CHARMED
1X14: SECRETS AND GUYS
ORIGINAL AIR DATE ON WB: 02/17/1999
TRANSCRIBED FROM TNT
Teleplay by: CONSTANCE M. BURGE & SHERYL J. ANDERSON
Story by: BRAD KERN & CONSTANCE M. BURGE
Directed by JAMES A. 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:
==========================
"CHARMED", "The Charmed Ones" and other related entities are owned, (TM) and (c)
by CONSTANCE M. BURGE, AARON SPELLING Television Inc (A Paramount / Viacom Co.)
and WB (AOL Time Warner Company). All Rights Reserved. This transcript was made
without their permission, approval, authorization or endorsement. For Fair Use,
for Entertainment and for Educational Purposes Only. Any reproduction,
duplication or distribution of this material in any form is expressly
prohibited. It is absolutely forbidden to use it for commercial gain.
CONDITIONS OF USE: (1) Do not alter the content of this file. (2) Leave the
headers/disclaimers intact because it lists all those who have made this
transcript possible for your enjoyment. (3) Provide a link back to the site
where this file originated: http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
==========================
SUMMARY: Prue is sent to help a young witch from being used by a couple of
thieves. Phoebe discovers Leo's secret.
==========================
CHARMED
1X14: SECRETS AND GUYS
==========================
FADE IN.
[EXT. FRANKLIN RESIDENCE (STOCK) -- NIGHT]
[INT. FRANKLIN RESIDENCE - LIVING ROOM -- NIGHT]
(Gordon Franklin walks into the living room carrying two plates with pieces of
pie on it. He hands one to his son, Max, who is sitting on the couch playing
with the Etch 'n Sketch.)
GORDON FRANKLIN: Here you go.
(Gordon sits down on the couch next to Max when two masked gunmen burst into the
house. One of them heads for Gordon and the other grabs Max.)
GORDON FRANKLIN: Max!
(The gunman pushes Gordon back on the chair and holds his gun on him.)
GORDON FRANKLIN: Hey!
GUNMAN: Don't move. Don't breathe. Just listen. We're going to be borrowing
your kid. Now we need him just for a day. Now if you're smart, you will not
call the cops. We will have him home safe and sound first thing Monday morning
ready for school. Do you understand?
GORDON FRANKLIN: (nods) Yeah. Yeah.
GUNMAN: It's just our little secret, right?
GORDON FRANKLIN: Yeah.
(The gunman knocks Gordon across the face with the gun, knocking him out. The
other gunman puts a cloth bag over his head.)
MAX FRANKLIN: Dad!
(They drag him out of the house.)
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - NIGHT]
[INT. MANOR - ATTIC -- DAY]
(Piper picks up an old Etch 'n Sketch and shakes it.)
PHOEBE: (o.s.) Can I just say I am actually enjoying this?
PIPER: That's because you're not doing anything.
(Piper squints at Phoebe who is busy painting her toenails.)
PHOEBE: Not true. I've painted my fingers and my toes.
(Prue sits nearby.)
PRUE: I just hope that this doesn't fall under the personal gain category.
PIPER: How could it? A good witch is a clean witch.
PHOEBE: Yep. I think we should spring clean like this more often. You go,
girl.
(And with that, Prue squints and uses her powers to clean up the attic. The
drawers with clothes hanging out magically close. The chest magically opens and
things fly into it. She uses her powers and cleans the windows. She puts the
toys in the attic back on the shelf. The books on the shelf magically set
themselves straight and the broom magically sweeps the floor. The trophies on
the top shelf rise up so that the duster can dust under them.)
(Phoebe giggles.)
PIPER: Good job, Prue.
(She magically puts the broom away. Piper looks in the box near her and finds
more childhood things.)
PIPER: Oh, look. More toys. I told you Grams wouldn't throw them away.
PRUE: Yeah, but we will. Why don't you just put that stuff in the discard pile?
PHOEBE: Wait. What's in there?
(Piper goes through the box.)
PIPER: Stuffed animals without eyeballs, dollies that look like they've been
through the mill once or twice ... and looky here, Miss Phoebe's diaries.
PHOEBE: The place where I kept all my secrets. Give me those. (She giggles as
Piper hands them to her. Prue turns and looks at Phoebe.) What?
PRUE: The place where you kept your secrets?
PHOEBE: Uh-huh.
PIPER: Phoebe, you could never keep a secret.
PHOEBE: Oh, that is so not true.
PIPER: Ok, maybe Prue's surprise birthday party.
PRUE: Guess again.
PIPER: You knew?
PRUE: (nods) Mm-hmm.
(Phoebe's busted. Piper whacks Phoebe with the stuffed animal.)
PIPER: Phoebe. You swore you wouldn't tell her.
PHOEBE: I'm sorry, okay? It was an accident. (She sighs.) I say we keep all
the toys.
PRUE: Subject-changer.
PHOEBE: For our children, for our future.
PIPER: That's a good idea.
PRUE: Well, you can get rid of mine. (They look at her.) What? It's just
that, you know, we live in a world with so much violence, and then you add the
evil demons, and it's a pretty scary place to raise kids in. Besides, I don't
really think I'm cut out to be a mom.
PIPER: (rolls her eyes) How can you say that?
PRUE: Why don't we just have this conversation later? Like, say, in five
years.
(The downstairs kitchen alarm rings.)
PIPER: Good. Ooh, ooh. I think dinner's burning. (Piper gets up.) Phoebe,
lend me a hand.
(Piper leaves. Phoebe gets up to follow her.)
PHOEBE: (to Prue) Don't look in my diary.
(Phoebe runs out of the attic after Piper.)
CUT TO:
[EXT. MJ'S AUTO HOUSE -- NIGHT]
[INT. MJ'S AUTO HOUSE - GARAGE OFFICE - NIGHT]
(The two men push Max into the office garage. He's gagged and bound as he sits
down on the floor.)
MICKEY JACKSON: All right, you try anything, you're dead, and so's your old
man. You got that, kid?
MAX FRANKLIN: (nods) Mm-hmm.
DAVID: Come on. Ease up on him, Mickey. Kid's not stupid. Are you, Max? (Max
shakes his head.) You're going to do just like we tell you, and everything's
going to be fine, right?
(Scared, Max nods.)
MICKEY JACKSON: Yeah, you better be right about him, or me and you got
problems.
DAVID: Look, that kid is a living, breathing, winning lotto ticket. All I know
is my kid brother said somehow, like magic, he turned off the arcade alarm
system from across the street and got them inside.
(Mickey looks at Max and nods. He suddenly turns to his friend.)
MICKEY JACKSON: I don't believe in magic.
DAVID: So? We test him out, we don't like what we see, cut our losses.
(He turns and leaves the room. Mickey stares at Max for a moment, then he, too,
leaves the room.)
(Max watches them go. He closes his eyes and slowly rocks back and forth. He
appears to be concentrating on something.)
CUT TO:
[INT. MANOR - ATTIC -- NIGHT]
(Close-up of the Ouiji Board. The pointer on the spirit board starts moving.
Prue sits at the attic table with a pad and pencil taking down the letters that
the pointer stops at.)
PRUE: Piper. Phoebe. Get in here.
(Phoebe and Piper run into the attic.)
PHOEBE: What is it?
(Prue motions to the spirit board. Phoebe stops and sighs. Piper stops.)
PIPER: Oh, no. Not again.
PHOEBE: What's it saying?
(Prue shows them the notepad.)
PRUE: Help Max.
(Phoebe looks at Piper. Prue looks at them both. She puts the note pad down
and sighs.)
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. VARIOUS SAN FRANCISCO CITY SIGHTS (STOCK) - DAY]
[EXT. HALLIWELL MANOR (STOCK) - DAY]
[INT. MANOR - CONSERVATORY -- DAY]
(Phoebe and Prue walk into the Conservatory. Prue is carrying the Book of
Shadows. They both take a seat at the table.)
PHOEBE: So maybe Max is a ghost. I mean, after all, that is a spirit board.
PRUE: A ghost who needs our help? I don't think so.
PHOEBE: Well, it wouldn't be the first time.
(As they talk, Piper is on the phone and pacing the phone.)
PRUE: What if it's just someone in trouble crying out?
PHOEBE: Well, it would have to be someone with powers. It's not exactly AT&T.
PRUE: "Help Max." That's not a lot to go on.
PHOEBE: Yeah. I mean, there's nothing really you can do unless he sends another
message. What -- are you on hold or something?
PIPER: (angry) It's Harry, the new chef at Quake. He threw out all my Henckel
knives. Apparently, he prefers Forscheners.
PHOEBE: (to Prue) You follow any of that?
PRUE: No. Look, we wouldn't have gotten the message if it wasn't important.
PHOEBE: Okay. So what do you want to do?
PRUE: Maybe go see Andy. See if he knows anything about a Max needing help.
PHOEBE: Can you say long shot? (Prue doesn't say anything.) All right.
You're obsessed. I accept that. I'll thumb through the Book of Shadows, see if
there's anything in there about spirit board S.O.S's.
PRUE: Okay, and maybe Piper can--
PIPER: (to phone) Look, wait. I'm the manager. If I say I want Henckels,
then I want - (We hear a dial tone as the person on the other end of the phone
hangs up on her.) Hello? (Piper looks at the phone.) The jerk hung up on me.
(She slams the cordless phone on the table.) Okay. How can I help you two?
PRUE: I think we got it under control.
PIPER: Okay. Then I'm going to Quake before Harry does any more damage.
(Piper turns and leaves. Prue looks at Phoebe. Phoebe smiles.)
CUT TO:
[INT. MANOR - FOYER - DAY -- CONTINUOUS]
(Piper grabs her jacket off the hallway coat hook and opens the door to leave.
Leo is standing on the front porch.)
LEO: Ha. Ding dong.
PIPER: (smiles) Leo, you're back. Come in. (They hug each other.) It's so
good to see you. How are you?
LEO: Better now. How are you, Piper?
PIPER: Um, I'm better now, too.
(Phoebe and Prue enter the foyer. The spirit board is tucked under Prue's arm.
Phoebe smiles at Leo.)
PHOEBE: Leo!
PRUE: Hey, stranger. Good to see you.
PHOEBE: Yeah. What brings you back?
PRUE: (warning) Phoebe.
PHOEBE: You know, the chandelier in the living room keeps flickering.
LEO: Yeah? Well, I'll get my tools.
PHOEBE: Oh, no, no. Take your time.
PRUE: (to Phoebe) Uh, attic. Remember? You have some reading to do.
PHOEBE: Right.
PRUE: Mm-hmm.
(Phoebe waves to Leo. She turns and leaves.)
LEO: Is that a spirit board?
PRUE: Uh, this? (Leo nods.) Yeah, it is. Um, I'm just taking it to the
auction house to have it appraised. (Prue grabs her jacket.) So I'll call you
if I hear anything.
(Prue walks out of the house.)
PIPER: (to Prue) I'll be at the restaurant.
LEO: Do you have to go now?
PIPER: Uh, yeah, sort of, but I'll be back soon, I promise. Uh, can you wait?
LEO: Um, sure.
(She reaches up to him and they kiss.)
PIPER: Ooh. So glad you're back.
(Piper walks out of the house. Leo steps into the house, turns and watches
Piper leave.)
CUT TO:
[EXT. POLICE STATION (STOCK) - DAY]
[INT. POLICE STATION - BULLPEN -- DAY]
(Andy is sitting at his desk across from Prue.)
ANDY: Okay, let me get this straight. You think a guy named Max might be in
some kind of trouble, but you have no idea why. You've never met him and really
don't have any idea who he is. Is that about right?
PRUE: Okay, fine. See, I had a dream last night, and, um, in my dream, my
sisters and I were cleaning the attic when we found this old ouija-type board,
and the pointer started to move until it spelled out "Help Max."
(She stops. Andy waits for her to continue.)
PRUE: That's it.
(Andy slowly turns to his computer. He types in MAX into the Metropolitan
Police Department to search the Missing Persons Database. He hits enter. The
computer beeps.)
ANDY: You know, I hear a lot of stories in my line of work, but yours are
always very entertaining.
PRUE: Thank you.
ANDY: You're welcome.
(The computer beeps.)
ANDY: Sorry. Nothing on anyone named Max.
PRUE: Oh. Thanks for checking.
ANDY: Any time.
(Prue and Andy look at each other. Suddenly she smiles.)
PRUE: (chuckles) Okay.
ANDY: Okay.
PRUE: Bye.
ANDY: Bye.
(Prue gets up and leaves. Andy watches her go.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. QUAKE (STOCK) - DAY]
[INT. QUAKE - BACK KITCHEN -- DAY]
(Piper bursts into the back kitchens and heads straight for the new chef.)
PIPER: Harry!
(The new chef, a young man wearing shorts, stands in front of the stove.)
HARRY: Hey. You must be Pippy.
PIPER: (shakes her head and chuckles) Piper, and--
HARRY: (interrupts) You know, your voice doesn't do you justice. You're
actually attractive.
PIPER: You can not come into this restaurant, throw away all of our knives, and
refuse to make the house specialty. That is not a proper chef's uniform.
(In addition to the shorts, the new chefs has his socked feet in slip-ons.)
HARRY: Will be. (He turns and reaches for the colander on the counter. We
notice that he's holding a phone in his other hand.) I'm a trendsetter. In
fact, I, uh, decided to change the menu, so I threw out all the old ones. (He
picks up a colander.) Now, my crab ravioli, there's a specialty. (He smells
it.) Mmm. Straight from Eden.
PIPER: You threw out all the menus?
HARRY: Hey, complain to your sister Phoebe. She's on line one.
(He hands her the phone. She grabs the phone from him.)
PIPER: You're fired.
HARRY: (doesn't care) Ooh. Attractive and feisty. Um, you can't fire me,
'cause, um, you're just a manager. Unless you'd rather be the executive chef.
(He steps away from her, chuckling. Frustrated, Piper freezes him.)
PIPER: Ooh.
(She takes her knives out from the trash bin and throws in Harry's crab
ravioli.)
PIPER: Take that.
(Piper turns and walks out of the kitchen.)
(Time resumes.)
(Harry looks around and notices that Piper's not there.)
CUT TO:
[INT. MANOR - STAIRS TO MAIN HALL - DAY]
(Phoebe walks down the stairs as she talks on the phone with Piper.)
PHOEBE: (to phone) Yeah, sounds like a real piece of work. He has a nice
voice, though. What's he look like?
INTERCUT WITH:
[INT. QUAKE - DINING ROOM -- DAY]
(Piper sits down at the bar.)
PIPER: (to phone) A complete and total jerk. Is Leo around?
PHOEBE: (to phone) Yeah. He's working away.
(Phoebe steps down into the main hall slowly making her way toward Leo.)
PHOEBE: He wants to know when you're going to get back, though.
(Piper glances back near the kitchens and finds one of the chefs talking with
two waitresses.)
PIPER: (to phone) Uh, I think it might be a while. Maybe I should talk to
Leo.
(Phoebe turns into the sitting room.)
PHOEBE: Sure. Hold on a second.
(She looks up and sees Leo floating mid-air as he fixes the lights. He has the
extra light bulb between his lips to free up his hands. The light bulb is lit.
Phoebe can't believe it.)
PHOEBE: (to phone) Oh, my god!
(Leo is surprised.)
LEO: Phoebe!
(He falls to the floor with a thud.)
LEO: Unh.
PHOEBE: (to phone) Let me call you back.
(Phoebe hangs up and brandishes the phone in front of her as if it were a
weapon. She points it at Leo. Leo struggles to his feet, the lit lightbulb in
his hand.)
LEO: Uh, Phoebe, uh, wait. I can explain.
(Leo gets to his feet and walks over to Phoebe. She starts backing away from
him.)
PHOEBE: You are a warlock, aren't you?
(Phoebe slowly backs into the dining room.)
LEO: No. Wait. Wait, wait.
(He reaches out to stop her from backing away from him.)
LEO: Think about it. If I was a warlock, and I wanted to hurt you, don't you
think I would've done it the last time I was here?
PHOEBE: Okay. Good point, but still, most ... normal handymen use ladders to
fix chandeliers. Are you a witch?
LEO: No.
PHOEBE: Then what are you?
LEO: Uh ...
(Leo tries to come up with an explanation. He waves the lit light bulb around
in his hand as he thinks of something to say. Phoebe's eyes widen as she
realizes that the light bulb is on, her eyes following the swaying light.)
(Leo glances at the light bulb and puts it down. He smiles sheepishly at
Phoebe.)
(Phoebe looks back at Leo.)
CUT TO:
[EXT. MICROCHIP BUILDING - PARKING LOT -- DAY]
(The parking lot is empty except for a single car parked with the main entrance
in view.)
DAVID: (o.s.) So, the main security panel is in this room here.
[INT. CAR (PARKED) - DAY - CONTINUOUS]
(David shoes Max the building layout and goes over the instructions with him in
the backseat of the car. Mickey Jackson sits in the front seat.)
DAVID: All you got to do is switch the system off. You start with zone one,
ending up with zone five5, ok? You got it?
MAX FRANKLIN: I can't. My mom made me promise never to use my power for bad
things.
MICKEY JACKSON: Yeah, well, you ever read the book when bad things happen to
good people?
DAVID: Look, I got it, Mickey. (to Max) You broke into the arcade, right?
This isn't any different, man. I mean, we're not even going to take anything.
We just want to see if you can actually do it. Look, I'm -- I'm really sorry
about what happened to your mom, okay? That's a tough break, but you want to
make sure something doesn't happen with your dad, don't you?
(Max looks at David. He looks at the main door.)
(He looks down and starts rocking back and forth as he concentrates.)
(David looks at Mickey and nods. Mickey opens the car door and gets out of the
car. He closes the car door behind him as he makes his way to the building main
door.)
(Cut to: The Electrical Security System Box. The small metal door to the
security system box opens. Inside, the lights are on. They're all red.)
(Cut back to: Mickey makes his way to the building's main door. He looks
around and stops in front of the door to look at the alarm box on the door.)
(Cut to: [CAR (PARKED)] Max continues to rock back and forth.)
(Cut to: The Electrical Security System Box. The red lights switch and turn
green. The box smokes and shorts out. The security lights to the alarm system
shut off.)
(Cut to: [CAR (PARKED)] Max rocks back and forth. He stops and looks at
David.)
(Cut to: [MAIN DOORS] The light on the Security Alarm on the door turns from
red to green.)
(Mickey smiles.)
(He opens the door and steps inside the building. He stands in the main lobby
and looks around.)
MICKEY JACKSON: Well, I'll be damned.
(Cut to: [CAR (PARKED)] David smiles at Max.)
DAVID: I don't know how you did that, but I got to say I'm very impressed.
(Max turns and looks out at the main door. Walking along the side of the
building headed back to the main door is a security guard.)
(Just then, Mickey steps out of the building. The security guard sees him and
reaches for his gun.)
SECURITY GUARD: Hey.
(Mickey takes out a gun and shoots the security guard. The Security Guard falls
to the ground.)
(Max can't believe it.)
MAX FRANKLIN: (shouts loud and long) No-o-o!
DAVID: Shut up.
(David grabs Max and covers his mouth with his hand.)
(Mickey tucks the gun back into his waistband and heads for the car.)
(Inside the car, David looks around. He's still covering Max's mouth to keep
him silent.)
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - DAY]
PHOEBE: (v.o.) I really don't know what to say.
[INT. MANOR - CONSERVATORY -- DAY]
(Phoebe and Leo are sitting in the Conservatory. Phoebe is holding a cup in of
tea both her hands.)
PHOEBE: I mean, up until today, I thought you were a handyman, and now I find
out that you're a --
LEO: Whitelighter.
PHOEBE: A whitelighter. What exactly is a whitelighter?
LEO: Oh, we're really just messengers, guides. Think of us as guardian angels
for good witches. (Phoebe likes the sound of that.) Your tea's cold.
(Leo reaches forward and holds his hand over her mug. Her tea in the mug starts
steaming. Phoebe moves her hand away from the heated cup.)
PHOEBE: Ow. Well, you are handy. So all this time you knew who we really
were?
LEO: Yeah. I was sent here to watch over you and your sisters when you first
got your powers. You know, help out wherever I could.
PHOEBE: Sent by who?
LEO: Whom. (chuckles) They're a group of Elder Whitelighters. They're known
as The Founders. You were never supposed to find out. I screwed up and got
caught.
PHOEBE: So, what, you're here again to help us out with something else?
LEO: Uh, actually, I'm here to help a boy named Max.
PHOEBE: Max? Wait. That's the--the--
LEO: The spirit board. I know. See, Max is a budding good witch, new to the
powers, but he's very young and vulnerable, and he's in serious trouble.
Someone wants to take advantage of his gift.
PHOEBE: So why don't you help him?
LEO: I did. I made sure that Prue received his cry for help. That's why I was
sent here. That's all I'm supposed to do for now. The rest is up to Prue.
PHOEBE: Yeah, but Prue doesn't know anything about him. She doesn't even know
that he's a little boy.
LEO: Well, she will. In the meantime, you must help me keep my secret, or I
could get in trouble, okay? Piper and Prue can never know what I really am.
(Phoebe chuckles wryly.)
PHOEBE: Me keep a secret? Hello? Wrong Halliwell. Wait, uh, you have to tell
Piper, because if I know her, she's going to think that --
LEO: I know, I know, and that's where I need your help. (Leo stands up.) You
see, White lighters and Witches aren't allowed to fall in love. It's like
humans and angels aren't ... but I did. I fell in love with Piper.
PHOEBE: And I know how much she cares about you.
(He sighs.)
LEO: It isn't fair to keep her in the dark ... but I have to keep the secret,
so somehow I have to tell Piper that I can never see her again, and I can't tell
her why.
PHOEBE: You don't need my help, Leo. You need a miracle ...
(Leo scrunches his face at that thought.)
CUT TO:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- DAY]
(Prue is at her desk working on the laptop computer. There's a knock on the
door. It opens. Andy walks in.)
ANDY: Got a minute?
PRUE: Uh, sure.
(Andy turns to close the door. Prue takes the opportunity to move the spirit
board from off her desk to behind her desk. Andy walks over to Prue.)
PRUE: Why don't you just sit there? (She points to a chair behind Andy. He
sits down.) That's perfect. Um, so what's up?
ANDY: I've got some interesting information about a boy named Max.
PRUE: A boy?
ANDY: Named Max. Yes.
PRUE: Whoa.
ANDY: It's curious, huh?
PRUE: (nods) Very.
(As Andy starts talking, the pointer on the spirit board starts moving.)
ANDY: Earlier today, a microchip plant was broken into, but nothing was taken.
Stranger still, the alarms on the inside were turned off before the front door
was opened on the outside.
(Prue tries to note the letters down. Andy stops talking and looks at Prue.)
PRUE: Um, so what does this have to do with this boy Max?
(Andy reaches into his valise. The pointer starts moving again.)
ANDY: Well, uh, security cameras picked up a car in the parking lot with a boy
in the back seat ... matching this photo taken at an arcade last week ... (Andy
puts the photo on Prue's desk.) ... where a couple of kids snuck in in much the
same way. Same boy. Max Franklin.
PRUE: Do you know who was in the front seat?
(Andy shakes his head.)
ANDY: Just that they shot and wounded a security guard at the scene. This
boy's in serious trouble, Prue. This is not a dream. I need to know what you
know about this.
(Andy leans forward.)
PRUE: Well, I mean, why would I know anything? I think that you need to talk
to his family.
(Andy leans back in his seat.)
ANDY: (nods) I did. His father. He pretended not to know anything either.
Told me that the boy was out of state visiting grandparents, will be back
tomorrow, but something's wrong. He wanted to tell me something, but he was
scared. He was afraid to say anything. What are you writing?
(Prue stops and looks at Andy.)
PRUE: Nothing. I'm just doodling.
ANDY: You're not going to tell me anything, are you? (Prue says nothing. Andy
stands up.) One day I'm going to figure out your secret, Prue. Count on it.
(Andy leaves the office.)
(Prue looks down at the message:
KIDNAPPED
AUTO SHOP
CUT TO:
[INT. QUAKE - KITCHEN -- DAY]
(Piper is putting the knives into the soap bin in the sink. A waiter carrying
the cordless phone walks up to her.)
EMPLOYEE: Telephone.
(Piper takes the phone.)
PIPER: (to phone) Hello.
INTERCUT WITH:
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE - DAY]
(Prue is sitting at her desk.)
PRUE: (to phone) Hey, um, look, Max is a boy, Piper, and he's been kidnapped.
PIPER: (to phone) What?
PRUE: (to phone) Yeah. I got another message on the spirit board. I have to
help.
PIPER: (to phone) Um, I think we should call the police.
PRUE: (to phone) Uh, Andy's already been here, and I think I have an idea what
to do.
(Harry, the new chef, walks up to Piper. He's holding the orders in his hand.)
PIPER: (to phone) Okay. So you've got everything under control?
(He takes the phone from Piper and tosses it into the sink.)
HARRY: Uh, no, everything's not under control.
(On the other end of the phone, Prue hears the phone clanging in the metal
sink.)
HARRY: I need more crab for my ravioli because someone threw it all away, and I
just got five more orders, Pepper.
(He tosses the orders at Piper, turns and leaves. Piper grabs the orders as
they hit her in the face.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. FRANKLIN RESIDENCE - FRONT WALK/PORCH -- DAY]
(Prue walks up to the front door. She rings the door bell.)
(Inside, Gordon Franklin opens the door and finds Prue standing on his front
porch. He has a band-aid on his left cheek.)
PRUE: Mr. Franklin?
GORDON FRANKLIN: Yes.
PRUE: My name's Prue Halliwell. I need to talk to you about your son.
GORDON FRANKLIN: Sorry, um, you have to leave, okay?
PRUE: Look, I know that he's been kidnapped. I know that he's in trouble.
GORDON FRANKLIN: I-I don't know what you're talking about.
PRUE: I think you do. What I don't understand is why you won't talk to the
police.
GORDON FRANKLIN: Please, you got to leave, all right? Thank you.
(He starts to close the door. Prue sticks her foot in the door and stops him.)
PRUE: Unless you can't talk to the police. The kidnappers won't let you, will
they? That's why you wouldn't say anything to Inspector Trudeau.
GORDON FRANKLIN: Look, I don't know who you are, but I'm begging you--
PRUE: I can help.
GORDON FRANKLIN: No, no. You can't. All right? Good-bye.
(Again, he tries to close the door. Prue reaches out her hand and stops the
door from closing.)
PRUE: Mr. Franklin ...
(On the hallway cabinet are some framed family photos. Prue magically lifts one
of the photos up. Gordon Franklin catches it. He turns and looks at Prue.)
GORDON FRANKLIN: Dear god.
CUT TO:
[EXT. QUAKE (STOCK) - DAY]
[INT. QUAKE - DINING ROOM -- DAY]
(Leo and Phoebe sit at a table. As they wait, Leo holds his hand over Phoebe's
empty water glass. The glass fills up with water. Phoebe smiles at Leo.)
PHOEBE: Thank you.
(In the back, Piper rushes out of the kitchen. Phoebe sees her.)
PHOEBE: Oh.
(Piper stops in front of their table.)
PIPER: Hi. I know you guys have been waiting a long time--
(There's a loud crash in the back kitchen. Piper puts a hand to her forehead
and sighs heavily. We can hear Harry, the new chef, yelling from the kitchens.)
HARRY: (o.s.) Who's the culinary idiot who ordered penne putanesca sans black
and green olives?
PHOEBE: Hey, have you heard from Prue?
PIPER: Uh, yeah, uh, she's got everything under control. I'll be right back.
(Piper turns and hurries back to the kitchen.)
PHOEBE: Okay, it's actually good that we have a few more minutes. We can go
over your plan. You know, what you're going to tell Piper.
LEO: Oh, well, I thought I'd tell her that, uh, you know, as much as I love
her, and as much as I'd like to stay in San Francisco, I can't, a-and I don't
know how long my work will keep me away.
PHOEBE: No, no. What you just said to her was as much as you'd love to stay and
have sex with her, you've got a wife and kids in another part of the country.
Try again.
LEO: Uh ... (He chuckles.) Piper, um, you know how much you mean to me, and
more than anything, I wish things could work out, but they can't, and no one is
more sorry than I am.
PHOEBE: Translation: I found someone I like even better.
LEO: I'm completely confused.
PHOEBE: Uh, look, Leo, it's not that complicated. Okay, just avoid the
following, "we can still hang out," "I don't deserve you ... yet," "I need
more me time before we can have we time," and my personal favorite, "it's not
you, it's me," and whatever you do, do not start off the conversation with, "we
need to talk." Other than that, you will do fine.
(She smiles confidently at Leo, picks up her glass of water and takes a sip.
Leo still looks very, very confused.)
CUT TO:
[INT. FRANKLIN RESIDENCE - LIVING ROOM -- DAY]
(Gordon Franklin holds the framed family photo. Prue sits on the couch. He
sits down and puts the photo on the table.)
GORDON FRANKLIN: Then they hit me and I passed out. I've been out of my mind
crazy ever since last night. Should I go to the police? Should I do what they
say? They promised to bring him back, but after what the police say happened
this morning, I ... I don't even know if he's all right.
PRUE: No. I know that Max is okay right now. If he wasn't, he couldn't have
sent me that last message.
GORDON FRANKLIN: So I take it you're, uh, a witch, too, huh?
PRUE: Is that what your son says he is?
GORDON FRANKLIN: What Paulette, my wife, said he is. It's what she was. You
know, it would've been a hell of a lot easier to handle her family secret had it
been revealed a lot sooner.
PRUE: Maybe she was afraid of how you'd react. Maybe she was afraid that you
might not accept her or love her.
GORDON FRANKLIN: Speaking from personal experience?
PRUE: Yes, I am.
GORDON FRANKLIN: Well, Paulette, she had to tell me. (He looks down at the
framed photo on the table and lightly touches the picture of his wife.) She was
running out of time. She passed away three months ago. Then suddenly, Max, he
starts having these powers. I don't have a clue what to tell him, what it all
means. Then he uses it and nearly gets busted at an arcade and now this.
PRUE: I'm sure that Max --
GORDON FRANKLIN: (interrupts) Do you have any children?
PRUE: No, but --
GORDON FRANKLIN: Then you couldn't possibly understand what I'm feeling.
PRUE: Still, I'm sorry about what happened to Max and your wife, but if you
could just find a way to forgive her.
GORDON FRANKLIN: Forgive her. She should've told me. Maybe if she had, I
would've been better able to protect Max.
PRUE: Do you know anybody who owns an auto shop of any kind?
GORDON FRANKLIN: (shakes his head) Why?
PRUE: I think your son was trying to send me a clue.
GORDON FRANKLIN: No, I -- I ... (Something occurs to him.) ... although I
think Max's friend Danny, his brother works at one over in Oakland.
PRUE: Is Danny the friend that broke into the arcade with Max?
(Gordon Franklin slowly sits up. By the expression on his face, he is.)
PRUE: Got an address?
CUT TO:
[EXT. MJ'S AUTO HOUSE -- DAY]
[INT. MJ'S AUTO HOUSE - BACK OFFICE -- DAY]
(Max is sitting on the floor struggling with untying his hands. Prue walks in
through the doorway and sees him.)
PRUE: Max?
(Max turns and looks up.)
MAX FRANKLIN: Who's there?
(Prue kneels next to Max and starts working on the ropes around his wrists.)
PRUE: My name is Prue. I'm here to take you home.
MAX FRANKLIN: But how'd you find me?
PRUE: I had a little chat with your friend Danny. Look, your dad, he's waiting
for you.
MAX FRANKLIN: You know my dad?
PRUE: Yeah, he --
(Off screen, a door closes. The sound alerts them. Prue looks up and sees
Mickey Jackson walking in through the doorway. He sees Prue.)
MICKEY JACKSON: Hey, who the hell are you?
(Prue stands up and uses her powers on him, sending him back through the doorway
and into a rack full of tires.)
MICKEY JACKSON: Aah! Unh.
(He falls to the ground. Max looks at Prue with awe. David walks in and Prue
pushes him back against the tire rack also. He falls to the ground.)
(Prue quickly turns to Max and pulls him to his feet.)
PRUE: Come on. We need to hurry.
MAX FRANKLIN: You have powers?
PRUE: Yeah. I'll explain them to you in the car, okay?
MAX FRANKLIN: I can't leave. They'll kill my dad if I do.
(From behind her, Mickey comes up to Prue and hits her in the face. She falls
to the floor unconscious.)
FADE OUT.
FADE IN.
[INT. MJ'S AUTO HOUSE - BACK OFFICE -- DAY]
(Prue and Max are bound and sitting on the floor. Prue is still unconscious.
Mickey walks over to Prue and shakes her awake.)
MICKEY JACKSON: Nap time's over. Wake up. I got a little surprise for you.
(Prue wakes up and checks on Max.)
PRUE: Max, are you okay?
MICKEY JACKSON: He's fine.
(Prue ignores Mickey and looks at Max.)
PRUE: Look, don't worry--
(Mickey grabs Prue's shoulder.)
MICKEY JACKSON: (interrupts) I said he's fine. (Prue glares at Mickey.) Now
before you go trying to pull any of that magical, uh, hocus-pocus crap again, I
want to show you something.
(Mickey takes out a small hand-held device with a blinking red light.)
PRUE: What is it?
MICKEY JACKSON: All that matters is what happens when I flick that little
switch. Now I flick that little switch, and Max here takes a nap. A long one.
DAVID: Mickey, why don't --
MICKEY JACKSON: (to David) Shut up!
(David doesn't like it. Mickey walks over to Max as David leaves the room.
Mickey opens Max's jacket and shows Prue the bomb attached around Max.)
MICKEY JACKSON: Plastic explosive. Little trick I picked up in Corcoran.
Prison system's very educational.
PRUE: Mickey, he is just a child. He's already proven that he's not going
anywhere. If you're going to wire anyone, wire me.
MICKEY JACKSON: What is it with the two of you? What are you, like, magicians
or freaks of nature? Aliens? What?
PRUE: Witches.
(Mickey starts laughing. He gets up and leaves the room. Prue looks at Max.)
PRUE: You okay?
MAX FRANKLIN: I'm scared.
PRUE: I know. Just, uh, do as they say and everything will be fine. They need
you, remember?
MAX FRANKLIN: I'm sorry I got you into this. Sorry I have these stupid powers.
PRUE: No, Max. Don't ever be sorry about that. It's a gift. It's like being
a, uh, musician or an athlete.
MAX FRANKLIN: It's a pain. I'm a freak. My dad hates it, too. He hates me.
PRUE: No. No, he doesn't. He just doesn't understand it, that's all. It's
new to him, too. Don't worry, Max. I won't let anything happen to you. I
promise. (Max nods a little.) Okay?
(Prue looks at him until he finally agrees with her.)
MAX FRANKLIN: Okay.
PRUE: Okay.
(They share a smile.)
CUT TO:
[INT. MJ'S AUTO HOUSE - GARAGE - DAY -- CONTINUOUS]
(David walks up to Mickey who is standing in front of a table with some
blueprints open and spread out.)
DAVID: You really think it's necessary wiring the kid like that?
MICKEY JACKSON: You saw what that chick did. Pretty cool, actually.
(Mickey is looking at the ALARM SCHEMATIC blueprints.)
MICKEY JACKSON: Might come in handy tonight. It's the only reason she's still
breathing.
(Mickey walks away. David goes and looks at the blueprints.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[INT. QUAKE - DINING ROOM -- DAY]
(The kitchen door opens. Piper steps out and walks over to Leo's table. She
removes her apron and sits down.)
PIPER: Sorry. Small mutiny in the kitchen. Where were we?
LEO: Piper, there's something I need to tell you.
PIPER: (smiles) Yeah?
LEO: Look, forgive me, but I could be summoned at any moment, so I have to tell
you this now.
(Piper waits quietly for him to continue.)
LEO: I can't- I can't, uh ... I can't believe how much I missed you.
PIPER: (smiles) Well, Leo, I missed you, too. What do you mean "summoned"?
Summoned where?
(Off screen, we hear the kitchen doors open.)
HARRY: (o.s.) Hey!
(Harry is standing near the kitchen doors. He looks at Piper and snaps his
fingers trying to recall her name.)
HARRY: Uh ... Piper. No respect I can live with, ok, but where the hell's my
coriander?
(Harry turns and heads back into the kitchen.)
PIPER: Ok, that's it. I'm ending this now.
(Piper takes her apron, stands up and heads for the kitchen. Phoebe, who has
been watching on the side, see Piper stand up and heads over to her.)
PHOEBE: Oh, my gosh. You know.
PIPER: Of course I know. The whole restaurant knows. Didn't you hear him
scream across the room?
PHOEBE: (to Leo) I thought it was a secret.
LEO: (warning) Phoebe --
PIPER: I wish. It'll probably be in the newspaper tomorrow.
PHOEBE: No, it can't be. Look, Piper, he never meant to hurt you.
PIPER: Phoebe, please. You haven't even met the maniac yet. What's gotten
into you?
(Without waiting to find out, Piper walks around Phoebe and heads into the
kitchen. Phoebe looks at Leo.)
LEO: She's talking about the new chef.
PHOEBE: (smiles) Oh. Right. So does that mean she took your news well?
LEO: That means she doesn't know. I can't tell her, Phoebe. I can't stand to
think about it, much less talk about it.
PHOEBE: (worried) Well, here's something else you might not want to think
about. Piper said that Prue had everything under control. Well, I can't find
her.
(Leo and Phoebe share a concerned look.)
CUT TO:
[EXT. POLICE DEPARTMENT (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - BULLPEN -- NIGHT]
(Darryl shows Andy the surveillance photo.)
DARRYL MORRIS: Say hello. Mickey Jackson. Security camera digitally enhanced
for your viewing pleasure.
ANDY: Jackson's a convicted bank robber. What's he doing breaking into a
microchip plant?
DARRYL MORRIS: And stealing squat. Good question.
ANDY: A better one would be how he broke into the plant in the first place.
(Andy chuckles as he taps his temple.) High tech's not exactly his style.
DARRYL MORRIS: (agrees) Mmm. Unless this was just a dry run. Maybe Mickey's
looking to do bigger and better things.
ANDY: Like another bank?
DARRYL MORRIS: Hmm. Like a big bank. It's a leap, I know.
ANDY: Agreed. But why the kid? How's he fit into this?
(The phone rings. Andy answers the phone.)
ANDY: (to phone) Trudeau.
PHOEBE: (from phone) Hey, Andy, it's Phoebe.
INTERCUT WITH:
[INT. MANOR - SITTING ROOM - NIGHT]
(While Phoebe's on the phone, Leo is on the couch with his eyes closed. He's
concentrating.)
PHOEBE: (to phone) Have you seen Prue since this morning?
ANDY: (to phone) No. As a matter of fact, I was about to ask you the same
question.
PHOEBE: (to phone) Really, why?
ANDY: (to phone) Because I think she knows something about a boy named Max.
Do you?
PHOEBE: (to phone) Uh ... ooh. Oh. That's my call waiting. I gotta go. It
could be Prue. Bye.
(She hangs up and turns to Leo.)
PHOEBE: Uh ... anything?
LEO: No. I can't reach either Max or Prue telepathically.
(Off screen, the front door closes.)
PHOEBE: Does that mean they're in trouble?
(Piper appears in the doorway.)
PIPER: Who's in trouble?
PHOEBE: (avoiding) Oh, the 49ers. No secondary. They need a good draft pick
next year. Well, I'm gonna go into the kitchen and see if I can get in touch
with Prue. Carry on.
(Phoebe leaves the room. Piper walks over to the couch and removes her coat.)
PIPER: Alone, finally. Don't have to worry about any more interruptions from
Harry. He quit.
(Piper sits down and reaches for Leo. He automatically pulls away from her.)
PIPER: Okay. Not the enthusiastic response I was hoping for.
(Piper sits back.)
LEO: Look, uh, Piper, I've been searching all day for an easy way to tell you
this.
PIPER: Ooh. Uh-uh.
(Piper freezes Leo.)
(She turns and calls out to Phoebe.)
PIPER: Phoebe. Phoebe, I know you're not in the kitchen.
(Phoebe steps back into the room.)
PHOEBE: That is so weird. I was just on my way back.
PIPER: Is Leo about to tell me he doesn't want to see me anymore?
(Dying to tell her, Phoebe sits down next to Piper and takes her hand. She
takes a deep breath and stops herself. She glances over at Frozen Leo, puts
Piper's hand back on her own lap and stands up.)
PHOEBE: You'll have to ask him.
(Phoebe leaves. Piper sighs heavily and turns around to look at Leo.)
(She unfreezes Leo.)
LEO: And that's the problem. I fell in love with you and I shouldn't have.
PIPER: You're married.
LEO: No.
PIPER: Engaged.
LEO: Um ... I'm involved. But it's not the way you think. The truth is is
that I led you on and made you believe that I was coming back.
PIPER: Leo, you are back.
LEO: Yeah, but I have to leave again. Now. And it's not because I want to,
though, it's because I have to. I'm sorry.
PIPER: That's okay.
LEO: (disappointed) It is?
PIPER: Yeah. I mean, Leo, you're a nice guy, and I like you a lot. But let's
face it, you're, uh, geographically undesirable. I mean, you said you live
really far away, right?
LEO: Yeah. Pretty far.
PIPER: Well, I try never to get involved with guys I can't see regularly. So,
don't feel bad. I mean, I understand. Really, I do.
(Piper leans forward and kisses Leo. She stands up and leaves the room, leaving
a very, confused Leo still sitting on the couch.)
(Phoebe walks back into the room and looks at Leo.)
PHOEBE: So how'd she take it?
LEO: Not bad.
(Phoebe shrugs.)
CUE SOUND: WHITELIGHTER'S JINGLE
(Leo hears the summons.)
LEO: Oh, um, excuse me, but I have to go.
(He grabs his jacket and stands up heading past Phoebe.)
PHOEBE: Leo, wh-where are you going?
LEO: I have to leave. Now.
(Leo heads for the door. Off screen, we hear the door open and close.)
CUT TO:
[INT. MJ'S AUTO HOUSE - GARAGE - NIGHT]
(The CHELE'S JANITORIAL SERVICE van door slides open. Mickey sits in the van as
he checks his weapon. David walks over to him carrying the blueprints.)
DAVID: So the thing is, once Max shorts out the alarm, we got like three
minutes till the guards realize there's a signal interruption.
MICKEY JACKSON: Just make sure the kid knows what he's supposed to do. And
keep an eye on that girl. I don't trust her.
(David looks over at Max and Prue who are standing a distance away near the
table.)
MAX FRANKLIN: Has anything like this ever happened to you before?
PRUE: Uh ... not exactly like this. Usually the demons that I have to deal
with--
MAX FRANKLIN: (interrupts) Demons?
PRUE: Your mom didn't get a chance to tell you much about being a witch, did
she?
MAX FRANKLIN: No. I just found out about my power when she died.
PRUE: You know, my mom died when I was young, too. I know how much it hurts.
And it doesn't ever really go away. I didn't even know that my power was
coming. I've had to figure it out all by myself. Which means, so can you.
Especially with your dad's help.
MAX FRANKLIN: He'll never understand.
PRUE: Max, you have to help him understand.
MAX FRANKLIN: You sound just like my mom.
(Prue smiles at Max. She puts an arm around his shoulder and gives him a hug.)
PRUE: Well, I care a lot about you, too.
MAX FRANKLIN: I wish you could be my mom right now.
PRUE: So, what is your power anyway?
MAX FRANKLIN: Mom called it psychokinesis. It means I can move things I can't
see.
(Mickey walks up to them.)
MICKEY JACKSON: All right, remember, just do everything I say and nobody gets
hurt.
(In his hand, he holds the bomb triggering device. David walks up behind Max.)
DAVID: Let's roll.
(The group slowly heads for the van.)
GORDON FRANKLIN: (o.s.) Max.
MAX FRANKLIN: Dad.
(Gordon Franklin steps out from the front of the garage.)
(Mickey steps forward. He raises his gun and points it at Gordon. Gordon holds
up his hands.)
GORDON FRANKLIN: Hold it. Hold it. Don't shoot. I'm unarmed. (Gordon opens
his jacket to show them.) Nobody else knows you're here, I swear. I found you
the same way she did, through your brother.
MICKEY JACKSON: (to David) Your brother?
PRUE: (warning) Gordon, they have him wired.
MICKEY JACKSON: Shut up.
MAX FRANKLIN: (softly) Dad.
GORDON FRANKLIN: It's all right, son. Look, man, I'll give you anything else
you want. Just ... let me have my boy, please.
(There's a long, tense moment. Suddenly, Mickey puts his gun down and turns to
David.)
MICKEY FRANKLIN: All right, David, go put 'em in the van. (David looks
perplexed.) Do it!
(David moves Max and Prue toward the van. As Max passes Gordon, Gordon reaches
out to touch Max.)
GORDON FRANKLIN: My son.
(David pushes Gordon aside and continues to steer Max and Prue toward the van.
Mickey steps between Gordon and the van, pushing Gordon back into the garage.)
GORDON FRANKLIN: Max. Max.
(With a look at his dad, Max is pushed into the van.)
GORDON FRANKLIN: (to Mickey) Please, man, let him go. I beg you, please, he's
my son. (Mickey is putting a silencer on the gun.) Let him go. I beg you,
please.
(Mickey points the gun at Gordon's chest.)
MICKEY JACKSON: Sorry.
(Mickey fires. Gordon falls to the ground.)
(Inside the van, Prue holds Max close to her. She saw Gordon get shot.)
(From the outside, Mickey closes the van door. He slips into the passenger seat
and looks at David.)
MICKEY JACKSON: Drive.
(David starts the engine.)
(Prue looks from Mickey to the back window. As the van pulls away, she sees
Gordon Franklin on the cold garage floor. She pulls Max to her as she cries.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. STREET -- NIGHT]
(The van pulls up alongside the curb and parks in front of the bank.)
[INT. VAN (PARKED) - NIGHT]
(David turns around and looks at Max and Prue.)
DAVID: All right. It'll be just like this morning, Max.
(David spreads out of the alarm schematic in front of Max.)
DAVID: That's where the alarm panel is. You know the rest.
(Mickey turns around and finds Max staring at him.)
MICKEY JACKSON: What are you looking at?
MAX FRANKLIN: What did you do to my dad?
(Prue looks at Max.)
PRUE: Max, the sooner this is over, the sooner we can get to him. We need to
hurry.
(Max picks up the map and looks at it. He closes his eyes and just like before,
starts rocking back and forth as he uses his powers.
(Several quick flashes of Max's powers on the bank.)
[SECURITY ALARM]
(The alarm panel at the bank starts to smoke and shorts out.)
[MAX]
(Max continues to concentrate.)
[INT. BANK - NIGHT - CONTINUOUS]
(The laser alarm inside the bank shuts off.)
[VAULT DOOR]
(The vault door lock starts turning.)
[THE GATE]
(The iron gate in front slowly opens.)
[MAX]
(Max is finished. He looks at David and Mickey.)
MAX FRANKLIN: Okay.
(Mickey pulls his ski mask down over his face.)
MICKEY JACKSON: Out.
(David also pulls down his ski mask.)
(They get out of the van. Mickey opens the van sliding door. Max and Prue step
out of the van. They all head into the bank.)
[INT. BANK - NIGHT - CONTINUOUS]
(They open the outer door easily and slip inside through the open iron gate.)
(Everyone heads into the empty bank.)
(David leads them to the back area.)
DAVID: We got two minutes.
MICKEY JACKSON: All right. You get the cash, I'll watch them.
(Cut to: The vault door opens easily.)
(David steps into the vault. Mickey also steps into the vault, but he has his
gun on Prue and Max.)
(While David and Mickey are sufficiently distracted with the money, Prue turns
to Max.)
PRUE: Use your power.
(Confused by what she's asking, Max looks at Prue. Prue glances down at the
bomb attached to Max's waist. To emphasize what she wants him to do, she uses
her powers and pushes Max's jacket open, away from the bomb.)
(Max gets it.)
(Max closes his eyes and looks down. He starts concentrating.)
(Just then, Mickey turns and sees Max. He walks over to Max and pulls Max away
from Prue.)
MICKEY JACKSON: Don't want you two getting any ideas.
(Prue glares at Mickey as he pulls Max toward him and over to the vault.)
(Re-taking up his position in front of the vault door, Mickey goes back to
watching David grab the money bags.)
(Max glances at Prue. Prue nods to him. Max looks down and closes his eyes as
he concentrates on the bomb around his waist.)
(Mickey turns and sees Max.)
MICKEY JACKSON: What the hell are you doing?
(The device around Max's waist shorts out and smokes.)
(Prue and Max smile at each other.)
(The overhead alarms start ringing.)
(They look up and find two Bank Guards running toward them.)
GUARD 1: At the vault!
(Mickey pushes Max away from him. Prue grabs Max and pushes him down on the
ground away from the line of fire.)
GUARD 2: Hold it right there!
(Mickey and David head over to their duffle bag where they take out bigger and
more dangerous weapons.)
(Mickey positions the gun getting ready to fire. The two guards have their guns
out and stop to aim.)
(Prue uses her powers and pushes the two guards away just as Mickey starts
firing the automatic rifle at them.)
(The security guard hits the bank desk.)
(Mickey glares at Prue and Max. David aims at them.)
MICKEY JACKSON: Big mistake.
(Prue gets up and looks at Mickey and David. Mickey presses the small hand-held
device. It doesn't work.)
PRUE: Yeah, right back at you.
(Using her powers, Prue knocks the guns out from Mickey and David's hands.)
MICKEY & DAVID: Hey!
(She again uses her powers and pushes both of them back into the vault. They
hit the bank money shelf with a thud.)
(She uses her powers and shuts the vault door on the two thieves. She locks the
vault door.)
(Grabbing Max's hand, Prue pulls him toward the front door.)
PRUE: Come on.
MAX FRANKLIN: Shouldn't we wait for the cops, explain everything?
PRUE: No, look. We cannot explain without telling. And you have to protect
yourself by protecting your secret. And we really need to get back to your dad,
okay?
(Prue and Max head out of the bank.)
CUT TO:
[EXT. MJ'S AUTO HOUSE (STOCK) - NIGHT]
[INT. MJ'S AUTO HOUSE - GARAGE - NIGHT]
(Gordon Franklin is on the ground and bleeding. He rasps for breath consciously
aware that he's dying. In front of him, he sees a bright light appear and grow
brighter and bigger as it gets closer to him.)
(He smiles seeing the magic of the bright light turn into a person.)
GORDON FRANKLIN: (whispers) Paulette?
(Leo appears. Leo walks over to Gordon and kneels down.)
LEO: It's not time to be with your wife, Gordon. It's time to be with your
son.
GORDON FRANKLIN: But ...
(Leo holds his hand over Gordon's chest. His hand gives off a soft, golden glow
as he heals Gordon.)
(When he removes his hand, Gordon's gun wound is gone.)
LEO: Raise the boy well. Heed Prue's advice.
(Leo stands up and slowly backs away.)
(He orbs out, his form turning back into the bright, white light.)
(As he watches, Gordon raises a hand up.)
(The orb light moves out of the garage. Gordon touches his chest where the
wound used to be.)
(The van returns to the garage with Prue behind the wheel. She parks the van.
Max jumps out of the van and rushes over to Gordon.)
MAX FRANKLIN: Dad, you okay?
(Gordon gets to his feet and hugs his son.)
GORDON FRANKLIN: Max. Ohh. Ohh, I'm fine, Max. Thank God. Thank you. You're
all right.
PRUE: But I saw you get ... you're not bleeding.
GORDON FRANKLIN: It's a miracle. Thank you. Thank you for protecting my son.
PRUE: I'm just glad it worked out.
(Gordon kisses Max's head.)
PRUE: Raise the boy well.
(Gordon turns and gives Prue a strange look.)
PRUE: What?
(He looks at Max.)
GORDON FRANKLIN: There's somewhere we need to go. (to Prue) I'd like you to
come with us.
DISSOLVE TO:
[EXT. SAN FRANCISCO CITY (STOCK) - DAY]
[EXT. CEMETERY -- DAY]
(Open on a headstone:
PAULETTE FRANKLIN
BELOVED WIFE AND MOTHER )
(Gordon and Max each place a pink rose tied with a pink ribbon down on the
grave. They're kneeling in front of the headstone. Prue is standing a short
distance away.)
GORDON FRANKLIN: Max, I was so busy being angry at your mother for leaving, for
not telling me her secret, your secret -- it was like a weight on my heart. (He
looks at Max.) I hope you both can forgive me.
(Max turns and hugs Gordon.)
(Over Max's shoulder, Gordon nods at Prue. She smiles at him.)
DISSOLVE TO:
[EXT. HALLIWELL MANOR (STOCK) - DAY]
[EXT. MANOR - ATTIC -- DAY]
(Back in the attic, a small two-car toy train is traveling magically across the
attic floor toward Kit. Kit meows and runs away just as Phoebe and Piper walk
across the attic floor. They chuckle. Phoebe picks up the toy train while
Piper follows her carrying a box of things.)
(Prue looks up at them and smiles.)
PRUE: Can you believe that? Dad's old train.
(Phoebe sits down next to Prue.)
PIPER: I can't believe you. You get mad at me for chasing monsters on my own.
PRUE: Well, I figured that I could handle it when I realized they weren't
demons. But ... I probably should have asked for help.
PHOEBE: Even though that kills you. And it almost did.
PRUE: Live and learn.
PIPER: Yeah, you didn't even get to say good-bye to Leo.
PHOEBE: What is that supposed to mean?
PIPER: I don't know. It's just weird. I felt like he was holding something
back from me.
PRUE: Holding something back, what do you mean?
PIPER: Who knows? It just seemed like he wasn't telling me the whole story,
like he had some secret he was afraid I couldn't handle.
PHOEBE: Well, that's his call.
(At that strange comment, Piper and Prue both look at Phoebe.)
PHOEBE: (hedging) Assuming that he had a secret. Might not have.
PIPER: (chuckles) What are you talking about?
PHOEBE: Okay, okay, you don't have to beat it out of me. Leo is a white
lighter. They're sort of guardian angels for witches, and they're not supposed
to get involved with witches. But Leo couldn't help it. He fell in love with
you, and that broke all the rules and got him in all sorts of trouble. And even
though he'll love you forever, you will probably never see him again.
(There's a moment of silence.)
(Prue starts smiling as she looks at Piper. Piper breaks out into a smile and
starts laughing.)
PIPER: What? Phoebe, that's -- that's the most ridiculous thing I've ever
heard. Oh, god. Don't be so silly.
(Piper throws the doll she's holding at Phoebe.)
PHOEBE: That's me, silly.
PIPER: I'm gonna get some more tea.
(Piper leaves the attic.)
PRUE: You know, Pheebes, with an imagination like that, you should be writing
children's books or something.
(Prue looks at the toy in her hand.)
PHOEBE: No. But I didn't -- I didn't - (She stops.) -- even think of that.
That's a really good idea, Prue.
(Phoebe grabs the toy train and starts to dump it in the get-rid-of box. Prue
quickly puts down the thing she's looking at and grabs the toy train from
Phoebe.)
PRUE: Oh. Oh. That stays here.
PHOEBE: Wait. I thought all of the toys were going to the Salvation Army.
PRUE: Well, like you said, we should save some for our children.
PHOEBE: Do I sense a hormonal shift here?
PRUE: It's no big deal. I've just had some time to think.
PHOEBE: Yeah, in all that spare time of yours.
PRUE: And I realize that I do want kids. I think I'd make a great mom.
(They share a look.)
PHOEBE: So did you save Max or did Max save you?
(Prue looks at Phoebe who smiles back at her. Prue looks down. Phoebe grabs
the box, stands up and leaves.)
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
1X14: SECRETS AND GUYS
ORIGINAL AIR DATE ON WB: 02/17/1999
TRANSCRIBED FROM TNT
Starring:
SHANNEN DOHERTY as Prudence ("Prue") Halliwell
HOLLY MARIE COMBS as Piper Halliwell
and
ALYSSA MILANO as Phoebe Halliwell
T.W. KING as Andy Trudeau
DORIAN GREGORY as Darryl Morris
Created by CONSTANCE M. BURGE
Guest Starring
ROBERT GOSSETT
BRAD TATUM
BRIAN KRAUSE as Leo Wyatt
DAVID NETTER
WILL STEWART
RICHARD CODY
Consulting Producer: JONATHAN LEVIN
Consulting Producer: TONY BLAKE
Consulting Producer: PAUL JACKSON
Producer: SHERYL J. ANDERSON
Coordinating Producer: BETTY REARDON
Supervising Producer: LES SHELDON
Executive Producer: BRAD KERN
Executive Producer: CONSTANCE M. BURGE
Teleplay by: CONSTANCE M. BURGE & SHERYL J. ANDERSON
Story by: BRAD KERN & CONSTANCE M. BURGE
Directed by JAMES A. CONTNER
==========================
END CREDITS
==========================
Executive Producer: BRAD KERN
Executive Producer: AARON SPELLING
Executive Producer: E. DUKE VINCENT
Spelling Television (a subsidiary of Spelling Entertainment Group, Inc.
Spelling Television Inc., A Paramount / Viacom Company
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)
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) 1999 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.
AOL Keyword: The WB
TheWB.com
Dated:01/21/2005~lky
http://www.webphilia.com/~anthology/wnp.html