward Prue and Piper. She joins them
at their table. Prue and Piper are both staring at something behind Phoebe.)
PHOEBE: Whoo. Oh, I'm so glad you guys are still here. What are you staring
at?
PRUE: They have been going at it for almost an hour.
(Phoebe turns around and sees the couple on the floor kissing.)
PHOEBE: Hello.
(She groans and turns back to Piper and Prue.)
PHOEBE: Oh, I can't even look.
PIPER: I know. I hate being single.
SKYE RUSSELL: Waitress, coming through. Special Delivery.
PIPER: Hey, Skye.
PHOEBE: Hey, Skye.
SKYE RUSSELL: Hi.
(Skye puts a single glass of wine in front of Prue.)
PRUE: Um, I think there's been some kind of a mistake. I didn't order this.
SKYE RUSSELL: I know. You have a secret admirer. He ordered it for you.
(Everyone turns to look. Whitaker Berman sitting alone at a table at the far
end of the room raises his glass to her.)
PIPER: Who's that?
SKYE RUSSELL: I have no idea. I'm just following the bartender's orders. And,
apparently, he's been eyeing Prue all night.
PRUE: Skye, can you do me a favor? Um, tell him thank you and I'm very
flattered, but I'm kind of seeing someone else.
(Prue gives the glass back to Skye.)
SKYE RUSSELL: Sure.
PRUE: Thanks.
(Skye leaves.)
PIPER: This is a nice change of attitude.
PHOEBE: I'll say. Does this mean you're thinking of getting serious with Andy?
PRUE: Lately I've been thinking about a lot of things.
(Cut to: Skye Russell takes the wine glass back to Whitaker Berman and
apologizes on Prue's behalf.)
WHITAKER BERMAN: She didn't want the drink?
SKYE RUSSELL: I'm sorry, no. She's flattered. She's just seeing someone else.
WHITAKER BERMAN: Yeah, sure, she is. How about you? (He moves his
wheelchair. Skye notices it.) Maybe you'd like to have a drink with me
sometime?
SKYE RUSSELL: Oh, um, well, that's really sweet of you, but, uh, I'm not
allowed to date the customers.
BARTENDER: (o.s.) Skye!
SKYE RUSSELL: Uh, an order's up. I've got to run.
(Skye walks around Whitaker Berman and leaves the room. He watches her leave.)
CUT TO:
[EXT. SKYE'S APARTMENT BUILDING (STOCK) - NIGHT]
[INT. SKYE'S APARTMENT - BEDROOM -- NIGHT]
(Skye steps out of the bathroom. She brushes her hair as she prepares to go to
sleep. She climbs into bed and sets her alarm clock. It's 1:05 a.m. She turns
the bed lamp off.)
(Camera slowly zooms in on the clock.)
DISSOLVE TO:
[INT. SKYE'S APARTMENT - BEDROOM -- NIGHT]
(The clock now reads: 2:30 a.m.)
[INT. SKYE'S APARTMENT - BEDROOM - NIGHT - SKYE'S DREAM]
(Whitaker Berman reaches out and turns on the bed side lamp. The room is cast
in a soft reddish glow.)
WHITAKER BERMAN: Hello, Skye.
(Skye wakes up. She tries to sit up in bed.)
SKYE RUSSELL: What the --
(Whitaker puts a gloved hand over her mouth.)
WHITAKER BERMAN: Shh.
SKYE RUSSELL: Whoa--ohh--ohh!
(She struggles weakly against him.)
WHITAKER BERMAN: You're in my world, Skye.
(He pushes the bed covers aside and helps her up to her feet. Camera rises
above the bed and we see that in this world there is only the bed. The ground
has a layer of smoke and haze.)
(He looks at Skye who is wearing a white long formal dress and not her
nightgown.)
WHITAKER BERMAN: You look beautiful in that dress. I knew you would.
SKYE RUSSELL: I don't understand.
WHITAKER BERMAN: It's your dream, but it's my fantasy.
SKYE RUSSELL: Where am I?
WHITAKER BERMAN: (laughs lightly) You're dreaming. I'm visiting.
SKYE RUSSELL: You're in my dream?
WHITAKER BERMAN: Yes, but I can make it mine.
(He walks around her. She notices it immediately.)
SKYE RUSSELL: You can walk.
WHITAKER BERMAN: In dreams, I can do anything.
(He takes her hands and starts dancing with her.)
WHITAKER BERMAN: I can dance in your dreams. I can alter your dreams.
(They dance.)
(She tries to get away from him, but he catches her.)
SKYE RUSSELL: Hey!
WHITAKER BERMAN: ... and I can kill you in your dreams.
(He starts moving her toward the edge of the building rooftop.)
SKYE RUSSELL: No, please.
(She steps up to the edge.)
WHITAKER BERMAN: Did you know that if you die in your dreams, you die in real
life?
SKYE: Ohh.
(He bends her back over the edge of the building. She looks down and sees that
they are way up high.)
(She starts to plead. He mocks her by knowing what she's going to say.)
BOTH: Please, don't hurt me.
(He chuckles and steps up to the edge of the building.)
WHITAKER BERMAN: You know, Skye, you rejected me. And now you have to pay.
(He pulls her up with him.)
BOTH: Please. I'll do anything!
WHITAKER BERMAN: Sweet dreams.
(He pushes her off the edge of the building.)
(Skye falls off the building and plunges down past the floors to her death
below.)
(Whitaker Berman laughs as he steps away from the edge.)
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS SAN FRANCISCO SCENES (STOCK) - DAY]
[EXT. SKYE'S APARTMENT BUILDING (STOCK) - DAY]
[INT. SKYE'S APARTMENT - BEDROOM -- DAY]
(Skye Russell is dead on her bed. Her body is in an awkward position.)
DARRYL MORRIS: What have we got here? Her name is Skye Russell, early 20s, a
waitress at Quake.
(Officers are in the bedroom.)
ANDY TRUDEAU: Every bone in her body's been crushed.
DARRYL MORRIS: Coroner said it's as if she had fallen off a 20-story building.
(Darryl kneels down next to the body.)
ANDY TRUDEAU: But we're inside an apartment, on the ground floor. And her body
hasn't been moved.
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - DAY]
[INT. MANOR - CONSERVATORY -- DAY]
(Open on the television exercise program.)
EXERCISE INSTRUCTOR: (from tv) Keep going. And press. And press. And press.
Keep working it through.
(Piper stands in front of the television set exercising. Prue sits in the chair
behind her reading the paper.)
PIPER: (frustrated) Unh. I give up. (Piper stops exercising, turns and puts
the weights down on the ground.) Two weeks and nothing strengthened but my
temper.
(Prue sets the paper aside.)
PRUE: Piper, here's the problem. You didn't read the fine print. See, it says
right here, 19.95 for the video, and 20 grand for the plastic surgeon.
(Piper stretches out on the exercise mat, her head resting on the plastic step
stool.)
PIPER: Yeah, well, it's worked. She's the most desired female in America, what
every man wants.
PRUE: That woman? Of course men want her. Men are no different from women.
We all want what we can't have, which is why we need to stop thinking about what
men want and start thinking about what we want in a man.
PHOEBE: Tons of fun, lots of heat, and no strings attached. That's what I
want.
(Phoebe walks into the room with a large bowl of cereal in her hand. Piper sits
up.)
PIPER: I know this may not sound very P.C., but I want romance. Long, slow
kisses, late-night talks, candlelight, I love love. I'd take what Prue has in a
flat second.
PRUE: Hmm, but then you'd have to deal with the family secret, which isn't
exactly normal, now, is it?
(Prue takes her cup and heads out of the room.)
(Piper watches her leave.)
CUT TO:
[EXT. POLICE STATION BUILDING (STOCK) - DAY]
[INT. POLICE STATION - BULLPEN -- DAY]
(Andy and Darryl review the case files at their desk.)
ANDY TRUDEAU: Did you see the coroner's report?
DARRYL MORRIS: Mm-hmm. Skye Russell died of massive internal hemorrhaging. Her
body literal imploded upon itself.
ANDY TRUDEAU: Ever seen anything like it before?
DARRYL MORRIS: Mm-hmm, on jumpers. Their bodies were usually found on
sidewalks.
(Andy tosses the file back on the desk.)
ANDY TRUDEAU: There aren't any signs of external damage consistent with any
type of fall. In fact, there's not a scratch on her.
(Darryl opens the file and looks at the forms inside.)
DARRYL MORRIS: Yeah, well, maybe we were wrong. Maybe her body was moved.
ANDY TRUDEAU: From where? How? (Andy stands up.) Front door was locked and
bolted. Each window had bars on it, none of which had been tampered with in any
way. Nobody but she was in that apartment last night. (He thinks about it.)
It's not a suicide, Morris, and it's sure not death by natural causes, which
leaves only one thing.
(He leans forward, his hands on Darryl's desk. They look at each other thinking
the same thing.)
ANDY/DARRYL: (both) Murder.
DARRYL MORRIS: I hate it when we say that.
(Andy nods in agreement.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. QUAKE (STOCK) - DAY]
[INT. QUAKE - DINING ROOM -- DAY]
(Piper steps out of the back kitchen with a plate in her hands. She serves it
to the customer sitting at the table.)
PIPER: Here you go, Mr. Manford. The chicken with rice and vegetables, just
the way you like it. Chicken well done, light oil on the vegetables, and rice
steamed dry.
JACK MANFORD: Thanks.
PIPER: Bon appetit.
(Piper leaves him and heads to the small tray table with the dirty dishes on it.
She picks it up when Phoebe walks up to her.)
PHOEBE: Hey. Why are you doing that?
PIPER: Skye didn't show up for her shift today, so we're short-handed.
PHOEBE: Ooh.
(Piper heads for the kitchen. Phoebe rushes to hold the door open for her.)
[INT. QUAKE - BACK KITCHEN - DAY - CONTINUOUS]
(Piper walks into the kitchen. Phoebe follows her.)
PIPER: So, what's up?
PHOEBE: I, uh, (she glances around) I found this spell. (softly) "How to
Attract a Lover".
PIPER: No, Phoebe, forget it. We're not casting any spells.
PHOEBE: Come on. There must be more to our powers than warlock wasting. I'm
ready to have some fun with our magic.
PIPER: No. No personal gain, remember?
PHOEBE: How is it personal gain if we're using our powers to bring happiness to
another person? And, in my case, lots and lots of happiness.
PIPER: Could you pass me that colander, please?
PHOEBE: Yeah. (Phoebe hands the colander to Piper.) Look, I'm not talking
about marriage here. (Piper heads for the kitchen counter. Phoebe follows
her.) We have our thirties to freak out about that. This spell is about having
a good time.
(Piper picks up the cutting board knife and starts chopping.)
PIPER: I admit it's tempting. The dating scene can be a little frustrating.
But bringing men into our life through a spell? Correct me if I'm wrong, but
isn't that a little bit desperate?
PHOEBE: No. How is asking for what you want being desperate? I say it's not.
I say it's empowering. (enthusiastically) Besides, the book of shadows says we
could reverse the spell at any time.
DISSOLVE TO:
[EXT. HALLIWELL MANOR (STOCK) - NIGHT]
[INT. MANOR - KITCHEN - NIGHT]
(Piper is cutting various ingredients on a cutting board. She has various spice
containers on the counter as well. Prue walks into the kitchen.)
PRUE: Piper, Phoebe!
PIPER: (surprised) Prue, you're home. I thought you had a date with Andy.
(Prue puts her case down on the counter. She frowns at the various ingredients
out on the counter top.)
PRUE: Uh, no, he had to cancel. What are you doing?
PIPER: (hesitant) Um ...
PHOEBE: (o.s.) Piper, I was wrong, the spell calls for cayenne pepper, not
black pepper-
(Piper uncomfortably is busted in front of Prue. Phoebe walks into the kitchen
carrying the Book of Shadows. She sees Prue there and stops.)
PHOEBE: (gasps) Ohh. (She closes the Book.) Did I say spell? I--I meant
recipe. (sheepish) We're so busted, aren't we?
PRUE: (nods) I would say yes. What spell are you casting?
(Before Phoebe can answer, Piper intervenes.)
PIPER: I realized today that Phoebe may have stumbled onto something, something
that actually makes sense.
(Piper removes her apron.)
PRUE: Now I'm worried.
PIPER: All the spells are in this book for a reason, right? And I think that
this spell could be a harmless opportunity for us to test our powers, you know,
really get a handle on them. I mean, why else would it say we can reverse it at
any time? All I want is someone special in my life, and this spell provides
that exactly.
PHOEBE: I can translate.
QUICK FLASH FORWARD TO:
[INT. MANOR - KITCHEN - NIGHT - SHORT TIME LATER]
(Prue is sitting down and staring at her two sisters.)
PRUE: You've got to be kidding.
(Phoebe and Piper stand in front of her. Phoebe is carrying the Book of Shadows
while Piper's arms are filled with the various herbs and spice containers.)
PIPER: We were hoping you would join us.
PRUE: No. I have got enough complications in my life. You two are on your
own.
PHOEBE: You know where to find us.
(Phoebe and Piper rush out of the kitchen.)
PRUE: (calls out) Be careful what you wish for.
CUT TO:
[INT. MANOR - ATTIC - NIGHT -- CONTINUOUS]
(Open on: Kit is sitting on the table nearby.)
KIT: Mreow.
PHOEBE: Ok, you want to go first?
PIPER: No. You go first.
PHOEBE: Okay.
(Phoebe and Piper sit around the table in the center of the attic. They have
lit candles and a pot in the center of the table. Each girl is holding a small
folded slip of paper.)
(Phoebe reaches over and snatches Piper's paper away from her.)
PIPER: Hey! (Phoebe chuckles.) That's not fair.
(Phoebe reads off from Piper's list.)
PHOEBE: You want a man who is single, smart, endowed--
PIPER: "Employed".
(Phoebe checks the slip of paper.)
PHOEBE: Oh, sorry, "employed". A man who loves sleeping in on Sunday, sunset
bike rides, ha! Cuddling by a roaring fire - (she chuckles) And late-night
talks. A man who loves love as much as you do. (more laughter) Wow, you're a
romantic.
PIPER: Yep. Your turn.
(Piper snatches Phoebe's list from her.
PIPER: You want the sexy, silent type that finds you driving through town on
the back of a harley at three o'clock in the morning. A man who appreciates
scented candles, body oils, and italian sheets.
(Phoebe grabs her slip of paper back from Piper and continues reading her "want"
list in a commercial ad announcer kind of voice. Piper laughs.)
PHOEBE: He's about hunger and d lust and danger, and even though you know all
this, even though you know he'll never meet your friends or share a holiday meal
with your family, you still can't stay away. And he recycles.
PIPER: He recycles?
(Phoebe puts the two lists together and rolls them up into a tube.)
PHOEBE: Yeah, and I think it goes without saying that we both want a man who is
well ... employed.
(She puts the paper into a black-colored cloth bag.)
PIPER: You're seriously twisted. (Piper looks at the spell in the book.) This
is the spell we have to say?
PHOEBE: Yeah, we're lucky. If we were men looking for women, the spell
requires putting a piece of honey cake in a sweaty armpit for days.
(Phoebe puts the bag in the copper pot in the center of the table.)
PIPER: Eww. Okay, maybe we can say this.
PHOEBE: Okay.
(They both recite the spell.)
PIPER AND PHOEBE:
I conjure thee, I conjure thee,
I'm the queen, you're the bee,
as I desire, so shall it be.
(As they recite the spell, the wind begins to blow in the attic and a light
white mist blows around them. Kit meows.)
(As they continue to recite, the wind picks up.)
PIPER AND PHOEBE:
I conjure thee, I conjure thee,
I'm the queen, you're the bee,
as I desire, so shall it be.
(Poof.)
(Everything stops and becomes still.)
KIT: mreow.
(Phoebe glances over at Piper.)
PHOEBE: You think it worked?
PIPER: I don't know. The big spells usually require all three of us.
(The phone rings.)
PHOEBE: Oh.
(Giddy and giggling, Piper and Phoebe both scramble to their feet to answer it.)
[INT. MANOR - MAIN HALL - NIGHT - CONTINUOUS]
(Phoebe and Piper run down the stairs as Prue answers the phone.)
PHOEBE: Is it for me? Is it for me?
PRUE: (to phone) This is Prue. Who's this? (pause) Um, I'm sorry. Do I
know you?
INTERCUT WITH:
[INT. LAB - NIGHT]
(Whitaker Berman is on the phone.)
WHITAKER BERMAN: Yeah. We met at Quake. Well, we didn't actually meet. I
sent you a glass of chardonnay and you sent it back. Still, you know, I was
wondering, maybe you'd like to go out sometime.
PRUE: (from phone) Um, oh, look, as I told the waitress, I'm just not
available. How did you get my number, my name?
(Whitaker Berman hangs up.)
PRUE: (to phone) Hello?
(Prue hangs up.)
PIPER: Who is it?
PRUE: Uh, that guy from the Quake who sent me a drink.
PIPER: What did he want?
(Phoebe turns and heads for the door. She grabs her jacket off the hallway
hook.)
PRUE: He asked me out.
PRUE: Um, hello? Missy May, where are you going?
PHOEBE: I'm going to Quake. See if my spell worked. Want to join me?
PIPER: Pass.
PRUE: No, thanks. I'm going to take a bath.
(Phoebe picks up her purse and leaves the house.)
DISSOLVE TO:
[INT. MANOR - BATHROOM - NIGHT]
(Prue is soaking in the bathtub, bubbles up to her neck. She closes her eyes
and rests for a while.)
DISSOLVE TO:
[INT. PRUE'S DREAM]
(The scene light changes and the bathroom is cast in a reddish hue. Whitaker
Berman secures his black leather gloves on. He reaches out to touch Prue.)
WHITAKER BERMAN: Hello, Prue.
(Prue is startled awake.)
PRUE: Unh. Who the hell--
(Whitaker leans over the side of the tub toward Prue.)
WHITAKER BERMAN: Who am I and how did I get in? Hmm?
PRUE: I don't care, just get--
WHITAKER BERMAN: --Out of the bathroom?
(Prue turns to grab the towel on the side.)
PRUE/WHITAKER: (shouts/mocks) Piper! Help!
(Whitaker stops Prue from taking the towel.)
WHITAKER BERMAN: Scream all you want. No one can help you.
PRUE: How did you --
WHITAKER BERMAN: --Know what you're thinking? Know what you're going to say?
PRUE: Yes.
WHITAKER BERMAN: I am in your unconscious. I know your every thought and
desire.
PRUE: Who are you?
(He reaches out and brushes the hair away from Prue's face. She pulls away from
him.)
WHITAKER BERMAN: I'm the man of your dreams.
FADE TO:
[EXT. DREAMWORLD -- ROOFTOP]
(Again, the scene light changes and the bathroom is cast in a pink-ish blue
hue.)
(Prue glares at Whitaker.)
PRUE: (mutters) You are not real. You don't exist.
WHITAKER BERMAN: That's what your mother used to say, isn't it? Every night,
before you went to sleep.
PRUE: (to herself) You are not real. You don't exist.
WHITAKER BERMAN: As she tucked you in, she'd say--
PRUE: (to herself) You're not real. You don't exist.
WHITAKER BERMAN: If you saw any monsters --
(Prue shudders.)
PRUE: (to herself) You're not real. You don't exist.
WHITAKER BERMAN: -- to tell yourself they weren't real.
PRUE: (to herself) You're not real. You don't exist.
(Whitaker picks up the bath sponge.)
WHITAKER BERMAN: -- They didn't exist?
(He leans in close and kisses her back as he washes her.)
PRUE: I can't move. Why cat t I move?
WHITAKER BERMAN: Ha ha ha. Because I'm going to love you (love you) to death
(to death).
(He brushes the bath sponge against her back. It scratches her leaving her back
bloody. Prue gasps. Whitaker laughs in pleasure.)
(Lightning flashes.)
(He laughs at her pain. He then pushes her down into the tub her head under the
water.)
(More lightning flashes as Prue struggles to get free. Whitaker Berman smiles.)
(Someone knocks on the door. He turns around.)
[INT. MANOR - BATHROOM - NIGHT - CONTINUOUS]
(The scene immediately changes. We're back in the manor in real time. Prue
splashes in the tub and sits up. Whitaker Berman is nowhere to be seen.)
(Piper knocks on the bathroom door. She opens the door and checks in on Prue.)
PIPER: Prue? Are you okay?
PRUE: Uh, yeah.
PIPER: You were yelling.
PRUE: Yeah, I had a-- I had a really bad thing.
PIPER: A thing?
PRUE: Yeah, um, I'm ok now. I promise. Just go back to bed.
(Piper rolls her eyes and leaves the bathroom. She closes the door behind her.)
(Prue steps out of the tub. She sucks in her breath as she finds that her back
is sore. She checks in the mirror and sees the scratches on her back.)
PRUE: (whispers) Oh, my god.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. HALLIWELL MANOR (STOCK) - DAY]
[INT. MANOR - KITCHEN -- DAY]
(Prue talks with Piper.)
PRUE: Do you remember what mom used to say about nightmares?
(Prue picks up her cup and fills it with coffee.)
PIPER: She said if we saw any monsters, to tell them to go away, that they
didn't exist. Always worked, too.
PRUE: Yeah, well, not this time. He knew about mom. He knew what she told us,
and how did he know that? And what about the marks on my back? Piper, they
were there, and now they've disappeared. I don't know how, and I don't know
why, but they were definitely there.
PIPER: How many hours did you work this week? 60? 70? And what are you doing
today, on a Saturday, no less?
PRUE: Yeah, well, the auction starts on Monday, and the shipment arrived three
days late, and you're changing the subject. You don't believe me.
PIPER: No. I believe you think you saw marks on your back. But I'm watching you
down your third cup of coffee, and we're talking about a nightmare you had while
asleep in the tub. So isn't it possible that exhaustion made you see those
marks, and not some dream guy?
PRUE: No, he was in my dream. It was real.
PIPER: So why didn't you use your power to help you out? You know, move him
away?
PRUE: I don't know.
HANS: (o.s.) Morning!
(Hans, a shirtless, hunky-looking guy, walks into the kitchen. He opens the
fridge and drinks out of the bottle.)
PRUE: Um, excuse me, but who are you?
PIPER: Who cares?
PHOEBE: (o.s.) Hans, I found your tee ... shirt.
(Phoebe bounces into the kitchen carrying Hans' white shirt. Hans puts the
bottle down and walks over to Phoebe to get his shirt.)
HANS: Was it in the hammock or--
PHOEBE: Oh, it doesn't matter.
HANS: Thanks.
PHOEBE: Sure.
(Piper turns to Prue and mouths silently:
PIPER: Hammock?
(He puts his shirt on.)
HANS: Well, I got to run.
PHOEBE: Ok.
HANS: I'll meet you later for lunch.
(They kiss.)
PHOEBE: Okay.
HANS: Oops, almost forgot.
(Hans takes the bottle and puts it in the RECYCLE bin. Phoebe smiles.)
PHOEBE: Ooh.
(Piper rolls her eyes. Hans heads out of the kitchen. He pauses and kisses
Phoebe. He leaves. Phoebe turns to her sisters and smiles.)
PHOEBE: Don't worry. We had safe sex. A lot of safe sex.
(Off screen, the front door closes.)
PIPER: Eww.
(Prue chuckles.)
CUT TO:
[EXT. POLICE STATION (STOCK) - DAY]
[INT. POLICE STATION - BULLPEN -- DAY]
(Andy tosses the file folders on Darryl's desk.)
ANDY TRUDEAU: It's all here in their FBI files.
(He takes a sip of his coffee as Darryl reaches for the file folders.)
DARRYL MORRIS: Why do you do this to me?
ANDY TRUDEAU: Three young women, completely unrelated, except for the fact that
they all died the exact same way as the waitress.
DARRYL MORRIS: Medical Examiner lists them all as jumpers. Case closed.
(Andy fills his cup with more coffee.)
ANDY TRUDEAU: Look at the crime photos. All the vics were found locked in
their rooms. We got the M.O. of a serial killer here, Morris.
(He takes a sip of his mug.)
CUT TO:
[INT. QUAKE - DINING ROOM -- DAY]
(Piper steps out of the kitchen with a plate in her hand. Phoebe follows her
into the dining room.)
PHOEBE: I'm telling you, Piper, the spell worked.
PIPER: Shh. A little louder, Phoebes, I don't think Oakland heard.
PHOEBE: Well, it did. Get this. Hans doesn't go to bars. He's never been to
Quake, but last night, he's on his way back from acting class, when ... bam!
Flat tire on his motorcycle, right across the street from Quake. So he come in
to use the pay phone, and who should he bump into, but me exiting the ladies'
room.
PIPER: Phoebe, you threw his clothes all over the house ... that's not a spell
working, that's hormones.
PHOEBE: No, it's not like that. I really like Hans. He's really cool.
(excitedly) And he likes me, too.
(Phoebe turns around and runs over to Hans who sits at the bar. He stands as
she runs over to him and he catches her, spinning her around in the air. Piper
smiles and shakes her head at the sight.)
(Phoebe takes Hans' hand and pulls him back toward Piper. Phoebe kisses her
finger at Piper as she and Hans leave.)
(Piper waits a beat, turns around and serves the dinner plate to Jack Manford
sitting at his table working.)
PIPER: Mr. Manford, here you go. Chicken, rice, veggies. Just the way you like
it.
(Piper puts the plate down on the table, turns and starts to leave.)
JACK MANFORD: Thank you, and please call me Jack. (Piper stops and turns
around. Jack Manford takes his glasses off.) Has anybody ever told you how
truly beautiful you are?
PIPER: (chuckles) Have you been drinking?
JACK MANFORD: (chuckles) A sense of humor. I love that. Wait, piper, don't
go. I don't know why, but I've got to get to know you. Have dinner with me.
PIPER: Can you hang on a second?
JACK MANFORD: Yeah.
PIPER: Okay.
(Piper walks over to the bar and phones Prue. A man in a dark suit walks up to
her and waits behind her.)
PIPER: (to phone) Prue Halliwell, please. It's her sister Piper.
(The Man in the dark suit leans forward.)
MAN IN DARK SUIT: You know, you shouldn't have dinner with that guy.
PIPER: Why not?
MAN IN DARK SUIT: Because you should fly to Paris with me.
(Piper turns away from the man.)
PIPER: (to phone) Tell her it's an emergency.
INTERCUT WITH:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) -- DAY]
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- DAY
(Prue opens her desk drawer and takes something out. She's on the phone with
Piper.)
PRUE: (to phone) So you're not actually thinking of going out with this Jack
guy, are you?
(She shuts the drawer and turns back to her desk. Rex Buckland walks in
carrying a file box.)
REX BUCKLAND: Have you finished the, uh, Cromwell miniatures yet?
PRUE: Rex ... (to phone) Uh, hang on a second. (Rex puts the file box down on
the ground in Prue's office.) No, I'm still cataloging the Rembrandt sketches.
REX BUCKLAND: Oh, well, uh, set them aside. The, uh, letters of Ernest
Hemingway are now first on the block.
(In addition to the file box, two delivery men cart in six more file boxes.)
REX BUCKLAND: Thanks, boys.
PRUE: (to phone) I don't believe it. I'm going to be here all night. Piper,
let me call you back.
(Prue hangs up.)
DISSOLVE TO:
[EXT. HALLIWELL MANOR (STOCK) - EVENING]
[INT. MANOR - MAIN HALL/FOYER -- NIGHT]
(Phoebe is putting on her shoes. Piper's putting her earring on as she talks
with Phoebe. They're both dressed to go out.)
PIPER: Jack stayed through the entire lunch shift. Talked my ear off, had me
laughing at all his stories, and somehow convinced me to have coffee with him.
(Piper sits down on the sofa next to Phoebe.)
PHOEBE: Hans and I are going dancing at Rave. You and Jack should come join
us.
PIPER: Well, if our dinner date lasts as long as our coffee break, we wouldn't
make it there till closing.
PHOEBE: Maybe we could all meet back at the house later.
(Phoebe grabs her coat off the hook.)
PHOEBE: This has worked out so great, hasn't it?
PIPER: Yeah.
(Phoebe smiles and heads out of the house. The door closes behind her. Piper's
smile falters. She's having second thoughts about everything.)
PIPER: Great.
CUT TO:
[EXT. DREAM LAB BUILDING (STOCK) - NIGHT]
DARRYL MORRIS: (v.o.) So this is a dream lab? They actually pay people to
sleep?
[INT. DREAM LAB -- NIGHT]
(The Lab Technician shows Darryl and Andy into the lab.)
LAB TECHNICIAN: If you wait here, I'll tell Mr. Berman that you'd like to speak
with him.
ANDY TRUDEAU: Thank you.
(The Lab Technician leaves.)
DARRYL MORRIS: Look, just because Berman dated the first victim --
ANDY TRUDEAU: Julie Derickson.
DARRYL MORRIS: Doesn't make him a killer.
ANDY TRUDEAU: Yeah, but it's a great place to start. Hell, it's our only place
to start.
(Andy heads into the lab area. Darryl follows him.)
DARRYL MORRIS: What do you know about this place anyway?
ANDY TRUDEAU: It's a privately funded research facility, and Julie Derickson
worked here, too. She and Berman were teamed together on some kind of
experimental project.
(We hear the whir of a motorized wheelchair.)
WHITAKER BERMAN: (o.s.) Hello, Inspectors. (Andy and Darryl turn around and
see Whitaker Berman in the observation room area.) How may I help you?
(Darryl and Andy walk back into the observation area. They notice that he's in
a wheelchair.)
DARRYL MORRIS: You Whitaker Berman?
WHITAKER BERMAN: Yes. What's this about?
DARRYL MORRIS: We're conducting an investigation, and we'd like to ask you a
few questions.
WHITAKER BERMAN: Oh. Regarding?
ANDY TRUDEAU: Do you know this woman?
(Andy shows him a photo.)
WHITAKER BERMAN: That's Julie Derickson. She was my girlfriend. I was
heartbroken when she ... forgive me, it's just very hard. I--I still miss her.
ANDY TRUDEAU: Another woman died just like her the other night. A waitress,
crushed to death in her sleep.
WHITAKER BERMAN: You're kidding.
DARRYL MORRIS: No.
WHITAKER BERMAN: That's--that's awful.
ANDY TRUDEAU: Mr. Berman, could you tell us your whereabouts night before last?
WHITAKER BERMAN: I--I was here, uh, in the lab, asleep. I left in the morning.
DARRYL MORRIS: Any witnesses who can confirm that?
WHITAKER BERMAN: A night's worth of data, two scientists, and a lab technician.
Shall I have them paged?
DARRYL MORRIS: No, that's okay, Mr. Berman. Sorry we disturbed you. Thank you
for your time.
(Darryl pulls Andy out of the lab.)
CUT TO:
[EXT. QUAKE (STOCK) - NIGHT]
[INT. QUAKE - DINING ROOM -- NIGHT]
(Piper is having dinner with Jack Manford.)
PIPER: What else can I tell you? Um, when I get stressed, I get hives. In
very strange places. Which is nothing compared to what happens when I panic,
believe me.
JACK MANFORD: Your honesty is so refreshing.
PIPER: Ha. Well, it helps keep my ulcer under control.
JACK MANFORD: It's the nineties. I mean, is there anyone who doesn't have one?
PIPER: Would you like to see my tattoo?
JACK MANFORD: Would you like to see mine?
PIPER: Uh, is there nothing I can say to turn you off?
JACK MANFORD: There really isn't. Which is kind of strange, actually.
PIPER: Not really. Jack, you're under a ...
(He leans forward and kisses her.)
PIPER: ... spell.
(He laughs at her. Piper looks just beyond Jack at the man sitting at the bar.
He smiles and motions back at her. She chuckles nervously. She looks over at
the man holding a beer glass and leaning against the wall. He, too, smiles and
nods at her.)
(She laughs nervously.)
MAN: (o.s.) Hey there.
(Piper turns around and sees a man sitting at the table behind her holding out a
white rose. This is not good. Piper laughs nervously at Jack.)
CUT TO:
[INT. DREAM LAB -- NIGHT]
(Whitaker Berman prepares to go to sleep. He drags himself into the sleep
chair.)
WHITAKER BERMAN: Give me 30 cc's of androveen.
TECHNICIAN: 30 ccs? That's twice the amount--
WHITAKER BERMAN: I'll be in R.E.M. sleep quicker and longer. Set the dream
inducement system to level 12.
TECHNICIAN: We haven't got the results back from level 8.
(Whitaker grabs the technician by his coat.)
WHITAKER BERMAN: This is my grant. My experiment. Set the machine, and give
me the shot.
(The Lab Technician turns to comply.)
CUT TO:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - NIGHT]
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- NIGHT]
(Prue is asleep at her desk.)
WHITAKER BERMAN: (o.s.) Hello, Prue.
(Prue's eyes flutter open.)
WHITAKER BERMAN: (o.s.) We meet again.
[INT. PRUE'S OFFICE -- PRUE'S DREAM -- CONTINUOUS]
(The office is cast in a reddish hue. Prue lifts her head and finds Whitaker
Berman sitting at the seat in front of her desk.)
WHITAKER BERMAN: All that work. All those hours. You fell asleep at your
desk.
(Prue grabs the letter opener from her tray.)
(Whitaker Berman motions and Prue's office environment disappears and she's now
sitting at her desk on a building roof top.)
(She's in his world now.)
[EXT. DREAMWORLD - ROOFTOP -- CONTINUOUS]
PRUE: Someone help!
(Whitaker waves his hand and the office walls vanish. Prue looks around and
finds herself up on a building rooftop. The sky background is blue with blue
and red clouds. The lights give off a reddish hue.)
WHITAKER BERMAN: What do you hide from at work? Is it the pain of your past,
or the uncertainty of your future?
(Berman stands up and walks over to her. Prue tries to stand up to get away,
but finds that she can't move.)
PRUE: I don't hide from anything.
WHITAKER BERMAN: You can't move out of the chair, can you?
(He grabs her chair and swings her around.)
WHITAKER BERMAN: (echo-y) Don't you want to know why?
(She struggles as he slowly pushes her back toward the edge of the building.)
WHITAKER BERMAN: Because I don't want you to. You're powerless, Prue.
PRUE: Go to hell.
WHITAKER BERMAN: I, on the other hand, am all-powerful.
(He pushes the chair up a ramp.)
WHITAKER BERMAN: If you don't want to talk to me, that's fine, there's always
Piper, Phoebe, or any number of young, single women out there. It's an endless
pool for the Dream Sorcerer.
PRUE: No, wait. I'll stay.
WHITAKER BERMAN: It's too late. You're falling asleep.
PRUE: No, I'm fine. I'm awake.
WHITAKER BERMAN: Shall I sing you a lullaby?
PRUE: I don't think so.
(Prue kicks him between his legs.)
WHITAKER BERMAN: Aah!
(She frees her right hand and stabs his right hand with the letter opener.)
WHITAKER BERMAN: Aah!
(He struggles free. Angry now, he spins her chair around facing her toward the
edge of the rooftop.)
PRUE: No!
WHITAKER BERMAN: Good night, Prue.
(He starts to push her toward the edge of the building.)
CUE SOUND: A TELEPHONE RINGS
(Prue turns around to look back at her desk. It's enough.)
FLASH TO:
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE - NIGHT - CONTINUOUS]
(Prue has her head down on the desk. She's sleeping. The phone rings. Prue
gets up and answers the phone.)
PRUE: (to phone) Hello.
INTERCUT WITH:
[INT. POLICE STATION - BULLPEN - NIGHT]
(Andy is sitting at his desk.)
ANDY TRUDEAU: (to phone) Ah, you're still at the office.
(Prue takes a breath.)
PRUE: (to phone) Yeah, um, can I call you back?
ANDY TRUDEAU: (to phone) Sure. I'm at the station house. Everything okay?
PRUE: (to phone) It is now. Thanks, Andy. Thanks for calling.
ANDY TRUDEAU: (to phone) I just wanted to hear your voice.
PRUE: (to phone) Okay. Bye.
(Prue hangs up.)
(Someone touches Prue on her shoulder. She gasps and raises the letter opener
ready to stab him.)
(Rex pulls back in surprise.)
REX BUCKLAND: What in bloody hell?
(Prue looks at the letter opener and notices the blood on the tip and on her
hands.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. POLICE STATION (STOCK) - NIGHT]
[INT. POLICE STATION - BULLPEN -- NIGHT]
(Darryl looks over Andy's shoulder.)
DARRYL MORRIS: The man is in a wheelchair. He's got no motive, and he's got an
alibi. So tell me again why you think Berman is our suspect.
ANDY TRUDEAU: Dream leaping.
DARRYL MORRIS: Dream leaping?
ANDY TRUDEAU: That's what Berman's researching at the lab, dream leaping. The
ability to project himself into someone else's dreams.
DARRYL MORRIS: Into women's dreams and killing them? Now who's dreaming?
(Darryl sits on the edge of his desk.)
ANDY TRUDEAU: Not just any women. Women who reject him, just like Julie
Derickson did. She broke up with him while they were driving somewhere. He got
into an accident. That's why he's paralyzed. It's all there in the police
report.
(Andy stands up and gets his jacket.)
ANDY TRUDEAU: The day after he went back to work at the lab, Julie Derickson
died suspiciously. (He puts his jacket on.) Six months later, two more women
died in their sleep crushed to death. Coincidence? You tell me.
(beat)
DARRYL MORRIS: Love to. (shakes his head) Can't. (He gets up and grabs his
jacket.) Let's go.
(Darryl and Andy head out of the office.)
CUT TO:
[EXT. SAN FRANCISCO CITY LIGHTS (STOCK) - NIGHT]
[INT. MANOR - FOYER -- NIGHT]
(Phoebe walks into the house.)
PHOEBE: I'm home.
(She puts her bag down on the hallway table. There are flowers everywhere. She
picks up a small bouquet of flowers and looks at it.)
PHOEBE: Hmm.
(She picks up a piece of chocolate, pops it in her mouth and heads into the
kitchen.)
[INT. MANOR - KITCHEN - NIGHT - CONTINUOUS]
(There are flowers everywhere. She walks into the kitchen and finds Piper
sitting at the table drinking from a cup. She's surrounded by more flowers.)
PIPER: You're home early.
PHOEBE: Yeah. So are you. What's with all the flowers? You and Jack fighting
already?
(Phoebe puts the flowers she's holding down on the side and takes her jacket
off.)
PIPER: I wish. The flowers were all waiting on the doorstep when I returned.
They're from men I barely know and men I've never met. All the flowers in here
are for you.
(Phoebe takes a flower display off the chair so she can sit down.)
PHOEBE: Oh. Well, I know they're not from Hans.
PIPER: What happened?
PHOEBE: He wouldn't leave me alone all night. He kept touching me and
practically every guy in the bar was hitting on me. Finally, I couldn't take it
anymore. I ditched Hans and left him at the club. So how was your date?
PIPER: Perfect. Everything was perfect. Even my faults were perfect.
(Piper puts the cup down on the table.)
PHOEBE: And this is a bad thing?
PIPER: It wasn't real. Everything he said, everything he felt, it was because
of the spell. Not because of me.
PHOEBE: Piper, you don't know that. Maybe he meant every word. Maybe if it
wasn't for the spell he would've never had a chance to feel those things, let
alone say them.
PIPER: No, Phoebe, love is a magic between two people that cannot be explained
and cannot be conjured. What we did, it's just -- it's not right.
(Kit jumps on the table in front of them and meows.)
PHOEBE: Mm-hmm. Even our poor cat's in hell. (Phoebe picks Kit up. She
glances over at the kitchen window to find a cat outside pawing at the partially
closed window.) Go away, horny tomcats.
(There are lots of cats on the outside window sill trying to get inside.)
(Piper looks at Phoebe.)
PIPER: Let's reverse the spell.
(The phone rings. Piper answers it.)
PIPER: Hello. Prue? Where are you?
INTERCUT WITH:
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE - NIGHT]
(Prue's at her desk clearing up.)
PRUE: I'm, uh, still at the office. Look, I fell asleep and that man from my
dream, he tried to kill me again.
PIPER: What?
PRUE: Yeah. I don't understand why. All I know is I'm only safe if I stay
awake. If I fall asleep, I'm dead.
PIPER: Well, stay where you are. Phoebe and I will come pick you up.
PRUE: No, I don't want to stay here another minute. Look, I want you to look
in the book of shadows and see if you can find anything on this guy. He calls
himself a Dream Sorcerer. Okay?
(Prue hangs up.)
DISSOLVE TO:
[EXT. HALLIWELL MANOR (STOCK) - NIGHT]
[INT. MANOR - ATTIC -- NIGHT]
(Phoebe is looking through the Book of Shadows. Piper walks up to her.)
PIPER: Nothing?
PHOEBE: Nada.
PIPER: There's got to be something.
(Piper takes Phoebe's place and starts going through the Book. Phoebe walks
away, pacing the floor.)
PHOEBE: I'm telling you, there's no Dream Sorcerer stuff anywhere.
PIPER: That's impossible. The book of shadows has never let us down.
PHOEBE: Well, maybe he's not a demon. Maybe he's a mortal.
PIPER: Then he's got one hell of a power.
PHOEBE: You're not kidding.
PIPER: Demon, mortal. (Piper slams the Book shut.) There's got to be some way
to stop him.
(The phone rings.)
PIPER: It's got to be Prue.
(Piper heads for the phone. Phoebe stops her.)
PHOEBE: Wait. What are we going to tell her? That we can't help her? That she
can never go to sleep?
(The phone continues to ring.)
PIPER: Uhh-
(Piper turns and runs out of the attic.)
PHOEBE: Uhh!
(Phoebe runs out after her.)
CUT TO:
[EXT. ROAD - NIGHT]
[INT. PRUE'S CAR (MOVING) - NIGHT]
(Prue listens to the phone ring.)
PRUE: Ohh, come on. Answer the phone.
INTERCUT WITH:
[INT. MANOR - MAIN HALL/FOYER - NIGHT]
(Piper and Phoebe run down the stairs. Piper answers the phone.)
PIPER: (to phone) Hello.
PRUE: (to phone) Hey, did you, um, find anything?
PIPER: (to phone) No, we didn't, but don't worry. You're not in this alone.
Phoebe and I will help you.
PRUE: (to phone) How can you help when we don't even know what he is?
PIPER: (to phone) The most important thing right now is for you to get home
safely.
PRUE: (to phone) Yeah, okay. Um, look, just keep talking. Don't let me fall
asleep.
PIPER: (to Phoebe) She sounds exhausted.
(Phoebe grabs the phone from Piper.)
PHOEBE: (to phone) Ok, Prue, blast the air conditioning, crank the stereo, and
roll down the windows. Wait, don't crank the stereo.
PHOEBE: (to Piper) What's that song we always used to sing when we were
little?
PIPER: The road trip song?
PHOEBE: Yeah. Let's sing that. Did you hear that, Prue?
PRUE: Yeah. Okay.
PHOEBE: Okay, don't worry. Everything's going to be fine. Nothing is going to
happen.
(Someone pounds on the front door.)
HANS: (through front door) Phoebe!
PIPER: What the?
PHOEBE: Hans?
HANS: (through front door) Let me in. I have to see you.
PHOEBE: (shouts) Go away!
(Prue drives and can hear the commotion through the phone.)
PHOEBE: (from phone) Are you crazy? What are you doing?
PRUE: (to phone) Piper? Phoebe?
(Hans walks in through the front door. She slams the door closed, but it
bounces open again.)
HANS: You left me. (shouts) How could you leave me?
(The door closes. Phoebe drops the phone as she and Piper back away from Hans.)
PHOEBE: Hans, please.
HANS: Ever since I met you I can't do anything. Eat, drink, sleep. All I can
do is think about you.
(In the car, Prue is falling asleep at the wheel.)
PRUE: Piper?
(She sighs. We see Whitaker Berman sitting in the passenger seat beside her.)
PRUE: (sleepily) Phoebe?
WHITAKER BERMAN: The time is now, Prue. We're almost there.
(A car horn blares. Prue momentarily gasps awake.)
PRUE: (to phone) Piper? Phoebe? Where are you?
(Back at the house, Hans points at Phoebe.)
HANS: What have you done to me?
(Phoebe and Piper scramble up the stairs.)
(Hans starts toward them. He grabs the nearby vase of flowers off the table and
throws it at them.)
(Piper and Phoebe stand up on the stairs. Piper waves her hand and freezes Hans
and the vase.)
PIPER: Are you okay?
PHOEBE: I'm fine. Prue!
(Phoebe and Piper scramble back down the stairs toward the phone.)
(In the car, Prue is falling asleep at the wheel. The phone falls out of her
grasp.)
(Back in the house, Phoebe grabs the phone receiver from off the floor.)
PHOEBE: (to phone) Prue. Prue! (to Piper) She's not there.
(In the car, Prue finally nods to sleep, her head falls forward toward the
steering wheel.)
WHITAKER BERMAN: (smug) Say good night, Prue.
(He starts to laugh.)
(The car continues to move forward straight toward the pole on the side of the
road.)
(In the house, Phoebe on the phone trying to call Prue.)
RECORDING: (from phone) The mobile unit you are calling is not responding or
is outside the calling area ...
PHOEBE: She's not answering.
CUT TO:
[EXT. ROADSIDE - NIGHT - CONTINUOUS]
(Open on broken glass on the side of the road near the pole. Camera moves and
we see the smashed car front. Smoke is rising out from the crumpled hood.)
(Inside the car, Prue rests her head against the steering wheel trying
desperately to keep herself awake.)
PRUE: (mumbles) Can't fall asleep. Can't fall asleep.
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. HOSPITAL - EMERGENCY ROOM]
(Camera moves in on the emergency room double doors in a smooth motion.)
[INT. HOSPITAL - EMERGENCY ROOM HALLWAY - NIGHT]
(The paramedics are pushing the gurney with Prue on it down the hallway.)
PARAMEDIC (WOMAN): Watch the line
PARAMEDIC (MAN): It's open.
(The ER Physician runs down the hall toward them.)
ER DOCTOR: Trauma one. What do you got?
(The paramedic gives the ER doctor the paperwork on a clipboard.)
PARMEDIC (WOMAN): I got a 27-year-old female. One-on-one. Car vs. Utility
pole. Bp 80 over 40. Pulse 110. Semi-conscious at the scene.
(The ER Doctor checks Prue's pupils, shining her penlight briefly at them.)
ER DOCTOR: Pupils are responsive. (to Prue) Miss Halliwell, hang in there.
PRUE: (whispers) Must stay awake. Must stay awake.
(They wheel Prue away.)
(Cut to: The ER Doctor runs ahead into the room and issues orders to the
nurse.)
ER DOCTOR: Where's x-ray? I want a c-spine now, and have ct prep for us.
(The paramedics push Prue's gurney into the ER room.)
ER DOCTOR 2 (MAN): You want a CVC and an MLP?
ER DOCTOR (WOMAN): Yes.
(The Paramedics unbuckle Prue and they prepare to transfer her to the bed.)
ER DOCTOR (WOMAN): Okay. Ready. 1-2-3.
(They lift Prue from the gurney to the bed.)
(The nurses hook her up to the machines and check her vitals.)
ER DOCTOR 2 (MAN): Resps are down to 35. Pulse-ox is falling.
NURSE (WOMAN): How can that be?
ER DOCTOR (WOMAN): Give me 500 mics of dopamine, and get ready to intubate.
(to Prue) Stay with us, Miss Halliwell. Damn. She's unconscious.
CUT TO:
[INT. DREAMWORLD -- CONTINUOUS]
(Prue's in the hospital bed in the dreamworld. The place is cast in a reddish
hue.)
PRUE: How did I get here? I'm not--
(She turns and sees Whitaker Berman there.
WHITAKER BERMAN: Asleep? (He laughs.) Actually, you're unconscious. You fell
asleep at the wheel. Hit a pole. Terrible, terrible thing.
(Prue grabs her cell phone and starts dialing.)
WHITAKER BERMAN: Speaking of pain, you really hurt me last night, and not just
my feelings.
PRUE: Suffer.
(He grabs the cell phone out of Prue's hand.)
WHITAKER BERMAN: We're definitely out of range. A little wine with your death?
(He offers her a glass of wine. Prue knocks the glass out from his hand. It
smashes on the floor.)
(Whitaker walks around the bed and with a yell, pushes it away. Prue gasps at
the sudden movement.)
CUT TO:
[EXT. DRAM LAB - NIGHT]
LAB TECHNICIAN: (v.o.) Mr. Berman insists that he is not to be disturbed
during his experiment.
[INT. DREAM LAB -- NIGHT]
(Andy and Darryl talk with the Lab Technician while Whitaker Berman is inside
the sleep area on the chair.)
ANDY TRUDEAU: I don't care. We want to talk to him. Just wake him up.
LAB TECHNICIAN: It's not going to be easy. He's heavily sedated.
ANDY TRUDEAU: Just get to work.
(The Lab Technician leaves. Andy turns to look at Berman sleeping on the
inside.)
DARRYL MORRIS: I hope you're right about this.
ANDY TRUDEAU: I know I am. The question now isn't if Berman's going to kill
again, but who.
CUT TO:
[INT. DREAMWORLD -- CONTINUOUS]
(Prue is on the moving hospital bed. She's dressed in a black dress. Like
before, Prue finds that she can't move.)
WHITAKER BERMAN: Do you like the dress?
PRUE: I've worn better.
WHITAKER BERMAN: Oh. Yeah.
(Berman carries Prue off the bed.)
CUT TO:
[INT. HOSPITAL - HALLWAY -- NIGHT]
(Phoebe and Piper walk into the emergency room and head for the receptionist.)
PIPER: Excuse me.
NURSE (MAN): May I help you?
PIPER: You called us a little while ago. Um, our sister is here. Prue
Halliwell.
(He checks the folder.)
NURSE (MAN): Oh, your sister's still in trauma one.
PHOEBE: Is she okay?
NURSE (MAN): Well, if you go down to the waiting room, a doctor will be right
with you.
PIPER: Okay. Thank you.
(The nurse leaves. Piper and Phoebe head for the waiting room, then turn and
run towards Trauma One to be with Prue.)
CUT TO:
[INT. DREAM LAB -- NIGHT]
(Andy pounds on the glass window to the sleep area.)
ANDY TRUDEAU: (shouts) Mr. Berman. (Andy pounds on the glass) Mr. Berman,
wake up! (Andy walks over to the Lab Tech.) I don't care what it takes. You
wake him up. Now!
(Andy moves back to the glass window and continues to pound on it to wake Berman
up.)
ANDY TRUDEAU: (voice fading) Berman, wake up! Come on, Berman.
(Camera holds on Berman. We continue to hear Andy pounding on the glass
window.)
FADE INTO:
[EXT. DREAMWORLD -- NIGHT]
(Whitaker stands behind Prue. He brushes her hair aside.)
ANDY TRUDEAU: (v.o.) Wake up, Berman!
(Whitaker pauses and looks up. In her haze, Prue hears Andy.)
PRUE: (whispers) Andy.
(Whitaker kisses the base of Prue's neck.)
INTERCUT WITH:
[INT. HOSPITAL - EMERGENCY ROOM - TRAUMA ONE - NIGHT]
(Piper and Phoebe are around Prue's bed.)
PIPER: We're here, Prue. Right beside you.
PHOEBE: Can you hear us?
[EXT. DREAMWORLD -- NIGHT]
(Whitaker continues to hold Prue.)
PHOEBE and PIPER: (v.o.) Prue?
(Prue hears them.)
PRUE: (whispers) Piper? Phoebe?
PHOEBE and PIPER: (v.o.) Prue?
WHITAKER BERMAN: They can't help you. You're mine now.
(Holding her hands, Whitaker picks Prue up and slowly swings her around in a
circle.)
[INT. HOSPITAL - EMERGENCY ROOM - TRAUMA ONE - NIGHT]
(Phoebe looks at Piper.)
PHOEBE: I'm scared.
PIPER: I know. Me, too.
PHOEBE: What do we do?
PIPER: We don't let her give up. Prue, listen to me. You've got to fight this
guy.
PHOEBE: Don't leave us.
PIPER: You can do it.
PHOEBE: We need you.
PIPER: Use your power, Prue.
PHOEBE: Come back to us.
[EXT. DREAMWORLD -- NIGHT]
(Prue hears them.)
PIPER: (v.o.) Use your power.
PHOEBE: (v.o.) You can do it, Prue.
(Prue looks around.)
PRUE: Where are you?
WHITAKER BERMAN: You're powerless.
PIPER: (v.o.) (echo-y) Prue, you can do it. You're strong enough. Use your
power against him.
(Whitaker picks Prue up.)
PHOEBE: (v.o.) (echo-y) Use your power, Prue. Come back to us --
(He carries her over to the edge of the building rooftop.)
PIPER/PHOEBE: (v.o.) (echo-y) Prue? You can do it
PIPER/PHOEBE: (v.o.) (echo-y) Use your power. Prue.
(He sets her down at the edge of the building.)
WHITAKER BERMAN: (He chuckles) Shall I say good night, hmm? (He kisses her on
the forehead.)
PRUE: No, let me. Good night.
(Prue closes her eyes and uses her power on Whitaker.)
(Whitaker flies up off the edge of the rooftop and plunges down the side of the
building.)
CUT TO:
[INT. DREAM LAB -- NIGHT]
(Whitaker Berman yells. His eyes are open. The machines around him beep
rapidly. The beeping flatlines.)
ANDY TRUDEAU: I don't believe it. He's dead.
(Andy leaves. After a beat, Darryl follows him.)
DARRYL MORRIS: I'll never doubt you again.
[INT. HOSPITAL - EMERGENCY ROOM - TRAUMA ONE - NIGHT]
(Prue's eyes open.)
PIPER: Prue?
PHOEBE: Are you okay?
PRUE: (nods) Yeah, I'm okay.
PHOEBE: What about the--
PRUE: He's gone.
(Phoebe looks at Piper and smiles.)
CUT TO:
[EXT. HOSPITAL (STOCK) - DAY]
[INT. HOSPITAL -- PRUE'S ROOM -- DAY]
(Piper and Phoebe push a cart full of flowers into the room. The flowers are
stacked so high, that they can't see where they're pushing the cart. They bump
into the door frame.)
PIPER/ PHOEBE: Whoo! Hoo!
(Prue looks up from her book. She's sitting up in bed.)
PHOEBE: Knock knock.
PRUE: Please tell me you guys are here to pick me up.
(Piper and Phoebe both carry in a vase of flowers.)
PIPER: Hi. No. Dr. Black said one more day. Just to be sure.
(Piper sits at the edge of the bed.)
PHOEBE: Yeah, and, you know, it wouldn't kill you to get some rest. (Phoebe
realizes what she's just said. She gasps and covers her mouth with her hand.)
Ohh.
PRUE: Phoebe, it's okay. Thanks for the flowers.
PIPER: Yeah.
(Phoebe looks at Piper and laughs. Prue catches the look.)
PRUE: What's going on?
PHOEBE: Oh, long story. Not very interesting.
PRUE: Does this have anything to do with your Lust Spell?
PHOEBE: (nods) Mm-hmm, but don't worry.
PIPER: We reversed the spell last night.
PHOEBE: Piper called Jack -
PRUE: The guy that you had dinner with?
PIPER: And he didn't remember anything. And Phoebe called Hans.
PHOEBE: And he didn't remember anything.
PIPER: So don't worry. Everything is back to normal.
PRUE: (nods) Good.
ANDY TRUDEAU: (o.s.) Afternoon, ladies.
(They turn and see Andy step into the room. He swipes a single red rose from
the cart of flowers and holds it out to Prue. In his other hand, he carries a
large white take-out package.)
ANDY TRUDEAU: Surprise.
PRUE: Yes, it is.
(Prue glares at Phoebe.)
PHOEBE: What are you looking at me for? I didn't tell him.
(Prue turns and looks at Piper.)
PIPER: Guilty. (to Phoebe) Come on. Let's go.
PHOEBE: Okay. (to Prue) Bye.
(Piper heads for the door. She turns back to Prue.)
PIPER: Um, we'll see you later tonight?
PHOEBE: After we raid your closet.
(Piper and Phoebe leave. Andy walks up to Prue. He holds out the white take-
out package. He chuckles at her grin.)
ANDY TRUDEAU: Brought your favorite.
(He puts the package on the bed. Piper and Phoebe turn around to watch the two.
Prue looks into the package.)
PRUE: Ooh, cheeseburgers and fries.
ANDY TRUDEAU: (chuckles) Glad to see every bone in your body's not broken.
PRUE: What?
ANDY TRUDEAU: The car accident. Never mind.
(He kisses her on the cheek. He gives her the red rose.)
PRUE: Thank you.
(Piper swipes a red rose from the cart and gives it to Phoebe. Phoebe
suppresses a laugh as she takes it. The two girls turn and leave.)
FADE TO BLACK.
==========================
THE END
==========================
[Captioning made possible by Spelling Entertainment, Inc. Captioned by the
National Captioning Institute www.Ncicap.Org]
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.
==========================
TITLE/OPENING CREDITS
==========================
CHARMED
1X05: DREAM SORCERER
ORIGINAL AIR DATE ON WB: 11/04/1998
TRANSCRIBED FROM WB
Starring:
SHANNEN DOHERTY as Prudence "Prue" Halliwell
HOLLY MARIE COMBS as Piper Halliwell
T.W. KING as Andy Trudeau
DORIAN GREGTORY as Darryl Morris
and
ALYSSA MILANO as Phoebe Halliwell
Created by CONSTANCE M. BURGE
Guest Starring
MATT SCHULTZE as Whitaker Berman
NEIL ROBERTS as Rex Buckland
J. ROBIN MILLER as Skye Russell
ALEX MENDOZA as Jack Manford
TIM HERZOG as Hans
Producer: SHERYL J. ANDERSON
Supervising Producer: LES SHELDON
Executive Producer: BRAD KERN
Executive Producer: CONSTANCE M. BURGE
Written by CONSTANCE M. BURGE
Directed by NICK MARCK
==========================
END CREDITS
==========================
Executive Producer: AARON SPELLING
Executive Producer: E. DUKE VINCENT
Spelling Television (a subsidiary of Spelling Entertainment Group, Inc.)
WorldVision Enterprises Inc. (a subsidiary of Spelling Entertainment Group Inc.
- Not affiliated with World Vision International a Religious and Charitable
Organization),
Paramount (a Viacom Company)
Executive Story Editor: JAVIER GRILLO-MARXUACH
Executive Story Editor: MICHAEL PERRICONE
Executive Story Editor: GREG ELLIOT
Story Editor: CHRIS LEVINSON
Story Editor: ZACK ESTRIN
Associate Producer: PETER CHOMSKY
Co-Starring
RAINOLDO GOODING as Guy #1
JAMES O'SHEA as Goatee Guy
BO CLANCY as Businessman
JAMES HOWELL as Technician
MARIE O'DONNELL as Dr. Black
TODD WORK as ER Nurse
TRISH SUHR as Paramedic #1
DOUG SPEARMAN as Nurse
Music By: TIM TRUMAN
Casting by: VICTORIA HUFF, C.S.A.
Directors of Photography: TOM DEL RUTH, A.S.C.
Production Designer: DEAN MITZNER
Editor: WILLIAM TURRO
Unit Production Managers: PATRICK McKEE
First Assistant Director: JUDITH VOGELSANG
Key Second Assistant Director: TODD COVERT
Costume Designer: MOLLY HARRIS-CAMPBELL
Camera Operator: BUDDY FRIES
First Assistant Camera: LEX RAWLINGS
Chief Lighting Technician: JEFF BUTTERS
Asst. Chief Lighting Technician: MARK MEISENHEIMER
Set Designer: CATE BANGS
Set Decorator: DONALD W. KRAFFT
Leadperson: ROCKY SLAYMAKER
Property Master: ROGER MONTESANO
Assistant Property Master: CHRISTY McGEACHY
Script Supervisor: SUSAN LOWITZ
Costume Supervisor: JAKE JACOBS
Key Make-Up Artist: KATHRYN MILES KELLY
Key Hairstylist: ENID ARIAS
Visual Effects Supervisor: MIKE MOST
Sound Mixer: JAMES LARUE
Location Manager: BOB BOYLE
Transportation Coordinator: DAVE BASSETT
Production Coordinator: JILL BARNET TAYLOR
Post-Production Coordinator: KRISTEN L. REARDON
Production Accountant: SHARON TAKSEL
Key Grip: MARLIN HALL
Best Boy Grip: RAY MICHELS
Construction Coordinator: BILL HRNJAK
Stunt Coordinator: ERNIE ORSATTI
Special Effects Coordinator: JOHN GRAY
Executive Associate: RENATE KAMER
Casting Associate: JEFFREY ROTH
Assistant to Constance Burge: AVIVA BARRACLOUGH
Assistant to Brad Kern: MAX JOFFE
Assistant to Les Sheldon: CHELE KNAPP
Assistant Editor: ERIC LEA
Music Editor: NINO CENTURION
Supervising Sound Editor: MARK PETERSEN
Re-Recording Mixers: LARRY BENJAMIN / BRUCE MICHAELS / EDDIE GILROY
Film and Electronic Laboratory (tm) by LASERPACIFIC MEDIA
Lenses and Panaflex(R) Camera by PANAVISION(R)
Digital Sound Editing and Mixing by LASERPACIFIC MEDIA
Digital Visual Effects by ENCORE VIDEO
Executive in Charge of Production: GAIL M. PATTERSON
Executive in Charge of Post-Production: KENNETH MILLER
This motion picture is protected under the laws of the United States and other
countries. Any unauthorized duplication, copying, distribution, exhibition or
use may result in civil liability and or criminal prosecution.
The places and characters depicted herein are entirely fictitious, and any
similarity to any real places or people is purely coincidental.
(c) 1998 by Spelling Television Inc., A Subsidiary of Spelling Entertainment
Group, Inc. All rights reserved.
Country of First Publication: United States of America
Spelling Television Inc., is the author of this film / motion picture for the
purpose of Article 15(2) of the Berne Convention and all National Laws giving
effect thereto.
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