CHARMED
1X08: THE TRUTH IS OUT THERE ... AND IT HURTS
PROD #4398007
ORIGINAL AIR DATE ON WB: 11/25/1998
TRANSCRIBED FROM WB
Written by ZACK ESTRIN & CHRIS LEVINSON
Directed by JIM CONTNER
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:
==========================
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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: A Demon from the future is hunting and killing people. It's up to
the Charmed Ones to save the future and vanquish the demon. Prue casts a Truth
Spell to find out how Andy would handle her secret.
==========================
CHARMED
1X08: THE TRUTH IS OUT THERE ... AND IT HURTS
==========================
FADE IN.
[EXT. SAN FRANCISCO CITY LIGHTS (STOCK) - NIGHT]
[EXT. PARKING GARAGE -- NIGHT]
(Dr. Oliver Mitchell walks to his parked car.)
GAVIN: (o.s.) Excuse me.
(Dr. Oliver Mitchell turns and finds a man standing near his car.)
GAVIN: Are you Dr. Mitchell? Dr. Oliver Mitchell?
DR. OLIVER MITCHELL: Yes.
(Gavin puts a hand over his heart.)
GAVIN: What a pleasure. I can't tell you how long I've waited for this.
(Dr. Oliver Mitchell doesn't say anything. He fiddles with his car keys in his
hand. Gavin holds out his hand.)
DR. OLIVER MITCHELL: Excuse me, but have we --
GAVIN: Met? Oh, I'm sorry. Only in print. I've read your work. Your
studies, specifically on cell degeneration, are ahead of their time.
DR. OLIVER MITCHELL: You're very kind.
(Dr. Mitchell takes a step toward his car. Gavin blocks his path.)
GAVIN: No, really, it's fascinating. You've become kind of a hobby of mine. I
found your article on the mutant retina genes to be particularly intriguing.
DR. OLIVER MITCHELL: But I haven't even --
GAVIN: Published it yet? Don't worry. You will. And you'll help to find the
vaccine.
DR. OLIVER MITCHELL: A vaccine? Against what?
GAVIN: Against this.
(OFF DR. MITCHELL: A laser beam shoots out from something off screen and hits
Dr. Mitchell in the middle of his forehead between his eyes. He screams in
pain. His keys hit the garage floor as he continues to yell as his eyes turn
white.)
(The beam of light stops leaving a hole in Dr. Mitchell's forehead. He falls to
the ground, dead.)
CUT TO:
[EXT. MOVIE THEATRE -- NIGHT]
(The marquee reads:
SAN FRANCISCO CINEMA SOCIETY
PRESENTS TONIGHT ONLY
LOVE'S DEADLY DESIRE )
(There's a small crowd in front of the theatre. Phoebe shakes the EIGHT ball.
It reads: Ask again later.)
PHOEBE: "Ask again later." Hello? Vague?
(She walks up to Prue and Piper standing in line.)
PHOEBE: How am I supposed to plan my future without a little direction?
PRUE: You, who can see the future, is now looking for it in a magic 8-ball?
PHOEBE: My visions don't help me, remember?
PIPER: I've got an idea. (Piper scoots over to stand next to Phoebe.) Why
don't we ask it if Prue and Andy will get back together?
PRUE: Oh, Phoebe, please. Don't.
(Phoebe looks at the results.)
PHOEBE: Ooh, interesting.
PIPER: (looking over her shoulder) Very.
(Prue takes a step forward to look also, but Phoebe shakes the magic eight ball.
Piper's pager beeps.)
PRUE: You two are cruel.
(Phoebe chuckles. Prue grabs the ball just as Piper checks her pager.)
PIPER: Ask it what a day off feels like. That was my boss, Martin. I have to
get back to the restaurant.
PRUE: You're kidding.
PIPER: There's a convention in town, and business is just crazy.
PHOEBE: But you worked a double shift yesterday and the day before that. He's
working you to death, Piper.
(Piper takes out her cell phone to make the call.)
PRUE: I thought you were gonna talk to Martin about this weeks ago.
PIPER: I never got around to it.
PHOEBE: Yeah, well, tell him to stuff it. Tell him you're taking the night off
and that's that.
PIPER: I know. You're right. I will. (to phone) Hello, Martin? No, I know
what you want, but ... (pause) ... Okay. No, it's not a problem. I'll be right
there.
(Piper hangs up.)
PRUE: Wow. You told him.
PHOEBE: Beware the wrath of Piper.
PIPER: I will talk to him. Eventually. I gotta go.
(Piper laughs, turns and leaves.)
PHOEBE: Uh, wait, Piper, I'll walk you to the car. It's safer.
(Phoebe follows Piper.)
PRUE: (mumbles) I'll wait here.
(Phoebe chases after Piper and hooks her arm around Piper's arm as she catches
up with her.)
(Gavin walks toward them down the sidewalk.)
PHOEBE: Excuse me, pardon me.
(Phoebe bumps into Gavin and immediately has a premonition.)
(Quick flash of: [PARKING LOT - DAY] A Woman screams as a beam of blue light
hits her in the middle of her forehead. Her eyes turn white. The beam stops
and the woman falls to the ground dead.)
(End of premonition. Resume to present.)
PHOEBE: Oh, my god, Piper.
(Piper stops and turns around. Phoebe looks back behind her.)
PIPER: What is it?
PHOEBE: I just had a premonition. A woman's about to get murdered.
(In the distance, the sounds of sirens grow louder. Both Piper and Phoebe turn
and see the officer car rushing along the street and turning the corner just in
front of them.)
(Phoebe runs to chase after the car; Piper chases after Phoebe.)
CUT TO:
[EXT. PARKING GARAGE - NIGHT - CONTINUOUS]
(Phoebe, Piper and Prue stop along with the small growing crowd.)
PRUE: Oh, my god.
(On the ground is Dr. Mitchell, dead with a hole in the middle of his forehead.)
PIPER: Phoebe saw this murder before it happened.
(Phoebe looks down at the dead man.)
PHOEBE: No, not this one. I think I saw the next one.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS SAN FRANCISCO (STOCK) -- DAY]
[EXT. HALLIWELL MANOR (STOCK) - MORNING]
[INT. MANOR - KITCHEN - MORNING]
(Piper fills up three coffee cups with coffee. Phoebe walks in and grabs the
cereal boxes and a bowl. She walks over to the table and puts them down. She
fills the bowl up with cereal.)
(Prue walks into the kitchen, grabs a cup of coffee and walks over to the table.
She pulls out the sections she's going to read, sits down and starts reading the
paper. She looks up, then back at her cup of coffee.)
PRUE: Uh, is this leaded?
PIPER: Always is.
(Piper pushes Phoebe's cup of coffee toward her and knocks over a box of cereal.
She freezes it from falling.)
PIPER: Oops.
(Piper sighs, turns and grabs a garbage bin to put under the box. Time resumes
and the box falls into the bin.)
(Leo walks into the kitchen.)
LEO: (smiles) Morning, ladies. Took a look at the staircase. Uh, shouldn't
be more than two days work. Mind if I get started?
PIPER: No, not at all. I'll get you some coffee.
(Piper heads toward the coffee when her pager beeps.)
PHOEBE: Oops, you're busy. I'll get it. (calls out) I'll be right there,
Leo.
(Phoebe goes to get a coffee cup.)
LEO: Okay.
(Leo turns and leaves the kitchen.)
PRUE: When are you two gonna stop fighting over him and grow up?
(Piper grabs the cup from Phoebe.)
PIPER: When Phoebe realizes that she doesn't have a chance with him.
(Piper fills the cup with coffee.)
PHOEBE: Well, that doesn't matter now because I have to go protect the
innocent.
PIPER: So we'll call a truce temporarily. I'll just take this to Leo.
(Piper carries the cup, grabs her pager and heads out of the kitchen. On her
way out, she grabs her coat and clothes.)
(She leaves.)
(Phoebe picks up her bowl of cereal and resumes eating. Prue watches Piper go.)
PRUE: You know that you're only into him because Piper is.
PHOEBE: That is so not true. I'm wounded. (Phoebe sits down at the table.)
Hey, is there anything in there about last night's murder?
PRUE: Nothing of any use.
PHOEBE: How am I supposed to figure out who the girl in my vision is?
PRUE: What did she look like?
PHOEBE: Well, she was about 5'3", and her hair was light ... ish.
PRUE: That's it?
PHOEBE: It's not on video tape. I can't exactly rewind it. Hey, you've gotta
talk to Andy.
PRUE: What?
PHOEBE: Well, if I can't find her, then I have to find the killer before he
gets to her.
PRUE: Well, have you checked the Book of Shadows? From the way that you
described your vision, it sounds like it could be demonic.
PHOEBE: Yeah, but for all we know, Andy's already hot on his trail. You have
to go see him, find out.
PRUE: Can't.
PHOEBE: Won't.
PRUE: Phoebe, give me a break, we just stopped seeing each other. Don't you
think it might be a little awkward?
PHOEBE: Okay, then how about I go see him and you look in the Book of Shadows?
PRUE: Phoebe ...
PHOEBE: Prue, I had this vision for a reason. I'm supposed to save her. I
know it. I have to find her.
(Phoebe stands up and leaves.)
CUT TO:
[INT. MANOR - ATTIC -- DAY]
(Prue looks through the Book of Shadows.)
PRUE: Nothing. (She flips through the pages for a moment.) I don't even know
what I'm looking for.
(Prue closes the Book and steps away from it. She heads for the attic door to
leave.)
(Suddenly, The Book magically opens to a spell. The sound of the Book moving
causes Prue to turn and check it out. It stops at the Truth Spell. The page
reads:
"For those who want the truth revealed,
opened hearts and secrets unsealed
from not until it's now again,
after which the memory ends.
Those who now are in this house,
Will hear the truth from other's mouths."
PRUE: (softly) The Truth Spell.
(Prue flips the pages over. She turns to leave and the Book again magically
flips to The Truth Spell.)
PRUE: What the ... ?
(Prue shuts the Book closed and heads for the attic door. She leaves.)
(After she's gone, the Book opens once again to The Truth Spell.)
CUT TO:
[EXT. QUAKE (STOCK) - DAY]
[INT. QUAKE - DINING ROOM -- DAY]
(The place is packed. At the end of the bar, Piper is on the phone conducting
business.)
PIPER: The truth is I need extra tablecloths because -- wine! Oh!
(The customer next to her bumps into the glass of wine spilling it onto her
order sheets. Martin walks over to her and grabs the phone. He hangs it up for
her.)
MARTIN: I need this space. Can't you do that in the manager's office?
PIPER: You took my desk, remember, Martin?
MARTIN: Then go somewhere else. I've got a restaurant full of hungry
conventioneers, I just ran out of white corn chowder, and I need you to get a
hold of produce, pronto.
PIPER: What about the books?
MARTIN: You can take them home with you. I come back after three weeks, and
the whole place is...chaos.
(Martin turns and starts to walk away. Incensed, Piper stands up.)
PIPER: Martin, you know what I think?
MARTIN: (turns around) What? What do you think?
PIPER: I think I'm gonna need that number for produce.
(Martin raises his hands in surrender, sighs, turns and leaves.)
CUT TO:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- DAY]
(Prue is sitting at her desk staring at a framed picture of her and Andy.
There's a light knock on the door. Phoebe steps into the office.)
PHOEBE: Hey.
PRUE: Hey.
(Phoebe closes the door behind her.)
PHOEBE: Can I borrow your laptop? I need to do some surfing on the web. See
if I can find anything about the burns on the victim's forehead. (She laughs at
the look on Prue's face.) What?
PRUE: Nothing. I just never really thought of you as computer-friendly.
(Prue stands up to get the laptop.)
PHOEBE: Are you kidding? Chat rooms saved my life.
PRUE: Ah. Um, so ... did you talk to Andy?
(Prue hands the laptop to Phoebe. Phoebe hooks the bag on her shoulder.)
PHOEBE: Actually, I spoke to his partner instead.
PRUE: You told Morris?
PHOEBE: About the case? I didn't have to. Every inspector at the station was
talking about it. The only problem is they're stumped. Did you find anything
in the Book of Shadows?
PRUE: Uh, I'm not sure. So, you didn't see Andy?
PHOEBE: No. I said I didn't talk to Andy. I saw him in the parking lot when I
left. But ... he had that look, Prue. You know the one I'm talking about. You
might recognize it from the mirror. He really cares about you.
PRUE: Yeah. Don't you think I know that?
PHOEBE: So what are waiting for? Tell him the truth. It's the only thing
standing between you guys.
PRUE: Tell him that I'm a witch? I can't do that. What if he can't handle it?
It's not like I can put the genie back in the bottle.
PHOEBE: He's not gonna turn you in to the warlock police. At least you'd know
how he feels once and for all. Otherwise, you'll never know if it could've
worked out or not. If I were you, I would figure out a way to tell him.
(lecture over) Thank you for the laptop.
(Phoebe turns and leaves Prue's office. She leaves the door open.)
(Tanya Parker, the sandwich vendor, rolls her supplies by. We notice that she's
the woman in Phoebe's premonition. She knocks lightly on the door.)
TANYA PARKER: Sandwich?
PRUE: Hey, Tanya. Sure.
(Prue stands up. Tanya's ready for her. She picks up a sandwich and hands it
to Prue.)
TANYA PARKER: I saved you your favorite: Turkey, no mayo.
PRUE: You're a good woman.
(Prue gives her the money.)
TANYA PARKER: Thanks.
PRUE: Bye.
(Tanya leaves, closing the door behind her. Prue puts the sandwich on the desk
and goes back to staring at the framed photo of herself with Andy.)
(She sighs.)
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - EVENING]
[INT. MANOR - ATTIC -- EVENING]
(The Book of Shadows is open to The Truth Spell. Prue stands in front of the
Book of Shadows staring at the spell. She sighs.)
PRUE: Okay, you win.
CUT TO:
[EXT. MANOR - FRONT PORCH - NIGHT -- CONTINUOUS]
(Piper unlocks the front door, her arms heavy with Quake's books. She pushes
the door open.)
PHOEBE: (o.s.) Hey, stranger. Back from the war?
(Phoebe walks up the front porch and joins her. The door swings open.)
PIPER: More like I brought the battle home with me. Inventory.
PHOEBE: I'll help you with yours, if you help me with mine.
(Phoebe walks into the house. Piper follows.)
CUT TO:
[INT. MANOR - ATTIC - NIGHT -- CONTINUOUS]
(Prue takes the plunge and reads the spell out loud.)
PRUE: (reading)
For those who want the truth revealed,
Opened hearts, and secrets unsealed,
From now until it's now again,
After which the memory ends.
CUT TO:
[INT. MANOR - LIVING ROOM - NIGHT -- CONTINUOUS]
(Phoebe and Piper walk into the living room.)
PHOEBE: So, I guess you didn't talk to your boss.
PIPER: Of course I did, just like I said I would.
(They both sit down on the couch. Piper turns to look at Phoebe. She touches
her chin.)
PIPER: Am I getting a zit on my chin?
(Phoebe leans forward and shakes her head.)
PHOEBE: Can't even see it.
CUT TO:
[INT. MANOR - ATTIC - NIGHT -- CONTINUOUS]
(Prue finishes the spell.)
PRUE: (reading)
Those who now are in this house
will hear the truth from others' mouths.
(There's a light sound as the spell starts.)
CUT TO:
[INT. MANOR - LIVING ROOM - NIGHT -- CONTINUOUS]
(Phoebe unzips the laptop case.)
PIPER: You really can't see it?
(Phoebe looks again.)
PHOEBE: Are you kidding? It looks like it has a life of its own.
(There's a light sound as the spell works.)
PIPER: What?
PHOEBE: So, you really told off Martin, huh?
PIPER: No. I lied. I chickened out.
(There's another sound of the spell working.)
(Both Piper and Phoebe are puzzled by their own words. Phoebe turns to look at
Piper.)
CUT TO:
[INT. MANOR - ATTIC - NIGHT -- CONTINUOUS]
(Prue calls Andy on the cell phone. The phone starts ringing. Prue glances
down at her watch. It's 8:00.)
ANSWERING MACHINE: (Andy's voice) Hi. You've reached Andy Trudeau. Leave your
name and number. I'll get back to you. Thanks.
(The answering machine beeps.)
PRUE: (to phone) (nervously) Uh, hi. Hi, Andy. It's, um, Prue. Hey, I was
wondering. I ... could you just call me, please, soon, within the next twenty-
four hours? I need to talk to you about something. So, um...just call, ok?
Bye. Uh, you know, tonight would be fine, too. Um...ok. Bye.
(Prue hangs up and sighs.)
CUT TO:
[EXT. LAB BUILDING (STOCK) - NIGHT]
[INT. LAB -- NIGHT]
(Alex Pearson puts a slide under the microscope. There's classical musing
playing in the background.)
GAVIN: Excuse me.
(Alex Pearson turns around. He sees Gavin standing in the doorway.)
GAVIN: Are you Mr. Pearson? Alex Pearson?
ALEX PEARSON: Uh, yeah. Yeah. Can I help you?
GAVIN: In so many ways. Working late tonight, aren't you?
ALEX PEARSON: Uh, yeah. I work better at night. (He shuts the music off.)
These soil samples just arrived from the Bindura Plateau.
GAVIN: Ah, Zimbabwe. Their crops have been overrun by disease for decades.
(Gavin picks up a petrie dish and looks at it.) Well ... your work will put an
end to that.
ALEX PEARSON: That's the hope.
GAVIN: That's the reality.
ALEX PEASON: Are you from the foundation? They don't usually check up on us
this late.
GAVIN: Oh, (he chuckles) ... no, no ... but I have studied your work, and I
know what it will lead to.
ALEX PEARSON: My work? You mean the lab's. I'm really just a technician.
(He puts a hand on Alex's shoulder.)
GAVIN: For now ... Alex ... but someday -- someday, you will help find the
vaccine.
ALEX PEARSON: A vaccine? For -- for what? Who are you? Wh-what do you want?
(Gavin steps forward.)
GAVIN: Your future.
(Alex tries to run, but Gavin grabs him and pushes him back. In the struggle,
Alex pulls off a button from Gavin's jacket. It falls to the floor forgotten.
As Alex watches, a third eye appears in the middle of Gavin's forehead.)
ALEX PEARSON: Dear god, what is it?
(Smiling at him, a beam of blue light shoots out from Gavin's third eye and
burns into the middle of Alex's forehead. Alex cries out in pain as a hole in
burned into his head, his eyes turning white.)
(Gavin continues to smile.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. HALLIWELL MANOR (STOCK) -- MORNING]
[INT. MANOR - KITCHEN - MORNING]
(Piper pours out three cups of coffee. Prue walks in with the newspaper and
grabs hers.)
PRUE: Thanks.
(She heads for the table.)
PRUE: Is this leaded?
PIPER: Nope.
PRUE: It's not?
PIPER: Never has been. I just say it is because it's ridiculous to make two
pots of coffee when you're the only one who drinks diesel.
(There's a sound of magic as Piper and Prue both stop and ponder what's going
on. Prue sits down at the table.)
(Phoebe walks into the kitchen.)
PHOEBE: Prue, don't give me grief when you get the phone bill. I was up all
night on the internet, and I didn't find anything. That poor girl. (Phoebe
opens the fridge and takes out a carton.) Oh, Piper, I'm sorry about the crack
I made last night about your zit.
(She goes back to the counter and pours some cereal into a bowl.)
PIPER: That's ok. So, you really can't see it?
(Phoebe turns and looks at it.)
PHOEBE: Like I said, it's huge.
(There's another magical sound.)
PIPER: Something weird is going on.
(Leo walks into the kitchen.)
LEO: (smiling) Morning, ladies. Should be able to finish the stairs today.
PIPER: Ok. Um ... I'll make some more coffee.
PHOEBE: And I'll bring it to you.
LEO: Ok.
(Leo turns and leaves.)
PRUE: Oh ... here we go again, right?
PHOEBE: Piper, we both know the only reason I like Leo is because you do.
(Magic sounds again. Phoebe puts the box of crisp rice down.) Okay, I have no
idea why I just said that. (Phoebe turns around to look at Prue.) What's going
on?
(Prue makes a hasty retreat.)
PRUE: Uh, ok, I'm late for work. Busy. Gotta go.
(Prue stands and beelines it for the door.)
PIPER: Prue!
(Prue stops at the door and turns around.)
PRUE: Yeah?
PHOEBE: Spill. What's up?
PRUE: I cast a Truth Spell.
(Prue turns and runs out of the kitchen.)
PHOEBE/PIPER (BOTH): What?!
(Phoebe and Piper take off after Prue.)
[INT. MANOR - DINING ROOM / MAIN HALL - MORNING - CONTINUOUS]
PIPER: You cast a Truth Spell?
(Prue stops and turns around.)
PRUE: Yes. Look, please, no more questions.
PIPER: Why?
PRUE: I wanted to know what Andy would think of me if he found out I was a
witch.
PIPER: Oh.
PHOEBE: I can't believe it.
PRUE: Oh, look who's talking, little Miss Spell-of-the-Week.
PHOEBE: No, no. I mean, I can't believe you actually took my advice. The
biggest pooper at the wicca party has finally used her power for personal gain.
It's about time.
PIPER: Personal? It's affecting us. Prue, what have you done?
PRUE: The spell was only supposed to work on me. (Prue turns and heads for the
front door.) It said, "those in this house." I thought I was alone.
PHOEBE: Well, obviously, you weren't.
PIPER: Wait, We have to undo it right now, fast.
PRUE: Can't. Twenty-four-hour time limit, which means until eight o'clock
tonight, everybody who comes into contact with us will have no choice but to
speak the truth.
PIPER: What do you mean "no choice"?
PRUE: Exactly that. Ask me a question.
PHOEBE: I'm game. Prue, what do you think of me?
PRUE: While I admire your confidence and your fearlessness, your utter lack of
responsibility frustrates me to no end. Oh, god, that is so enough.
PIPER: Oh, my god. This could be very dangerous.
PHOEBE: (smiles) I'm kinda digging it. Piper, what do you really think of
your boss?
PIPER: (rushed) I think he's a self-serving jerk who must have a very small
penis.
(Piper gasps.)
PIPER: Oh, my god! I'm gonna be so fired!
PRUE: No, no, no. It's ok because once the spell ends, no one will remember
what they've heard. You guys, I just wanted to see how Andy would react.
PHOEBE: What a way to come out of the broom closet.
PIPER: (sighs) Are you nuts? We need to lock the doors, call in sick, and
just stay in our own bedrooms until it just goes away.
PHOEBE: Hello? There's a demon on the loose, and I still have to find that
woman. Whoa, whoa. Wait a minute.
PIPER: Premonition?
PHOEBE: No. An epiphany. So, are you telling me that everyone I ask a
question to has to answer with the truth?
PRUE: I think so, yes, but that also means if we get asked a question, we have
to answer with the truth.
PHOEBE: I can work around that. This is cool. Very cool.
(Phoebe grabs her coat and heads out the front door.)
PIPER: Phoebe, no. Where are you go -
(The door slams shut behind her. Prue sighs.)
PIPER: (softly) Don't even think of asking me what I think about you right
now.
CUT TO:
[EXT. POLICE STATION (STOCK) - DAY]
[INT. POLICE STATION - BULLPEN -- DAY]
(Andy is working at his desk when Phoebe walks in. She closes the door behind
her and walks up to Andy.)
ANDY: Phoebe.
PHOEBE: Hi, Andy.
ANDY: What are you --
PHOEBE: Have you talked to Prue?
ANDY: She left a message on my machine last night. I wasn't sure if I wanted
to call back or not.
PHOEBE: Oh, believe me, trust me, you definitely want to call her back.
(Phoebe digs into her bag and takes out a notebook and pen.)
ANDY: That why you came here?
PHOEBE: Hardly. (Phoebe leans in close to Andy and speaks to him quietly.)
What do you know about the guy they found murdered in the movie theater parking
lot the other night?
ANDY: (automatically) Lead detective says he's not the only victim. Last
night, they found a lab technician out in Oakland. Each of them had the same
cauterized mark on their foreheads, and their eyes were drained of color. They
were completely white. (Magic sounds. Andy's surprised that he revealed that
much.) Wait --
(Phoebe pushes on.)
PHOEBE: (interrupting) Cause of death?
ANDY: (surprised to find himself answering) Unknown. Looks like they took a
bullet to the head, only there's no exit wound and no bullet. Phoebe, this is
highly --
PHOEBE: (interrupting) Any suspects?
ANDY: Not yet.
PHOEBE: Any evidence that could lead to a suspect?
ANDY: They found a button at the crime scene, possibly from the suspect's
jacket, made of an alloy forensics has never seen before. What --
(Phoebe stops him.)
PHOEBE: Uh-uh! Do not ask that question. I gotta go. Thanks. Uh, don't
forget to call Prue by eight o'clock tonight.
(Keeping his lips tightly shut, Andy silently waves to Phoebe. Phoebe turns and
leaves.)
CUT TO:
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- DAY]
(Prue sits behind her desk staring at the framed photo. She plays with her
pen.)
(The phone barely rings when Prue jumps and answers it.)
PRUE: Hello? I mean, Prue Halliwell.
ANDY: (from phone) Hey, it's me.
PRUE: Andy, hi.
INTERCUT WITH:
[INT. POLICE STATION - BULLPEN - DAY]
ANDY: Phoebe stopped by and suggested I give you a call.
PRUE: (quietly) Phoebe. (to phone) Uh, yeah, but can we meet? I really
don't want to talk over the phone.
ANDY: Should I be looking forward to this or dreading it?
PRUE: Honestly, I don't know, but what are you doing for dinner? An early
dinner, like, let's say, now?
(Prue glances at her wall clock. It reads 12:35p.)
ANDY: It's lunchtime. But I'll be interviewing a witness in your area around
five. I could swing by after.
(There's a knock at her office door.)
PRUE: (to door) Yeah?
(The door opens and Tanya Parker, the sandwich vendor walks in followed by
Hannah Webster.)
PRUE: (to phone) Um, here? Yeah, I guess that's fine. All right. I'll see
you then. (Prue hangs up.) Hey, Tanya.
HANNAH WEBSTER: Personal call, Prue?
PRUE: Personal business, Hannah, and I swear that's my name on the door.
HANNAH WEBSTER: Heh. Oh, look... last turkey-no-mayo. My favorite.
TANYA PARKER: Actually, I was saving that for Prue.
HANNAH WEBSTER: Yeah, you were.
(Hannah pays Tanya for the sandwich.)
PRUE: Don't you hate turkey?
HANNAH WEBSTER: Of course I do. I just don't want you to have it.
(Cue magic sound.)
PRUE: Is there any particular reason why you're such a bitch to me?
HANNAH WEBSTER: Yes. Because it's my mission in life to destroy you.
(Cue magic sound.)
(Rex Buckland appears in the doorway.)
REX BUCKLAND: Well, uh, nothing like a bit of inter-office rivalry to get those
competitive juices flowing. Um, Hannah, a word.
(Hannah turns and immediately leaves the office. Rex smiles at them, turns and
leaves.)
(Tanya shrugs and pushes her coolers out the door. Prue heads back to her
desk.)
CUT TO:
[INT. BUCKLAND AUCTION HOUSE - REX'S OFFICE - DAY -- CONTINUOUS]
(Hannah walks into the office, clearly shaken by the encounter. Rex follows her
and slams the door shut behind them.)
REX BUCKLAND: What the bloody hell do you think you're doing?
HANNAH WEBSTER: I don't know. It--it came out.
REX BUCKLAND: No, no, no. It didn't just come out. You almost came out! Am I
supposed to believe that all of a sudden you've lost complete control of your
faculties?
HANNAH WEBSTER: No ... but ... god, she's just so ... so Prue!
(Disgusted, Rex opens the cigar box on the desk and takes a cigar out.)
HANNAH WEBSTER: Forgive me?
REX BUCKLAND: Always.
(Hannah turns to leave, but Rex stops her.)
REX BUCKLAND: Hey.
(Rex puts the cigar between his lips. Hannah blows lightly on the end of the
cigar and it magically lights up.)
REX BUCKLAND: Go on. Get back to work.
(Hannah turns and leaves.)
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - DAY]
[INT. MANOR - CONSERVATORY -- DAY]
(Piper is working on the books in the conservatory. They're open in front of
her on the coffee table while she's on the phone with Martin.)
PIPER: Martin, I can't work tonight. I have to do the books. Do the books and
run the floor? That's imposs -- but you don't underst -- right now? No. I'm
on my way. (We hear Martin hang up.) Nice talking to you, too, jerk.
(Piper hangs the phone up. She puts the phone down and starts gathering the
books.)
(Leo walks in through the back doors. He's fiddling with the wet stain on his
shirt.)
LEO: Hey, I had a little bit of an accident. Do you mind if I borrow your
washer?
PIPER: No, not at all. Go right ahead. Can I get you some coffee?
LEO: Oh, you better not. I'll just wind up knocking it all over again. (She
chuckles.) Truth is caffeine makes me a little clumsy, you know?
(Leo turns to head for the utility room. Piper takes a breath and stops him.)
PIPER: Leo, wait.
(He turns around.)
LEO: Yeah?
PIPER: Can I ask you a question?
LEO: Sure.
(She pauses about to ask him ... but chickens out.)
PIPER: Do you need another shirt?
LEO: No. I got one in the truck. Thanks.
(Leo again turns to leave.)
PIPER: Leo, wait. That wasn't my question.
(Leo smiles.)
LEO: It wasn't?
PIPER: No. Um ... I was just wondering, do you ever ... (She takes a breath.)
... think of me?
LEO: Yeah.
PIPER: In what way? As a friend sort of way or ... ?
LEO: You have beautiful eyes.
PIPER: That's a good way.
LEO: (smiles embarrassed) I'm sorry. That was totally inappropriate, wasn't
it?
PIPER: No, not at all, heh.
PIPER: Oh, what the hell. Leo, how do you feel about women who make the first
move?
LEO: I don't know. I'm still waiting for it to happen.
PIPER: Goodness.
(Piper takes a step toward Leo and kisses him. She steps back.)
LEO: Uh, how do you feel about guys who make the second move?
PIPER: Love 'em.
(They smile. Leo reaches for Piper and they kiss.)
CUT TO:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]
[INT. BUCKLAND AUCTION HOUSE - HALLWAY -- DAY]
(Prue is waiting in front of the elevator. She's preoccupied. Phoebe steps out
into the hallway behind Prue. She shuts the door just as Rex turns the corner
in front of them.)
PRUE: Hey, Rex.
REX BUCKLAND: Hello, Prue. How are you?
PRUE: I am a nervous wreck because I'm about to tell my boyfriend that I am a
wi--
(Phoebe steps forward and stops Prue.)
PHOEBE: -- nner! A winner! She is a real catch, this one is. Heh! I'm
Phoebe, her sister. We met, remember?
(Phoebe holds out her hand as she introduces herself. They shake hands.)
REX BUCKLAND: Yeah. How could I forget?
PRUE: Let's go to my office.
(Prue grabs Phoebe. They turn and head for the office.)
PHOEBE: Ok, the spell is really working.
PRUE: Yeah, I know. So you talked to Andy?
PHOEBE: I sure did. He gave me a list of all the victims. They all died the
same way, too. Only problem is they don't have a suspect, which means that I
have no way of finding --
(As she talks, Tanya turns the corner and heads for the elevator. She passes
Phoebe who instantly recognizes her.)
(Quick flash of: [PARKING LOT - DAY] A blue beam of light bores into Tanya
Parker's forehead as she screams. She falls to the ground dead, her eyes
white.)
(End of premonition. Resume to present.)
PHOEBE: -- her.
(Phoebe stares after Tanya. The elevator door bell rings.)
PRUE: Who her?
PHOEBE: That's the girl from my premonition.
(Phoebe chases after Tanya.)
PRUE: Tanya?
PHOEBE: Wait. Hold the elevator!
(The door closes on Phoebe with Tanya inside the elevator.)
CUT TO:
[INT. ELEVATOR (MOVING) - DAY -- CONTINUOUS]
(Gavin presses the button to close the elevator door. He turns and looks at
Tanya.)
GAVIN: Excuse me. Are you Mrs. Parker? Tanya Parker?
TANYA PARKER: Yes.
GAVIN: (smiles) You have been most difficult to find. Never in the same
place, never alone.
TANYA PARKER: Excuse me?
(Gavin smiles at Tanya.)
CUT TO:
[INT. BUCKLAND AUCTION HOUSE - HALLWAY IN FRONT OF ELEVATOR - DAY --CONTINUOUS]
(Phoebe presses the elevator door button.)
PRUE: Are you sure?
PHOEBE: Yes, and that's the truth.
(Prue grabs Phoebe's hand and leads her to the stair door.)
PRUE: All right, um, take the stairs. I'll call security.
(They both run. Phoebe heads down the stairs.)
CUT TO:
[EXT. PARKING LOT -- DAY]
(Tanya struggles with Gavin.)
TANYA PARKER: Hey! Get off me!
(He gets ahold of her and pushes her to the car. Tanya screams.)
(Phoebe runs out the back stairs door and into the alley. She heads for the
parking lot where the screaming comes from.)
TANYA PARKER: Aah! Stop!
(Phoebe picks up a couple of bottles from a broken garbage bag next to the
building. She runs to help Tanya.)
(Gavin reaches over and pulls off her sunglasses.)
TANYA PARKER: Get off me! Aah!
(A blue beam shoots out and hits Tanya in the middle of her forehead. Phoebe
reaches Gavin and smashes him over the back of his head with the bottle. Gavin
releases Tanya and turns around to look at Phoebe.)
PHOEBE: Run, Tanya! Ru -- oh, my.
(Phoebe looks at Gavin and sees his third eye in the middle of his forehead.
Tanya runs for her car. Phoebe uses the other bottle and hits Gavin in the
cheek. He goes down.)
(Tanya reaches her car and climbs in. Phoebe runs and climbs into the passenger
seat.)
PHOEBE: Drive.
(Gavin gets up in time to see Tanya drive away with Phoebe in the car.)
(He turns and hears footsteps approaching. Prue runs out of the alleyway with
two security guards. She sees Phoebe in the car.)
PRUE: Phoebe!
(The car leaves the parking lot. Prue turns and heads back to the building, the
two security guards following her. Gavin watches Prue.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. HALLIWELL MANOR (STOCK) - DAY]
[INT. MANOR - LIVING ROOM -- DAY]
(Tanya is on the phone.)
TANYA PARKER: (to phone) Honey, I'm fine.
(Phoebe walks into the room with antiseptic in her hands. She sits next to
Tanya.)
TANYA PARKER: (to phone) No. There's no reason to fly back early. I'm, uh,
staying with ... (She glances at Phoebe.) ... with friends. I'll explain it all
when you get home.
PHOEBE: (interrupts) Kids. Do you have any kids?
TANYA PARKER: (to Phoebe) Not yet.
PHOEBE: Pets?
TANYA PARKER: (to Phoebe) No. (to phone) I love you, too. Okay.
(She hangs up. Phoebe dabs at the wound on Tanya's forehead.)
TANYA PARKER: Um, before I can explain any of this to my husband, you're gonna
have to explain it to me. What is going on?
PHOEBE: Short story. You're in danger, and to keep you out of it we have to
keep you out of the obvious places, which is why you have to stay here.
TANYA PARKER: But what was that thing?
PHOEBE: Truth spell. That thing ... was a demon.
TANYA PARKER: I'm out of here.
(Tanya stands up and walks around the table to get out. Phoebe stands up to
stop her.)
PHOEBE: No. Tanya, he's killed before. Trust me. Call the cops. Check it out.
That burn on your forehead -- that's how he does it. I've seen it, okay? I
have visions -- visions of people that I'm supposed to help.
(Tanya walks past Phoebe and heads toward the door.)
PHOEBE: I've seen his next victim. It's you.
(Tanya stops and turns around to look at Phoebe.)
PHOEBE: There are no coincidences. I was supposed to see you, to find you ...
and now I'm supposed to save you.
CUT TO:
[EXT. QUAKE (STOCK) - DAY]
[INT. QUAKE - BACK KITCHEN -- DAY]
(The kitchen is busy. The delivery boy has a cart of produce. As she's on the
phone, Piper points.)
PIPER: (to delivery man) Romaine in fridge 3. (to phone) Phoebe, you have
her there? At the house? No, I understand we have to protect the innocent, but
couldn't you find one that makes a decent bernaise sauce? My kitchen is
collapsing. (Martin walks into the kitchen.) No, I gotta go. I'll be there as
soon as I can. (Piper hangs up.) Martin, hi. Heh. Just the man I wanted to -
-
MARTIN: (interrupts) I made a list. (He hands her the list.) You better
check it twice. I'll be back after the dinner rush.
PIPER: Um, but I've got a family situation.
MARTIN: So you'd like to take off, go home, take care of business?
(Piper takes off her apron.)
PIPER: Yes. Thank you, Martin, for understanding.
MARTIN: Well, don't thank me, because the answer is no.
PIPER: All right, Martin, what part of "family situation" do you not
understand? Are you insane? No one person can do all of this. How do you
expect me to do it all alone?
MARTIN: Because I know you will.
PIPER: What?
MARTIN: Why spend money on more employees when I know you'll do it and you
won't complain? I got a bargain -- all the work for half the price. (He can't
believe what he just said.) Piper, I--I don't know why I said that.
PIPER: Too late, Martin. Truth's out and so am I. You don't deserve me. I
quit.
MARTIN: Wh ...
(Piper turns and walks out of the kitchen.)
CUT TO:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]
[INT. BUCKLAND - HALLWAY /PRUE'S OFFICE-- DAY]
(Prue walks through the hallway unknown to her that Gavin is keeping an eye on
her. He turns the corner and sees her step into her office.)
(Prue sees Andy.)
PRUE: Andy, hi.
(Prue steps into the office and closes the door behind her.)
ANDY: (o.s.) Hello, Prue.
(Gavin turns and walks down the hallway.)
(Prue heads for her desk. The wall clock reads 5:25p.)
PRUE: I am so sorry I'm late. My meeting ran over.
ANDY: Your assistant said I could wait here. I hope that's okay.
PRUE: Yeah. Of course. Can I get you anything? Something to drink?
ANDY: I'm fine. How are you?
PRUE: A nervous wreck. You?
ANDY: Heart's pounding like a sledgehammer. Heh.
(Andy sits down. Prue remains standing, nervously fidgeting with her hands.)
PRUE: Uh ... so, Andy ... how well do you think you really know me?
ANDY: Well, I ... I know about your fondness for twizzlers, how you can't stand
it when people talk at the previews, how you like to argue to win, and how you
pick your cuticles when you're nervous.
(Sure enough, Prue's picking her cuticles. She puts her hands solidly on the
desk.)
ANDY: I also know I'd love to start seeing you again. I wish you could trust
me enough to tell me whatever it is you're afraid of.
PRUE: Well, actually, that's what I wanted to see you about. Um ... except
that instead of telling you, I think I'll just show you, so ... here goes. Heh.
You see this?
(She points to the pyramid paperweight on the desk.)
ANDY: (nods) Mm-hmm.
PRUE: Watch.
(Prue uses her power and moves the paperweight across the desk. Andy jumps to
his feet in surprise.)
ANDY: (nervously chuckles) What the hell was that?
PRUE: My secret. Heh! I did that with my mind.
ANDY: You're telekinetic?
PRUE: Yes -- well, no, actually. It's just so much more than that. I'm a
witch.
(Andy laughs.)
ANDY: A what?
PRUE: A good witch. I have powers. I--I never wanted them. I didn't even
find out about them until recently, right around the time that I ran into you
again. (He nods.) Okay. You know all those times that I disappeared or would
show up at a crime scene with no logical explanation? Well, this is why. And
believe me, I wanted to tell you, but I couldn't. I couldn't tell anyone. Uh,
are--are--are you okay?
ANDY: I don't know. I mean, of all the things I thought you were hiding, this
was, uh ... actually nowhere on the list. Does this mean that Piper and Phoebe
are --
PRUE: Yeah. We inherited our powers from mom and Grams.
(Prue sits down.)
ANDY: So when you have kids --
PRUE: If they're girls ... yes.
ANDY: Wow. That's, uh ... that's quite a secret you've been hiding.
(Andy sits down.)
PRUE: Tell me about it.
ANDY: Can you change? I mean, is it something you can get rid of?
PRUE: No. Andy, I can't change who I am. And that's something that I've
recently come to accept. The question is, can you?
ANDY: To tell you the truth, um ... I don't know, Prue.
(He shakes his head and sits back in his seat.)
ANDY: I honestly don't know.
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - NIGHT]
[INT. MANOR - CONSERVATORY -- NIGHT]
(Piper walks in with a tray of tea and cups. She joins Phoebe and Tanya at the
table. Tanya is looking through a book.)
PHOEBE: Did Prue talk to Andy?
PIPER: She didn't say. Did you find anything in the Book of Shadows?
TANYA PARKER: Nothing I recognize.
PIPER: So Andy said that the third victim was a professor at Stanford? What's
the link?
PHOEBE: He thinks it has something to do with what they're working on --
biogenetics.
PIPER: A professor, a geneticist, a lab technician --
TANYA PARKER: And a sandwich girl? Do you really think he's after me?
PHOEBE: Uh-oh. Truth spell.
(Phoebe puts a hand on Tanya's leg to answer the question and gets his with a
premonition.)
(Quick flash of: [FUTURE] Tanya is sitting in a rocking chair holding a baby.)
(End of premonition. Resume to present.)
PHOEBE: Piper. Heh. We need milk. Kitchen.
(Phoebe and Piper leave the room. Tanya goes back to flipping through a book.)
[INT. MANOR - KITCHEN - NIGHT -- CONTINUOUS]
(Phoebe and Piper walk into the kichen.)
PHOEBE: She's carrying.
PIPER: Carrying what?
PHOEBE: A baby. She's pregnant.
PIPER: (pleasantly surprised at the news) Oh!
(Phoebe stops Piper from leaving.)
PHOEBE: No, no. She doesn't know yet.
PIPER: Oh. What do we do? Do we tell her? I mean, we protect. We don't do
prenatal.
PHOEBE: No. This is not the kind of information Tanya needs right now,
especially from people she just met who are telling her some 3-eyed demon wants
to suck the life out of her. (Thinks about it.) Suck the life out of her.
Wait a minute. Is it possible that it's not Tanya he wants? That it's her
baby?
PIPER: How would he know she's pregnant?
PHOEBE: Uh, I don't know. Maybe he sees the future, too. (realizes) Or else
... he's from it.
PIPER: Excuse me?
PHOEBE: The button. The police found a button by one of the last victims, made
out of some kind of funky metal they'd never seen before.
PIPER: Rewind.
PHOEBE: Okay, there's a button that's not supposed to exist, a demon that the
Book of Shadows says doesn't exist, and a baby no one knows exists. You got a
better explanation?
PIPER: Even if you're right, how will we find him?
PHOEBE: Well, he wants Tanya. He'll find us.
PIPER: He doesn't know where we are.
PHOEBE: Well, he found Tanya at Buckland's. He saw me ...
(She sighs.)
PHOEBE: With Prue.
CUT TO:
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- NIGHT]
(Prue sits at her desk lost deep in her thoughts. Someone walks past her door.)
HANNAH WEBSTER: (o.s.) Hey, last one out gets the lights?
(Prue turns and looks at Hannah.)
HANNAH WEBSTER: I'm, uh, going home. So, lock up when you leave.
PRUE: Sure.
HANNAH WEBSTER: Um, Prue ... about what I said earlier, um ...
PRUE: Now isn't a good time.
HANNAH WEBSTER: I just wanted to say I'm sorry.
PRUE: But you wouldn't really mean that, would you?
HANNAH WEBSTER: (scoffs) No.
(Surprised she admitted that, Hannah turns and quickly leaves before she says
anything else.)
[INT. BUCKLAND - HALLWAY - NIGHT - CONTINUOUS]
(Hannah walks down the hallway toward the elevator. She hits the button and the
elevator bell dings as the doors open. Hannah steps into the elevator. The
doors close.)
(Gavin steps out from around the corner and heads for Prue's office.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - NIGHT]
[INT. BUCKLAND - PRUE'S OFFICE - NIGHT - 6:15 PM]
(The wall clock reads 6:15 p.m. Prue starts gathering her things to leave when
Gavin appears in the doorway.)
GAVIN: Excuse me. Are you Ms. Halliwell? Prue Halliwell?
PRUE: Yes. Did we have an appointment?
GAVIN: No. Actually, I'm looking for someone, and I believe you can help me.
PRUE: I find objects, not people.
GAVIN: (chuckles) Well, I think you might know her. I saw you talking to her
earlier -- uh, petite, brown hair. The two of you were over by the elevators.
PRUE: I don't remember.
GAVIN: Are you sure?
PRUE: What do you want with her?
GAVIN: She's hiding the woman I was sent back to kill.
(Truth Spell. Gavin can't believe he said that.)
PRUE: Sent back from where?
GAVIN: The future. What are you doing--
PRUE: Why kill Tanya?
GAVIN: (struggles) I don't want Tanya. I want ... what's inside her. No!
(He turns away, shocked he's telling her the truth.)
PRUE: And the others, why kill them?
GAVIN: (struggles) They were all ... pieces of the puzzle... pieces of the
vaccine. (He turns and glares at Prue.) Stop this!
(He tosses the chair in front of him aside and rushes toward Prue. Prue uses
her powers and pushes her desk at Gavin, trapping him against the wall.)
(Prue runs out of the office.)
(Gavin gets out from the desk and runs after her.)
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - NIGHT]
[INT. MANOR - KITCHEN -- NIGHT]
(Piper is on the phone calling Prue. The other line is ringing.)
PIPER: Answer. Come on, Prue, pick up.
ANSWERING MACHINE: (from phone) You have reached Buckland office ...
(Piper hangs up.)
PIPER: There's no answer. It's after five. It's going straight to voice mail.
PHOEBE: You have to go to Buckland's.
PIPER: Ok. I'll grab my keys. You grab Tanya.
PHOEBE: No. You have to go ... alone. If we bring Tanya with us and he's
there, it's like bringing the feast to the lion, and she can't stay here by
herself, so ...
PIPER: But I need you, Phoebe. We need you.
PHOEBE: It can't always be the Power of Three.
PIPER: But-but what if he comes here and you're all alone?
PHOEBE: We'll be in the attic with the Book.
PIPER: Ok. Be careful.
(Piper hugs Phoebe.)
PHOEBE: You, too.
CUT TO:
[INT. BUCKLAND AUCTION HOUSE -- NIGHT]
(Prue bursts through the stairwell and runs down the stairs. Gavin is following
behind her.)
(Prue reaches the bottom and finds the door locked. She uses her power and
forces the door open. The door swings open. Prue runs into the storage room.)
[INT. BUCKLAND AUCTION HOUSE - STORAGE ROOM - NIGHT - CONTINUOUS]
(Gavin appears in the doorway. He looks around.)
GAVIN: (calmly) I've got 8 1/2 months to find Tanya, Ns. Halliwell, plenty of
time.
(Prue runs deeper into the storage room. She hides behind a large crate.)
(Gavin steps into the storage room and slowly looks around for Prue.)
GAVIN: Yours, however ... has run out.
CUT TO:
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE - NIGHT -- CONTINUOUS]
(The office is a mess. Piper runs in and sees the mess.)
PIPER: Prue!
(She looks down and sees Prue's bag on the floor.)
PIPER: Oh, no.
(Piper turns and runs out of the office.)
CUT TO:
[INT. BUCKLAND AUCTION HOUSE - STORAGE ROOM - NIGHT - CONTINUOUS]
(Gavin continues to walk calmly through the storage looking for Prue.)
GAVIN: You can't hide from me forever.
PRUE: What's the vaccine for? What does it protect against?
(Gavin turns in Prue's direction and chuckles. He walks toward the sound of her
voice.)
GAVIN: Against me, of course ... and all other warlocks like me ... in the
future. The Parker child will be the one to bring together all the elements ...
to create ... the vaccine ... which will destroy us.
(Gavin finds Prue. She scrambles to her feet.)
GAVIN: Unless I stop him.
(He grabs her throat and slowly lifts her off the ground.)
(As Prue struggles, Gavin's third eye appears in the middle of his forehead.
Prue really starts to panic now.)
(Piper turns the corner and sees them. She freezes Gavin.)
(She walks over and grabs a crowbar on her way toward Prue.)
PIPER: Hey, need a hand?
PRUE: Yeah.
PIPER: Okay.
(Using the crowbar, Piper frees Prue. Prue falls to the ground and gets to her
feet. They both step to the side.)
PIPER: He's not after Tanya. He's after her baby. She's pregnant.
PRUE: Yeah, I know.
PIPER: Huh?
PRUE: Truth spell. Later. Where's Phoebe?
PIPER: Home--protecting Tanya.
PRUE: Well, what are you waiting for, Piper? Whack him!
PIPER: No! (Piper tosses the crow bar to Prue.) You -- can't you move him?
PRUE: Where? He's from the future.
PIPER: Prue, he's gonna unfreeze soon.
PRUE: Look, Piper, just do it.
(Prue pushes the crowbar toward Piper.)
PIPER: No, you do it.
(The two struggle with the crowbar.)
PRUE: No. Do it! Piper!
PIPER: No!
(As they argue, Gavin unfreezes.)
PRUE: Don't be difficult. Just do it--
(He turns around and steps toward them. Prue and Piper scream and inadvertently
plunges the crowbar into Gavin's third eye.)
(Gavin screams. He pulls the crowbar out of his eye which is now glowing blue
from the hole in his head. He falls forward to the floor.)
(A large funnel appears and sucks Gavin's dead body out from the storage room.
The funnel disappears.)
PRUE: I love it when they clean up after themselves.
CUT TO:
[EXT. SAN FRANCISCO CITY (STOCK) - NIGHT]
[INT. ANDY'S PLACE - HALLWAY -- NIGHT]
(Andy turns the corner fiddling with his keys. He's carrying a package of
groceries. He looks up and sees ...
ANDY: Prue.
PRUE: Andy. I need to know how you feel about what I told you.
ANDY: I'm gonna need a little more time.
(He walks past her toward his front door.)
PRUE: I don't have time. I have to know before eight.
ANDY: Why don't you come inside? We'll talk about it.
PRUE: I can't.
(He unlocks the door and pushes it open.)
ANDY: Prue --
PRUE: Andy, no. Look, if I come inside, we'll have drinks, there'll be small
talk, and precious minutes will pass. I need to know now. Can you or can you
not accept that I'm a witch?
ANDY: If I have to answer right now ... I don't think so, Prue. I mean,
there's nothing wrong with it, I guess. It's just not a future I envision
having.
(The clock starts to chime.)
(There's a small magical sound as the spell wears off.)
(Confused, Andy looks at Prue.)
ANDY: What were we just talking about?
PRUE: You don't remember?
ANDY: Honestly, no.
PRUE: You don't remember anything you said to me in the last twenty-four hours?
(Prue looks down and quietly wipes her tears away.)
ANDY: (shakes his head) No. That's really weird. You wanna come inside?
(Prue looks up and we see she's crying.)
PRUE: Um ... no. I have to go. (She steps forward and kisses Andy.) Good-
bye, Andy.
(Prue turns and leaves. When she rounds the corner and once she's out of Andy's
view, she stops and leans against the wall. She takes a breath and cries.)
CUT TO:
[EXT. QUAKE (STOCK) - NIGHT]
[INT. QUAKE - DINING ROOM -- NIGHT]
(Phoebe and Piper sit at the table. Phoebe tries to hail a waiter who walks
past them.)
PHOEBE: Excuse me! Hello -- What good is saving the future if I can't get a
glass of water in the present?
PIPER: Speaking of the future, where did Tanya go?
PHOEBE: Oh, she went to the bathroom. Morning sickness ... only she thinks
it's the halibut.
PIPER: (groans) Oh, great. She'll probably sue the restaurant for food
poisoning. Will this day never end?
(Phoebe checks her watch.)
PHOEBE: Actually, it just did. It's 8:20. The spell is over. The world is a
safer place.
(Martin walks up to Piper's table.)
MARTIN: Piper, I see you sitting. What is wrong with this picture?
PIPER: You don't remember?
MARTIN: Remember what? Piper, I need you in the kitchen pronto. We're down a
sous-chef.
(Martin turns and walks away.)
PIPER: I don't believe it. I finally stand up for myself and quit, and he
doesn't even remember. Wait a minute. Everybody else has forgotten the truth.
Why do we still remember it?
PHOEBE: Truth or consequences. Wiccan rule, right? Prue cast a spell for her
own personal gain. Now we have to deal with the fallout.
(Piper takes a breath.)
PIPER: I'll be right back. (She stands up, determined.) I need to remind
Martin of something.
(Piper heads for the kitchen.)
PHOEBE: Ooh! You go, girl.
CUT TO:
[INT. QUAKE - BACK KITCHEN - NIGHT -- CONTINUOUS]
(The kitchen is bustling. Piper bursts into the kitchen and heads for Martin.)
PIPER: Martin, we need to talk.
(He grabs an apron off the shelf and throws it at Piper. She catches it.)
MARTIN: Excuse you.
PIPER: I cannot -- no, I will not do everything by myself anymore. I need
help. Your restaurant needs help. You need another manager, sous-chef,
hostess, and an extra busboy on the weekends. If you will not agree to hire
these people, then tell me now, and I'll quit.
(Martin looks up from the pot he's taste testing.)
MARTIN: Well, what took you so long? All you had to do was ask.
PIPER: Really? I mean, okay. I'll see you tomorrow.
(She turns to head out.)
MARTIN: (stutters) But I--I--I just --
(She turns back to Martin and tosses the apron at him.)
PIPER: It's my night off.
(Piper leaves the kitchen.)
CUT TO:
[INT. QUAKE - DINING ROOM - NIGHT -- CONTINUOUS]
(Leo walks alongside the wall looking for Piper. Piper bursts out of the
kitchen and whacks Leo in the face with the push door.)
(She gasps.)
LEO: Ohh.
PIPER: Oh. Leo. I'm so sorry. Are you ok?
LEO: Yeah, I'm fine. Uh, just, uh, surprised.
PIPER: Yeah. Me, too. What are you doing here?
LEO: Uh, well, I wanted to see you. I just, um ... I have this really strange
feeling that I did something I should apologize for. Uh ... did I?
PIPER: No. No, not at all. Definitely not.
LEO: Um ... heh.
PIPER: Can I buy you a drink?
(Leo smiles. Piper chuckles. They turn and both head into the dining room.)
CUT TO:
[INT. QUAKE - DINING ROOM - NIGHT -- CONTINUOUS]
(Phoebe sits at the table. Prue walks up and joins her.)
PRUE: Hey.
PHOEBE: Hey. How'd it go?
PRUE: Heh. Not well.
PHOEBE: Oh, Prue, I'm so sorry.
PRUE: Ah. Me, too, but, uh, I cast the spell for an answer, and I got it, even
if it wasn't the one that I wanted.
(Phoebe hugs Prue.)
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
1X08: THE TRUTH IS OUT THERE ... AND IT HURTS
PROD #4398007
ORIGINAL AIR DATE ON WB: 11/25/1998
TRANSCRIBED FROM WB
Starring:
SHANNEN DOHERTY as Prue ("Prudence") Halliwell
HOLLY MARIE COMBS as Piper Halliwell
and
ALYSSA MILANO as Phoebe Halliwell
T.W. KING as Andy Trudeau
Created by CONSTANCE M. BURGE
Starring
BRAD GREENQUIST as Gavin (The Warlock)
MICHELLE BROOKHURST as Tanya (Parker)
BRIAN KRAUSE as Leo Wyatt
LEIGH-ALLYN BAKER as Hannah Webster
NEIL ROBERTS as Rex Buckland
JASON STUART as Martin
RICHARD GILBERT-HILL as Dr. Oliver Mitchell
Producer: SHERYL J. ANDERSON
Coordinating Producer: BETTY REARDON
Supervising Producer: LES SHELDON
Executive Producer: BRAD KERN
Executive Producer: CONSTANCE M. BURGE
Written by ZACK ESTRIN & CHRIS LEVINSON
Directed by JIM CONTNER
==========================
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
CRAIG THOMAS as Alex Pearson
Music By: JAY GRUSKA
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: PATRICK KEHOE
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 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: STEPHEN LEBED
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 Paramount / Viacom company. 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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