CHARMED
1X20: THE POWER OF TWO
PROD #4398019
ORIGINAL AIR DATE ON WB: 05/12/1999
TRANSCRIBED FROM WB/TNT
Written by BRAD KERN
Directed by ELODIE KEENE
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
==========================
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==========================
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==========================
SUMMARY: Piper has to go away for a business trip leaving Prue and Phoebe
alone together. The Ghost of Alcatraz makes an appearance and seeks revenge on
those who convicted him thirty-six years earlier.
==========================
CHARMED
1X20: THE POWER OF TWO
==========================
FADE IN.
[EXT. HALLIWELL MANOR (STOCK) -- DAY]
(Establish.)
[INT. MANOR - FOYER/MAIN HALL - DAY]
(Piper turns the corner from the living room into the main hall. She's pushing
her luggage in front of her. Everyone's moving quickly as they're rushed or
late for something. Everyone, except Phoebe.)
PIPER: (rushed) Prue, have you seen my purse?
(Piper heads for the door. She passes Phoebe who is sitting in lotus position
on the main table in the hallway, her legs crossed and hands resting on her
knees, palms upward with thumb and index finger touching in a circle. She
appears to be meditating.)
(Prue walks out of the kitchen and crosses through the dining room.)
PRUE: In the kitchen. Have you seen my keys?
(Piper heads into the dining room as Prue heads for the living room.)
PIPER: They're by the tv.
(Phoebe has her eyes closed. She reaches for the lipstick on the table and
concentrates.)
PIPER: (o.s.) I can't find my plane ticket.
(Phoebe glances down at the lipstick, then puts it aside. She picks up the
photo of the three of them standing in front of the house.)
PIPER: Did I give it to you?
(Piper exits the kitchen, crosses the dining room and heads for the living room.
She passes Prue who is still looking for her keys.)
PRUE: Maybe you packed it.
PIPER: I didn't pack it. I just saw it.
(Phoebe puts the photo down and picks up Piper's plane ticket. She closes her
eyes and concentrates.)
(Quick flash of: [EXT. AIRPORT - DAY] Piper is walking away from the parked
car pulling her luggage behind her. She looks up in the sky and sees her plane
taking off. She sighs.)
(End of premonition. Resume to present.)
PHOEBE: (wonder) I can't believe it. It worked.
(Prue turns around and sees Phoebe with the plane ticket. She grabs the ticket
from Phoebe's hand and gives it to Piper.)
PRUE: Found it.
PIPER: Thank god. Didn't you hear me looking for this? What are you doing on
the furniture?
(Phoebe scrambles off the table.)
PHOEBE: No, you don't understand. I've been practicing how to call a
premonition, and I did it. I saw a future event on command. Oh, and that's the
good news. The bad news is ... I saw you missing your flight.
PIPER: Oh, great. If I don't get to Honolulu for the convention, my boss will
fire me.
PRUE: Well, we can't let that happen, especially since my job is hanging by a
thread as it is.
PHOEBE: Since when?
(Prue picks up the mail off the side table and looks at it.)
PRUE: Oh, since all the demon-hunting time off I've been taking lately.
PIPER: I'm so behind. (Piper grabs the vase and puts it back on the table.) I
didn't go shopping or pay the bills or call the cable guy or cancel my hair
appointment.
PHOEBE: Don't worry about it. I'll do it.
(Phoebe grabs Piper's notebook.)
PIPER: You sure?
PRUE: (answers) Yeah, I mean, you've got time, right? (Phoebe objects to that
remark.) Ok, so, listen. We have stopped Phoebe's premonitions from coming
true before, hopefully we can do it again. Let's go.
(Prue heads for the door. Piper follows.)
PIPER: Ok, but wait, wait, whoa, whoa, whoa. I just realized the two of you
haven't really ever been alone together.
PHOEBE: Piper, we're big girls now. I don't think we need you as a buffer
anymore.
PIPER: All right. Well, what about demon stuff? What if something happens and
you need the Power of Three?
PRUE: Well, then the ... Power of Two will just have to do.
PHOEBE: (chuckles appreciatively) Good one.
(Prue heads for the door.)
PRUE: All right. Let's go. Um, hey, Phoebe, will you pick up my dry cleaning
on the way back from the market, please?
PIPER: Yeah, and talk to the gardeners about the weeds.
PRUE: Oh, and light bulbs. We need light bulbs.
PHOEBE: (annoyed) Sure. I'll just add it to my list.
PIPER: Great. Thanks. Bye.
PRUE: Go, go, go.
(Prue and Piper leave. The door closes behind them.)
PHOEBE: (mutters) I'm not even married and already I'm a housewife.
(The phone rings; Phoebe answers it.)
PHOEBE: (to phone) Hello. Hey, Marianne. Oh, jeez, I completely forgot about
Alcatraz. No, I can't go. I have a million errands to run.
(She looks at the list.)
PHOEBE: (to phone) You know what? I-I'll be right over.
(Phoebe hangs up.)
(She rips the list out of the notebook and crumples it into a ball. She growls
in frustration, then tosses the paper ball aside. She turns and leaves.)
DISSOLVE TO:
[EXT. ALCATRAZ (STOCK) - DAY]
[INT. ALCATRAZ - JAIL CELL -- DAY]
(The Soul Collector floats mid-air in an old cell as she talks with Jackson
Ward.)
SOUL COLLECTOR: You don't seriously plan on spending the rest of eternity
marooned here, do you?
JACKSON WARD: I'll find a way off this rock on my own. Don't worry.
SOUL COLLECTOR: (scoffs) Who are you kidding, Jackson? You've been stuck here
ever since they executed you. Thirty-six long years, trapped between life and
death.
JACKSON WARD: Big deal. (He kicks the can on the ground toward the Soul
Collector.) I've learned how to do things in that time, break the physical
plane ... (He passes through the bars.) -- prepare for my revenge.
SOUL COLLECTOR: Revenge. How ... mortal.
JACKSON WARD: Go to hell.
(He kicks the can again.)
SOUL COLLECTOR: That's what I do, only never alone. I ferry souls there, every
one I can get my little hands on, so to speak.
JACKSON WARD: Yeah, well, you're not gonna get your little hands on this one,
lady, so just forget it.
SOUL COLLECTOR: Don't worry, Jackson, I don't want your soul. I want a
witch's. They're prize catches. Trophies.
JACKSON WARD: So what's that got to do with me?
SOUL COLLECTOR: If you, uh, let me get you off the island to ... get your
revenge, witches will try to stop you. And the only way they can do that is to
become vulnerable to me. Then I'll have them right where I want them.
(She sniffs the air and smells something eagerly. In the background, we hear
voices and footsteps approaching.)
SOUL COLLECTOR: Speaking of witches.
(They hear the loud clanging of the doors opening.)
(Cut to: A tour guide leads a small group into Death Row.)
TOUR GUIDE: Twenty-eight inmates died here, nine while attempting to escape and
four by execution. Legend has it that one of them still haunts the prison to
this very day. "The Ghost of Alcatraz," believed to reside in this very cell.
(Phoebe trails behind the group, pre-occupied.)
TOUR PERSON: The ghost ... oh, geez.
TOUR GUIDE: Uh, let's see if he's in, shall we?
(The Tour Guide opens the cell door. It's the cell that Jackson Ward and the
Soul Collector linger in. The Tour Guide opens the cell door and steps into the
cell. He closes the cell door.)
TOUR GUIDE: Now if you listen closely, you can actually hear the ghost's cries.
Shh.
(The group is quiet as they listen. They only hear the sounds of the howling
wind.)
TOUR GUIDE: There, hear him?
JACKSON WARD: (mutters) What an idiot.
(Phoebe hears him and turns to look.)
SOUL COLLECTOR: Look at him as your get-out-of-jail-free card.
(The Soul Collector holds out her hand and suddenly grabs at the air in front of
her, her fingers clenching. The Tour Guide falls to the floor.)
(Phoebe pushes her way toward the door.)
PHOEBE: Oh, my god! Marianne, call 911, quick!
(Marianne runs. Phoebe grabs the bars and shakes them. She looks at the Soul
Collector and at Jackson Ward.)
PHOEBE: What did you do? Who are you?
JACKSON WARD: You can see me?
SOUL COLLECTOR: Forget her for now. There's your ride off the island. (She
points to the body.) Hop in.
(With a grin on his face, Jackson Ward turns and looks directly at Phoebe.)
PHOEBE: Oh, no. What are you -- No, uh, don't, ohh, ohh!
(Jackson Ward sits and slips into the Tour Guide's body. Phoebe looks up at the
Soul Collector.)
SOUL COLLECTOR: I hope you enjoyed the tour. See ya.
(The Soul Collectors vanishes in fire and flames. Phoebe slowly turns around to
look back at the crowd behind her. Embarrassed and freaked especially since
they didn't see the ghost.)
PHOEBE: Unh ...
(Phoebe points back to the empty cell. She steps away from the cell door.)
PHOEBE: Ooh.
FADE TO
END OF TEASER
ROLL TITLE CREDITS
(COMMERCIAL SET)
FADE IN.
[EXT. ALCATRAZ (STOCK) -- DAY]
[INT. ALCATRZ - HALLWAY - DAY]
(The Coroner zips up the body bag with the dead Tour Guide inside. He buckles
the bag to the gurney.)
(An officer hands the Tour Guide's hat to the Coroner and he places the hat on
the body bag. The Coroner wheels out the body.)
(Officers interview the members of the tour group. Phoebe is being interviewed
when the body is wheeled out past her.)
(When they're done, Phoebe walks over to Marianne and they leave together.)
CUT TO:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]
[INT. BUCKLAND AUCTION HOUSE - DAY]
(Prue is in Claire Pryce's office.)
CLAIRE PRYCE: In all honesty, Prue, if it weren't for you, I'm not sure the
auction house would have been able to stave off bankruptcy.
PRUE: Thank you.
CLAIRE PRYCE: Oh, don't thank me yet. Now, I have tolerated your unexplained
absences and the endless family emergencies, but no more. Buyers interested in
purchasing Buckland's will be visiting in the next two days and it's important
that we make a big impression. It's important that you ... make a big
impression if you expect to keep your job. Do I make myself clear?
PRUE: Perfectly.
(Monique opens the door. Talk about bad timing.)
MONIQUE: I'm sorry, Prue, but your sister's on the phone.
PRUE: Uh, I'll call her back.
MONIQUE: She says it's an emergency.
(Prue turns and looks at Claire.)
CUT TO:
[INT. MANOR - CONSERVATORY - DAY]
(Phoebe sits in front of the laptop as she's on the phone.)
PHOEBE: Hey, have you ever heard of "The Ghost of Alcatraz"?
INTERCUT WITH:
[INT. BUCKLAND AUCTION HOUSE - RECEPTION - DAY]
PRUE: Are you kidding me? This is why you pulled me out of a meeting?
PHOEBE: No, Prue, you don't understand. I think the ghost really exists.
PRUE: Did you see it?
PHOEBE: Uh ... no. Of course not. I mean, how could I? I wasn't at Alcatraz.
I had way too much work around here to do.
PRUE: So then what makes you think there was a ghost?
PHOEBE: Uh, my friend saw it. Marianne. You know Marianne. Actually, she
thinks she saw two ghosts, or the other one may be something else, she's not
really sure.
PRUE: Phoebe --
PHOEBE: What? Witches aren't the only people that can see ghosts. Normal
people can, too.
(Prue looks over and notes that Claire has just opened her office door and is
standing there watching Prue on the phone.)
PHOEBE: Anyway, I did some research, and I found out that some evil spirits
need a dead body to transport them across water.
PRUE: Um, okay, um, look, I am really sorry that the furnace exploded ...
PHOEBE: What?
PRUE: But you're just going to have to handle it on your own, okay?
PHOEBE: Okay, Prue, but if this ghost is on the mainland--
PRUE: (quietly) Don't forget to buy tampons at the market.
(Prue hangs up.)
PHOEBE: Hello?
(Prue turns around and looks at Claire.)
PRUE: Just, uh ... boom! (She stomps her foot twice on the floor.) Singed
eyebrows.
(Cut to: Phoebe hangs up.)
CUT TO:
[EXT. POLICE STATION (STOCK) - DAY]
[INT. POLICE STATION - BULLPEN -- DAY]
(Andy sits at his desk. Darryl walks in with a file box.)
DARRYL MORRIS: Did you take some of the old case files home with you, by any
chance, Andy?
ANDY: No. Why?
DARRYL MORRIS: Missing a couple. Hope the captain's not reviewing them.
(Darryl notes Andy's pensive mood as he sits down at his desk.)
DARRYL MORRIS: You want to talk about it?
(Andy puts his feet down from the desk and sits up in his chair.)
ANDY: Talk about what?
DARRYL MORRIS: About why you've been walking around here like a zombie lately.
Like ever since you ran into Prue again. Come on ... what's up?
ANDY: I wish I could tell you, I really do. I just have to work things out on
my own first.
(Inspector Blakely walks in with a file folder in her hand.)
INSPECTOR BLAKELY: Ok, you guys are the experts on the freaky cases. Figure
this one out. (She pulls up a chair and sits down.) Victim was stabbed
thirteen times in the chest. Circular pattern. C.S.I. combed the scene, and
other than the knife, found no evidence. Except, check this out.
(She opens the file and takes out a photo of the knife with a thumbprint on the
handle.)
ANDY TRUDEAU: Solid thumbprint.
INSPECTOR BLAKELY: Yeah, but we didn't get it from dusting. We got it from
fluoroscoping.
(Andy hands the photo to Darryl.)
DARRYL MORRIS: Ultraviolet fingerprint. Never heard of that.
INSPECTOR BLAKELY: We ran the print. This is where it gets freaky. It matches
up to Jackson Ward, the serial killer that was executed at Alcatraz thirty-six
years ago.
(She hands a photo of Jackson Ward to Andy.)
ANDY: You sure about this?
INSPECTOR BLAKELY: Checked it twice.
DARRYL MORRIS: Dead guy's prints on the murder weapon. That's got to be a
mistake.
(Andy thinks about it for a moment, then suddenly gets an idea. He's all
motion.)
ANDY: Can I borrow this?
(Andy stands up and leaves with the file folder.)
INSPECTOR BLAKELY: (surprised) Whoa. Where you going?
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - NIGHT]
[INT. MANOR - KITCHEN - NIGHT]
(Prue walks into the kitchen, the door closes behind her.)
PRUE: Phoebe, I'm home!
(She puts her purse and keys on the table. She stops when she sees the sink
full of dirty dishes. She sighs.)
(She reaches for the refrigerator and opens the door. It's bare.)
PRUE: Ohh ...
(She shuts the refrigerator door, turns and looks for ... )
PRUE: Phoebe?
(She walks out of the kitchen.)
[INT. MANOR - CONSERVATORY - NIGHT - CONTINUOUS]
(Prue sees Phoebe in the Conservatory. She's still in front of the laptop.)
PRUE: Phoebe, you didn't go to the market yet?
PHOEBE: Uh, no, I sort of got side-tracked with this ghost research. Besides,
there isn't enough money in the household account.
PRUE: Well, you should have told me. I would have had some transferred in.
What about the dry cleaning?
PHOEBE: (sighs) Uh, I'll ... do it tomorrow, I swear.
PRUE: Oh, I wanted to wear that suit to work tomorrow.
PHOEBE: Look, I know that I promised, but this just sort of seemed more
important. We're not going to get into a fight already, are we? I mean, I
wouldn't want to prove Piper right.
(The doorbell rings.)
(Prue answers the door.)
PRUE: Andy, hi.
ANDY: Hi.
PRUE: I was wondering if I'd see you again. I thought that maybe you were mad
at me.
ANDY: No. I just needed some space. It's one thing to suspect what your
secret was, it's another thing to actually see it with my own eyes.
PRUE: So does that mean that maybe you're okay with it?
ANDY: Uh, actually I'm here on a case. (He shows her the file.) Uh, the kind
of case where, frankly, before, I probably would have been looking for a more
logical explanation.
PRUE: Well come on in.
(Andy steps into the house. Prue closes the door and leads him into the next
room.)
PRUE: So ... what's the case?
(Prue takes off her jacket as Andy explains. In the back, Phoebe works on the
laptop.)
ANDY: The son of a former D.A. was brutally murdered. The only quote/ unquote
"evidence" points to the last man executed on Alcatraz before it was closed
down.
PHOEBE: (o.s.) Jackson Ward.
ANDY: How'd you know that?
PRUE: Yeah, how did you know that?
(Phoebe joins them.)
PHOEBE: I told you I was trying to figure out who "The Ghost of Alcatraz" was,
remember? Jackson Ward's name was at the top of the list.
ANDY: Ghost?
PHOEBE: Yeah. Hey, what's that?
(He shows them the photo of the knife.)
ANDY: Ultraviolet fingerprint, although technically, there is no such thing.
PHOEBE: Could be the ghost's ectoplasm. It's outside the visual spectrum.
(Phoebe turns to Prue.)
PHOEBE: (under her breath) Book of Shadows.
ANDY: Ectoplasm?
PHOEBE: Yeah. That's the ghost's skin. Hey, do you have a picture of this Ward
guy?
(Andy shows her Jackson Ward's photo. She recognizes him.)
PHOEBE: Yep! That's him. (Prue looks at Phoebe. Phoebe tries to cover.)
Exactly how Marianne described him to me. Amazing.
(Phoebe hands the photo back to Andy.)
PRUE: Very.
PHOEBE: And what about this former D.A.'s son -- did Ward know him?
ANDY: Ward knew his father. He was the prosecutor who convicted him.
PHOEBE: Coincidence? I think not. (to Prue) It's gotta be the ghost who got
off Alcatraz.
(Andy quietly walks over to the side, his arm up against the door frame, his
back to the girls.)
PRUE: You know, speaking of coincidences, don't you think it's an awfully big
one that your friend saw this ghost?
PHOEBE: Yeah, Prue, if we've learned anything by now, it's that there are no
coincidences, right?
PRUE: Right.
PHOEBE: Right.
PRUE: Andy, you okay?
(He turns around and takes a deep breath. He looks overwhelmed by it all.)
ANDY: I don't know. Just getting used to the idea of demons and witches. I
don't know if I'm ready for ghosts, too.
PHOEBE: You ain't seen nothing yet.
PRUE: Pheebs.
ANDY: But if you're right, if it is the ghost of Jackson Ward who's the killer,
how do I stop him from killing again?
(Phoebe turns and looks at Prue.)
CUT TO:
[EXT. COURTHOUSE - NIGHT]
[INT. JUDGE RENAULT'S OFFICE -- NIGHT]
(Judge Renault sits at his desk working when Jackson Ward steps into the office
through the front door. He reaches out and turns the light off.)
(Judge Renault reaches out and turns on his desk lamp. Jackson Ward steps
deeper into the office closer to the Judge.)
JACKSON WARD: Judge Renault. Long time no see.
(He chuckles.)
JACKSON WARD: You could have shown some mercy, given me ... life in prison, but
... you wanted me put to death.
(The Judge continues to work.)
(Jackson Ward picks up the Judge's Nameplate and slowly lifts it up. The judge
sees the nameplate floating and is alarmed.)
JUDGE RENAULT: Uh ... uh ... what's going on?
(The Judge stands up and slowly backs away from the desk. Jackson Ward drops
the name plate on the desk. The Judge looks around.)
JUDGE RENAULT: Who -- who's there? Ohh ...
(Jackson Ward grabs the Judge by his tie, choking him.)
JUDGE RENAULT: Aah! Unh.
JACKSON WARD: Do you have any idea how long it takes to die in the gas chamber
and how much you suffer?
(In the mirror's reflection, we see that there's no one choking the Judge.)
JACKSON WARD: What a cruel and horrible death it is?
(The Judge continues to choke.)
JACKSON WARD: Your honor.
(Jackson Ward looks on the desk and picks up a letter opener. He holds the
letter opener in front of the Judge. The Judge sees it and his eyes widen.)
(Jackson Ward stabs the Judge. He drops the Judge to the floor, then moves in
and kneels over the Judge.)
(The Soul Collector flames into the Judge's chambers. She sits on the desk.)
SOUL COLLECTOR: I helped you get your ... revenge. Now it's your turn to help
me get a witch.
JACKSON WARD: (laughs) Are you kiddin', lady? I'm just gettin' started.
(Jackson starts stabbing the Judge. The Soul Collector waits.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. COURTHOUSE (STOCK) - DAY]
[INT. JUDGE RENAULT'S OFFICE -- DAY]
(A photographer snaps a couple of photos of Judge Renault dead on the floor.
Darryl Morris and Andy kneel near the body.)
DARRYL MORRIS: Thirteen stab wounds, circular pattern. Just like the other
victim.
ANDY: Matches Jackson Ward's M.O., too.
DARRYL MORRIS: Must be a copycat killer.
ANDY: (chuckles) How would he know? The M.O. was never released to the
public.
(An Officer walks past them carrying the bagged murder weapon. Andy gets to his
feet.)
ANDY: Can I see that?
OFFICER: Already dusted for prints. Nothing.
(The Officer puts the knife on the desk. Andy looks down at the knife.)
ANDY: Did you fluoroscope it?
OFFICER: What?
(Andy gets the fluoroscope and shines the light on the knife. They finds
several prints.)
OFFICER: What the hell is that?
ANDY: Don't ask.
(Andy turns and quietly talks to Darryl.)
ANDY: Ten bucks says it matches Ward's.
(Darryl leads Andy off to the side.)
DARRYL MORRIS: (quietly) Andy, don't go jumping off the deep end on me here,
ok? Jackson Ward is dead. Been that way for a long time.
(They walk out of the Judge's chambers.)
ANDY: Well, somebody's going around killing people or the descendants of people
who put him away.
(Andy turns and heads back into the office.)
DARRYL MORRIS: Wait. Where you going?
(Andy grabs his coat and briefcase.)
ANDY: Look. Have someone put together a list of potential victims. Anybody
who had anything to do with his conviction.
(Andy walks past Darryl and out the door.)
DARRYL MORRIS: Andy, wait, wait!
CUT TO:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]
[INT. BUCKLAND AUCTION HOUSE - CLAIRE'S OFFICE -- DAY]
(Three Japanese businessmen in black suits and varying colored ties stand in the
hallway. They all glance down at their wrist watches at the same time.)
(Claire frowns at the motion, then smiles reassuringly to them.)
CLAIRE PRYCE: I'm sure Prue will be here shortly. She has a lot of ... (Claire
glances at her watch.) ... family emergencies.
(Prue walks into the office.)
PRUE: Oh, Claire, I am so sorry.
CLAIRE PRYCE: (interrupts) Let me introduce you. This is Mr. Yakihama, head
of acquisitions. Mr. Yakihama, this is Prue Halliwell. One of our top
specialists ..
(They shake hands.)
PRUE: Hi. Nice to meet you, sir.
MR. YAKIHAMA: Nice to meet you, too. I trust everything is all right with your
family?
PRUE: Ohh ...
(The door opens and Monique walks in.)
MONIQUE: Excuse me, Prue ...
PRUE: (mumbles) Not now, Monique.
(Andy appears behind Monique.)
CLAIRE PRYCE: (to Andy) May I help you?
ANDY: Yeah. I need to see Ms. Halliwell. It's police business.
(He shows Claire - and everyone - his badge. Prue turns and looks at the
investors. It's not a good thing. Gritting her teeth, she smiles.)
PRUE: Excuse me.
(She and Andy step out of the office.)
PRUE: Are you trying to get me fired?
(Monique closes the office door and leaves.)
ANDY: I think Jackson Ward has killed again, Prue.
PRUE: (nods) Great. That's great. Why don't you just wait here a second?
I'll take care of everything.
(Prue opens the door and steps back into the office.)
PRUE: Hi ...
(She closes the door behind her.)
FADE OUT.
(COMMERCIAL SET)
FADE IN.
[EXT. HALLIWELL MANOR (STOCK) - DAY]
[INT. MANOR - ATTIC -- DAY]
(Phoebe is flipping through the Book of Shadows, a legal pad clutched in her
arms. Downstairs, she hears the front door slam shut.)
PRUE: (o.s.) Phoebe?
PHOEBE: (shouts) Yeah, I'm up in the attic!
(Prue walks into the attic. Andy follows her, looking around the place with
curiosity as he follows.)
ANDY: I was wondering what was up here.
(Phoebe sees Andy and she steps in front of the Book of Shadows, trying to hide
it from him.)
PHOEBE: Prue, the B-book of Sh-shabb-bbababows?
PRUE: No, no, no, I already told him about it. Look, Jackson Ward has killed
again. We have to figure out a way to stop him. Have you found anything?
PHOEBE: (sighs) Not really. I mean, there's just so many references in here.
There's ghosts, poltergeists, evil spirits, phantasms -- we are not dealing with
a typical demon.
(She shows Prue the Book. Andy walks around behind them, looking at the Book
over their shoulders. He's very quiet.)
PRUE: Yeah, well, there has to be something in here about vanquishing an evil
spirit.
(Prue steps away from the Book. Phoebe also steps away from the Book leaving
Andy with the Book.)
PHOEBE: Well, actually, there is one spell, but I don't think we're gonna want
to use it.
PRUE: Why not? I mean, if it needs the power of three, we can always call
Piper, right, and--
PHOEBE: No, that's not the problem. The problem is, an evil spirit can't be
vanquished on the physical plane, only the astral plane ... his plane.
PRUE: Okay, so then how do we say the spell?
PHOEBE: Well, our spirits would have to say it. Meaning one of us would have
to die for it to actually work.
PRUE: Keep looking.
PHOEBE: Right.
(Phoebe and Prue turn to look at Andy. He sighs, stunned by what he's seeing.
It seems a bit much for him to swallow.)
ANDY: Whew! I've always believed there was another world, behind or beyond
this one. I even sort of believe in demons. But I have never in my wildest
dreams ... I could never have imagined that this existed.
PRUE: Yeah, neither did we. But we've come to believe that there's a reason
for why that world was opened up to us. Which means there's probably a very
good reason why it was opened up to you, too.
PHOEBE: Welcome, to our little shop of horrors.
(They share nervous laughter.)
(A gust of wind swooshes through the attic flipping the pages of the Book of
Shadows in front of Andy. Andy jumps back in surprise.)
ANDY: Whoa! Are you doing that?
PRUE: No. It just sometimes does it on its -- own.
(The flipping stops on "The Truth Spell". Andy leans in and reads it.)
ANDY: "The Truth Spell"?
PHOEBE: (to Prue) It's weird that it would open up to that page, with Andy
standing right here?
(Andy looks at them. Prue flips the pages of the Book of Shadows to cover ...
and to lose the Truth Spell.)
PRUE: Ok, now, wait. It has to be a mistake, Phoebe.
(Phoebe flips back to the spell.)
PHOEBE: Or maybe there's a reason, Prue.
(Andy leans forward and looks at the spell again.)
SHORT TIME CUT TO:
[INT. MANOR - STAIRS TO MAIN HALL - DAY – LATER]
(Andy rushes down the stairs.)
ANDY: You did WHAT last year?
(Prue follows him down the stairs.)
PRUE: Look, I just wanted to see how you would react to finding out I was a
witch.
ANDY: So you cast a truth spell on me? Why didn't you just ask?
PRUE: Oh, because I was afraid you'd freak out on me?! -- which is exactly what
you did, by the way. You just don't remember. Part of the spell.
(Andy stops. Something occurs to him.)
ANDY: Wait a minute. My reaction to your being a witch isn't the reason we
stopped seeing each other, is it?
PRUE: You're the one who wanted to stop seeing me first.
ANDY: Because you wouldn't tell me what your secret was.
PRUE: Yeah, which turned out to be a good thing considering how you reacted.
ANDY: Freaked out.
PRUE: Exactly. Kind of like what you're doing right now.
ANDY: You haven't answered my question. Did that have anything to do with why
we stopped seeing each other?
PRUE: Sort of. (He looks at her.) Ok, yeah, it did.
ANDY: And just out of curiosity, how much time did you give me to react,
anyway?
PRUE: Why? What difference does it make?
ANDY: How much time?
PRUE: A minute ... or two.
ANDY: A minute?
PRUE: Or two! It--it--it was just a 24-hour spell, all right? I was against
the clock.
ANDY: And that's what you based your entire decision about us on? Prue, I've
had a week to react to it this time. I still don't know how I feel. You should
have given me more time. I think I deserve that. I think we deserve that.
(Prue falls silent.)
(Phoebe rushes down the stairs, interrupting them.)
PHOEBE: Hey, you guys, since we don't know how to vanquish the ghost, we have to
try to stop him from killing his next ... (she looks at both of them) ...
victim. Am I interrupting something?
(Prue turns to look at Phoebe. Andy answers for them.)
ANDY: No, we're done.
(Prue turns and looks back at Andy.)
ANDY: What do you mean, stop him from killing his next victim? How do we do
that?
PHOEBE: I have a power, too, you know.
(Andy smiles.)
CUT TO:
[EXT. POLICE STATION (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - EVIDENCE LOCK-UP -- NIGHT]
(The door opens; Andy walks in. He shuts the door behind him.)
ANDY: Excuse me. (He flashes his badge.) Inspector Andrew Trudeau. I need
the murder weapon for case R-13658.
(The officer pushes a clipboard toward Andy.)
OFFICER: Sign that, and I'll go get it.
(The officer goes to the back and returns with an envelope. Andy signs the
clipboard and the officer hands the envelope to him.)
(Andy looks inside the envelope and takes out the bagged murder weapon. He
looks at it, failing to notice the Officer's attention on him.)
ANDY: Thanks.
(Andy turns and leaves.)
(The Officer turns around, picks up the phone and makes a call.)
OFFICER: (to phone) Yeah. You told me to call if Trudeau showed. (He glances
up at the security camera; it's light blinking.) Yeah. He just left.
CUT TO:
[INT. POLICE DEPARTMENT - BULLPEN -- NIGHT]
(Andy enters the bullpen. He smoothes over his pocket with the weapon inside.
He walks over to Darryl.)
ANDY: You got the list of potential victims yet?
DARRYL MORRIS: Still working on it. It's a lot of names, especially when you
add in the descendants. (Andy reaches for the list of names. Darryl eyes
Andy.) Where you been?
ANDY: You don't want to know.
DARRYL MORRIS: Really? Try me.
ANDY: Maybe later, ok? Look, I gotta go. I'll take what you got so far, I'll
check back with you later.
(Andy turns to leave; Darryl grabs his arm and stops him.)
DARRYL MORRIS: Whoa, whoa. We're partners, Andy. That means we work together.
ANDY: I know. But this is an exception.
(Andy turns and leaves.)
INSPECTOR RODRIGUEZ: (o.s.) Inspector Morris?
(Darryl turns around to find Rodriguez and Anderson stepping out from the office
behind him.)
INSPECTOR RODRIGUEZ: Inspector Rodriguez and Anderson, Internal Affairs. We
need to talk to you about your partner.
CUT TO:
[INT. CAR (PARKED) -- NIGHT]
(Andy slips into the car alongside Prue and Phoebe. He closes the door.)
ANDY: Ok, I got it. (He hands the bagged knife over to Phoebe.) That's what
Ward used to kill the Judge. How exactly is this gonna work again?
PHOEBE: Well, I've been practicing calling my power, and if the psychic energy
is strong enough on this, I should be able to see a future event.
PRUE: Hopefully, Jackson Ward's next victim.
PHOEBE: If we're lucky. It doesn't always work.
(Phoebe holds the knife and concentrates. She takes a breath and gets hit with
a premonition.)
(Quick flash of: Iris Beiderman is on the floor and screaming. She falls back
in fear as Jackson Ward raises the knife to stab her.)
(End of premonition. Resume to present.)
PHOEBE: Oh, my god.
PRUE: Are you all right?
PHOEBE: I, uh, I didn't just see it, Prue, I felt it -- her pain, her terror.
ANDY: Anyone of these look familiar?
(Andy shows Phoebe the stack of photos. Phoebe goes through them and finds the
next victim.)
ANDY: Iris Beiderman. The foreperson on the jury that convicted him.
(Prue turns around and reaches for the ignition.)
CUT TO:
[EXT. BEIDERMAN RESIDENCE - NIGHT]
[INT. BEIDERMAN RESIDENCE - LIVING ROOM -- NIGHT]
(Iris Beiderman screams. In front of her, she sees a knife floating in the air.
She screams again and faints.)
(Jackson Ward leans in close, the knife clutched in his hand.)
(The door bursts open. Andy, Prue and Phoebe rush into the apartment. Jackson
Ward looks up.)
(Andy looks around. He doesn't see Jackson Ward. Phoebe rushes forward and
kicks the knife out of his hand. Jackson looks at Phoebe.)
JACKSON WARD: You again.
PRUE: (surprised) "You again"? What, you two have met?
(Jackson reaches for the knife.)
PHOEBE: Knife!
(Prue motions and the knife slides along the floor. It stops in front of Andy.)
ANDY: (looking around) Where is he? Is he still here?
PRUE: (points) Yeah, he's right there. Point him out, Prue.
(Jackson walks over to Iris Beiderman.)
JACKSON WARD: You can't keep saving her forever.
ANDY: Prue, what's going on?
JACKSON WARD: Or the others. Or yourselves.
ANDY: Prue?
(Jackson Ward turns and leaves the room. They watch as he walks through the
wall. Andy, confused, still looks around.)
FADE OUT.
FADE IN.
[EXT. HALLIWELL MANOR (STOCK) -- NIGHT]
[INT. MANOR - FRONT DOOR/FOYER - NIGHT]
(The front door opens. Prue and Phoebe walk in in the middle of an argument.)
PRUE: I cannot believe you lied to me, and I cannot believe I had to hear about
it from a ghost.
(Prue takes off her jacket and hangs it up.)
PHOEBE: I already apologized for that, okay?
PRUE: I just don't understand why you couldn't tell me the truth, especially
about something as stupid as going to Alcatraz.
PHOEBE: I didn't tell you the truth, because I knew you'd go ballistic. And I
thought that I would save myself the drama!
PRUE: Why would I go ballistic over that?
PHOEBE: Come on, Prue, give me a break. Just admit it. Why are you really mad
at me?
PRUE: Because you lied to me.
PHOEBE: No. You're really mad at me because as far as you're concerned, I was
slacking off yesterday, which is pretty much what I do every day. Right?
PRUE: Where is this coming from?
PHOEBE: It's coming from the fact that I know that you're really pissed because
I didn't do the grocery shopping or pick up your dry cleaning or whatever else
you put on that stupid list.
PRUE: I am sorry that I ask you to do things around the house because I have to
work.
PHOEBE: Aha. See? Time it, ladies and gentlemen. It took a whole sixty
seconds before the "w" word reared its ugly head.
PRUE: What are you talking about?
PHOEBE: I'm talking about how you and Piper just automatically assume that I'll
take care of the house because I don't have a real job.
PRUE: That is not true.
PHOEBE: Oh, no? Prue, when was the last time you went grocery shopping or
vacuumed the house or waited all day for the cable guy to show up? Which, by
the way, if I were paid by the hour, I'd be a millionaire by now.
PRUE: I cannot believe how you're turning this around.
PHOEBE: And I cannot believe how you're pretending that you don't have a
problem.
PRUE: I don't.
PHOEBE: Ok. Well, you know what? You just proved my point. My other point.
Which is that I get absolutely no credit for all that I do around here. It's
just assumed that I'll do it. Like that crack that you made to Piper yesterday
morning. "Don't worry, Piper, Phoebe'll do it. She's got time."
PRUE: You do.
PHOEBE: Yes! And that is exactly my point. My main point. You are mad at me
because I don't work.
PRUE: Ok, maybe you're right.
PHOEBE: And that's why I lied to you.
(The phone rings. Phoebe answers it.)
PHOEBE: (to phone) Hello.
INTERCUT WITH:
[PIPER - IN HAWAII -- NIGHT]
(Piper sits in a large wicker chair waiting for her drink.)
PIPER: (to phone) Hey, Phoebe. How's it going?
PHOEBE: (to phone) Hey, Piper, how's Hawaii?
PIPER: (to phone) I don't know. I haven't stopped working since I got off
the plane.
PHOEBE: (to phone) Sure, rub it in.
PIPER: (to phone) Excuse me?
PHOEBE: (to phone) Uh, nothing. Hey, can I call you back? I'm sort of in the
middle of something right now.
PIPER: (to phone) Sure. I just wanted to make sure you guys were all right.
Do you miss me?
PHOEBE: (to phone) More than you know, sweetie.
PIPER: (to phone) Good. I love you.
PHOEBE: (to phone) We love you, too.
PIPER: (to phone) Bye.
PHOEBE: (to phone) Bye.
(Phoebe hangs up.)
PRUE: Hmm. Why didn't you tell her about Jackson Ward?
PHOEBE: Why worry her? The Power of Three can't vanquish him. It's up to us.
PRUE: Look ... Phoebe, obviously we have some issues to deal with, but they're
not going to be resolved overnight. So, in the meantime, we need to figure out
a way to stop Jackson Ward before he hurts any more innocent people, okay?
PHOEBE: I agree.
PRUE: Okay. So did we actually just ... reach a compromise?
(Phoebe looks away. Prue shakes her head and turns to leave.)
CUT TO:
[EXT. POLICE STATION (STOCK) - NIGHT]
[INT. POLICE DEPARTMENT - BULLPEN -- NIGHT]
(Iris Beiderman sits in the chair looking stunned. Andy walks in with an
Officer.)
ANDY: (to Officer) Just give me a second.
OFFICER: You got it.
(Andy walks over to Iris Beiderman.)
ANDY: We're gonna put you up in a hotel for a little while, Mrs. Beiderman,
under police protection. At least until we catch whoever is trying to hurt you.
Okay?
IRIS BEIDERMAN: Okay. (She stands up to leave, but turns around to look at
Andy.) I'm not crazy, am I? You--you saw it, too, didn't you?
ANDY: Yeah, I did. But let's just keep it our little secret for now, okay?
(Darryl walks into the bullpen in time to see Iris Beiderman walk away from
Andy. The female Officer steps forward toward Mrs. Beiderman. Andy turns back
to his desk. Darryl walks over to him.)
(Andy throws a file over the victim sheet on Iris Beiderman.)
(Darryl sits on the desk. He sees the movement.)
DARRYL MORRIS: Who was that?
ANDY: Someone who got attacked.
DARRYL MORRIS: Attacked?
(Darryl lifts up the folder and picks up the victim sheets under it as he fires
questions at Andy.)
DARRYL MORRIS: By who? Why? Iris Beiderman, the jury foreperson who helped
convict Ward. Now how about that?
ANDY: Look, Morris--
DARRYL MORRIS: Don't "look, Morris," me, man. You go flying out of here with
that file, you just happen to come back with somebody in that file, who just
happened to have been attacked. Want to tell me what's going on?
ANDY: I told you, I can't, okay? I'm sorry.
(Andy grabs his things and turns to leave.)
DARRYL MORRIS: (mutters) Fine. Whatever. It's your funeral.
(Andy stops and turns back to Darryl.)
ANDY: What's that supposed to mean?
DARRYL MORRIS: They told me not to say anything to you.
ANDY: Who did?
DARRYL MORRIS: Internal Affairs. They got you in their cross-hairs.
Interviewed me for over two hours. Wouldn't tell me what it was about. Asked a
lot of questions about you. (quietly) Watch your back, bro.
(Darryl brushes past Andy and leaves. Camera holds on Andy.)
CUT TO:
[INT. MANOR - KITCHEN -- NIGHT]
(Prue and Phoebe sit side-by-side at the table reading the Book of Shadows.)
PHOEBE: Oh, well, it's the same story. One of us has to literally die in order
to vanquish the evil spirit. Any volunteers?
PRUE: Actually, maybe. But before that, we need to figure out a way to find
Ward first. I mean, we can't count on your seeing his next victim even though
Andy left us the letter opener to try.
PHOEBE: Wait a minute. I think that there's something in here about luring
evil spirits. (Phoebe flips through the pages.) A potion. (She finds it.)
"To lure an evil spirit." (reading) "Mix equal parts of mercury and acid with
the blood of one of the spirit's victims and pour it over his grave." Okay,
that's disgusting.
[Note: The full page reads:
"To Lure an Evil Spirit"
Mix equal parts of mercury and acid with the blood of one of the Spirit's
victims. Pour it over the grave of the one who is evil. Leaving an epistle of
your name and a counterfeit of your face, he will seek thee out for revenge."]
PRUE: All right, we can get the blood from the letter opener, but how are we
going to find Ward's grave?
PHOEBE: You know what? (Phoebe picks up her legal pad.) I read on the web his
ashes were interred at his family mausoleum in Palo Alto.
(She puts the pad down.)
PRUE: Great. It just might work.
PHOEBE: Yeah. And if it does work ... he'll be coming after us.
CUT TO:
[EXT. MAUSOLEUM - PALO ALTO - NIGHT]
[INT. MAUSOLEUM (PALO ALTO) -- NIGHT]
(Phoebe and Prue slowly walk through the hallway. It's very dark and spooky.
The only light they have is from the flashlight Phoebe's holding.)
PRUE: Ohh, I hate cemeteries at night.
PHOEBE: I hate cemeteries at day. (There's a loud thump that startles the
girls.) (spooked) What was that?
PRUE: Uh ... huh. Probably a zombie or vampire.
PHOEBE: Great. Where's Buffy when you need her.
PRUE: (points) Ah, ok, perfect. There it is.
(They find the nameplate:
JACKSON WARD
1920 - 1963 )
PRUE: Jackson Ward. (She holds out her hand.) Do you have the picture?
(Phoebe digs into her jacket pocket and pulls out the picture.)
PRUE: "Hey, Jackson, let's party"?
(The writing on the bottom of the Polaroid reads:
HEY JACKSON, LET'S PARTY!
1329 PRESCOTT ST. )
(Prue puts the photo up on the nameplate.)
PHOEBE: Ok. Well, I couldn't think of anything else to write. (sighs) Could
we just do this and hurry?
PRUE: Ok.
(Taking the goblet, Prue throws the mixture on the nameplate. It starts to
sizzle and smoke.)
PRUE: Oh. Hmm.
PHOEBE: Ok. Ok.
PRUE: All right.
PRUE/PHOEBE: Yeah, let's go. Oh!
(They both turn and run out the way they came leaving the photo at the
nameplate.)
CUT TO:
[EXT. SAN FRANCISCO TRANSPORTATION ANNEX (EMBARGO YARD) -- NIGHT]
(A Transportation Worker wearing a blue hard hat opens the door to his truck.
When he closes the door, we see Jackson Ward approaching him from behind.)
(Suddenly, Jackson Ward clutches his chest in pain.)
JACKSON WARD: Aah!
(Cut to: [INT. MAUSOLEUM (PALO ALTO) -- NIGHT] The acid eats away at the
lettering on the grave nameplate.)
(Cut back to: JACKSON WARD clutches his chest in pain.)
JACKSON WARD: Aah! Aah!
(He opens his shirt and sees his chest bubbling as if acid is eating away at it.
He looks and cries out.)
(The Soul Collector flames into the area sitting on a wire cage. She watches
Jackson Ward for a moment. He looks up at her.)
JACKSON WARD: What's happening?
SOUL COLLECTOR: Witchcraft. Sucks, doesn't it? You should have helped me get
to them before when I asked.
JACKSON WARD: How do I get them now?
SOUL COLLECTOR: Visit your grave.
(Jackson Ward turns and leaves. The Soul Collector flames out.)
CUT TO:
[INT. POLICE STATION - BULLPEN -- NIGHT]
(Andy unlocks the bottom drawer of his desk and takes out a thick accordion file
folder.
CONFIDENTIAL
HALLIWELL, PRUE )
(He puts it on the desk and opens it. He adds photocopies of an article, "Black
Magic and Witchcraft".)
(He tucks the file folder into his bag and buckles it shut. He closes the desk
drawer, grabs his stuff and stands up.)
CUT TO:
[EXT. POLICE STATION - STAIRS - NIGHT - CONTINUOUS]
(Andy walks out the door and heads down the stairs. He's on his cell phone with
Prue's answering machine.)
PRUE: (answering machine) (from phone) Hi, we're not home. You know the
drill.
ANDY: (to phone) (quietly, urgently) Prue, it's Andy. I gotta give you
something. Gotta get it out of here. I'll explain when I get there.
(He hangs up.)
(On the bottom of the stairs, Inspectors Rodriguez and Anderson wait for him.)
INSPECTOR RODRIGUEZ: Inspector Trudeau? Internal affairs. Let's talk.
(Andy walks down the stairs with them.)
FADE OUT.
FADE IN.
[INT. POLICE STATION - I.A. OFFICE -- NIGHT]
(Andy sits at the desk as he's being questioned by Inspectors Rodriguez and
Anderson.)
(Rodriguez reads from a file folder.)
INSPECTOR RODRIGUEZ: Series of women murdered with an occult knife. Prime
suspect--missing. Series of victims with curious holes burned in their
forehead. Prime suspect -- missing. Victims found in a locked room with every
bone in their bodies broken. Victims literally scared to death. The list goes
on and on. You know what they all have in common?
ANDY: (glances impatiently at his watch and sighs) We've been through this all
ready.
INSPECTOR RODRIGUEZ: They're all unsolved cases, Trudeau, and they're all yours
and Morris'.
ANDY: We've solved plenty of other cases.
(Anderson tosses another file folder on the desk.)
INSPECTOR ANDERSON: But you haven't solved these.
INSPECTOR RODRIGUEZ: So, they question is why? (Rodriguez pushes Andy's bag
toward him. He sits on the desk. Andy casually folds his hands on the bag.)
What are you hiding?
ANDY: I'm not hiding anything.
(Anderson takes out an envelope and places it on the desk. Andy opens the
envelope. Inside is a photo of Andy at the Evidence Locker with the murder
weapon. Andy smiles.)
ANDY: You guys spy on your wives, too?
INSPECTOR RODRIGUEZ: Why did you check the murder weapon out, Inspector?
ANDY: I was following a hunch.
INSPECTOR RODRIGUEZ: Really? Or were you following ... a ghost? Word's out,
Trudeau. You specialize in the, um ... what did Inspector Blakely call them?
INSPECTOR ANDERSON: The Freaky Cases.
INSPECTOR RODRIGUEZ: The Freaky Cases. You're a good cop. I've seen your
jacket. Up until last year, you were headed for Captain. Now you got all these
weird unsolved cases. What happened to you, man? What changed? Are you
covering for somebody? Is that it? Morris, maybe?
ANDY: Don't hang this on Morris.
INSPECTOR RODRIGUEZ: Then who do we hang it on?
(Andy surges up from his seat and gets into Rodriguez' face.)
ANDY: Look, I told you my story. You don't believe me, you take my hardware
right now and you charge me! (He looks at Anderson and Rodriguez.) Otherwise,
drop dead.
(Andy grabs his bag and his coat and heads out the door. Anderson stands up to
follow him, but Rodriguez puts out a hand to stop him.)
RODRIGUEZ: It's all right.
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) -- DAY]
[INT. MANOR - KITCHEN - DAY]
(Prue stands at the kitchen table mixing a potion. Phoebe paces the floor
around her.)
PHOEBE: Maybe it didn't work. Maybe he's not coming.
PRUE: Well, at least if he is coming, we are definitely ready for him.
PHOEBE: What exactly is that?
(Prue picks up the glass with the bright red potion inside.)
PRUE: One killer cocktail ... literally. A little oleander, some jimsonweed,
bloodroot, among other things. Stops the heart immediately.
(She puts the glass down on the table.)
PHOEBE: Ok, you're scaring me. Where did you learn to do that?
PRUE: Book of Shadows.
PHOEBE: Where, under Dr. Kevorkian?
PRUE: (smiles) Whoever takes it can be revived with CPR. The only catch is,
it has to be done within four minutes to avoid brain damage.
PHOEBE: Ok, Prue, that's a pretty big catch.
PRUE: Yeah, well, it's the only way to say the spell. It's the only chance
that we have of sending Ward where he belongs.
PHOEBE: But who does it? How do we decide that?
PRUE: I'll do it.
PHOEBE: No. (Phoebe gets a coin.) Call it, heads or tails, and no fair using
your power.
(Phoebe flips the coin.)
PRUE: Tails. (It's tails.) I win.
PHOEBE: You mean you lose.
PRUE: Oh, well, only if you don't revive me.
PHOEBE: No pressure.
PRUE: Phoebe, I have total confidence in you.
PHOEBE: I'm scared, Prue. I mean, I'm -- I'm really scared. I think we've
gone too far this time.
PRUE: We're doing what we have to do.
PHOEBE: I wish Piper were here. The swing vote. The voice of reason.
PRUE: Phoebe, I never realized how much I probably ... do take you for granted,
and not just for what you do around the house, either.
PHOEBE: Sure. You're just saying that because you're about to die.
PRUE: No. You were right about last night. I was upset because I thought that
you were slacking off, but the truth is, you weren't. You were trying to find
out who the ghost was, and thank god you did.
PHOEBE: Yeah, but I totally overreacted. I mean, I'm the one that's upset with
myself for not working for a living.
PRUE: You do work.
PHOEBE: I know, Prue. I work around the house, but I want a job. I want a real
job.
PRUE: And you will find one when you're ready.
PHOEBE: I can't remember the last time we talked like this.
(They hug.)
(The phone rings; the answering machine turns on.)
PRUE: (answering machine) (from phone) Hi, we're not home. You know the
drill.
(The answering machine beeps.)
CLAIRE PRYCE: (from machine) Prue, it's Claire. You're late. You're fired.
(Behind them, Jackson Ward slips into the kitchen through the walls.)
PRUE: Oh.
(Jackson Ward grabs a glass, breaks it and pulls his arm back to throw it. Prue
sees him.)
PRUE: Phoebe, duck.
(Phoebe ducks. Jackson misses. Prue waves her hand and the glass shatters back
against the far wall.)
PHOEBE: Okay, Prue, I got him. You just ... hurry!
(Phoebe steps forward to face Jackson Ward. He picks up an object off the table
and swings it at Phoebe. She dodges every blow. Finally, she grabs the object
and struggles with him.)
(Prue drinks the potion.)
(Phoebe struggles with Jackson for the object which flies out of their grasp and
hits the wall. Jackson hits Phoebe across the face. She falls to the floor.)
(Jackson looks at his hand and laughs.)
(Prue collapses to the floor, dead.)
(Jackson turns around and sees Prue on the floor.)
JACKSON WARD: You're making this too easy, lady.
(He opens the drawer and picks out a silver cake server.)
(On Prue: Her spirit's eyes open and a ghostly apparition form of Prue rises
from her body. Jackson turns around and is surprised to see Prue floating over
her body.)
JACKSON WARD: What the hell's going on?
(Prue glances down at her body for a moment.)
PRUE: (reciting)
Ashes to ashes, spirit to spirit,
take his soul, banish this evil.
(The spell is immediate. A wave of power rises up and over Jackson Ward as if
slowly erasing him. He drops the silver cake server.)
JACKSON WARD: Oh. Oh, no!
CUT TO:
[INT. MANOR - FOYER/FRONT DOOR - DAY - CONTINUOUS]
(The front door opens. Andy sticks his head inside.)
ANDY: Prue, you home?
(Andy looks into the house and sees Phoebe on the floor unconscious.)
(He steps into the house and drops his bag on the floor. He closes the door and
reaches for his gun. He slowly makes his way into the house.)
[INT. MANOR - KITCHEN - DAY - CONTINUOUS]
(Prue continues to recite the spell.)
PRUE:
Ashes to ashes, spirit to spirit,
take his soul, banish this evil.
(Jackson Ward cries out in pain.)
[INT. MANOR - DINING ROOM / KITCHEN - DAY - CONTINUOUS]
ANDY TRUDEAU: (o.s.) Prue?
(Andy steps out from the dining room and checks Phoebe for a pulse.)
(Finding one, he moves over to Prue.)
ANDY: Prue?
(Andy kneels next to Prue. Her spirit still lingers over Andy as she recites
the spell.)
PRUE:
Ashes to ashes, spirit to spirit,
take his soul, banish this evil.
(Jackson Ward is shaking as the spell works on him.)
(Andy kneels down next to Prue.)
ANDY: Prue!
(He flips her over and starts CPR on her.)
ANDY: Come on.
(Prue's spirit works to stay in the spirit realm. She starts to sink toward her
body.)
PRUE: Andy, don't! Not yet!
(Prue continues to sink down toward her body as Andy performs CPR on her.)
(Jackson Ward takes a breath as the spell starts to wear off. He looks down at
his chest and chuckles a bit. He picks up the cake server.)
JACKSON WARD: It's even better. I get to kill a cop, too.
PRUE: (shouts) Andy, behind you!
(As if he's heard her perfectly, Andy looks up and turns around. He sees the
silver cake server. He reaches up and grabs a hand towel off the counter. He
twirls it around and grabs the cake server headed toward him.)
(The cake server falls to the floor across the room with a clang.)
(Jackson Ward steps toward Andy. He looks up and sees Prue's spirit rise up
once more from her body.)
(Andy rushes into the utility room and picks up the cake server.)
PRUE: (firmly)
Ashes to ashes, spirit to spirit,
take his soul, banish this evil.
(Jackson Ward screams in pain and starts smoking. He starts to fade as he
continues to scream.)
(Andy walks over toward Prue and kneels down next to her.)
(The Soul Collector appears in the kitchen.)
(Jackson Ward explodes into flame. The Soul Collector holds out her hand and
catches a piece of the flame.)
PRUE: Who are you?
SOUL COLLECTOR: I was hoping to take you or your sister, but it looks like your
soul is safe. (beat) For now.
(As she talks, Andy continues to perform CPR on Prue. Her spirit is pulled back
into her body.)
(The Soul Collector looks at the flame in her hand and crushes it out as she
flames out herself.)
(Prue's spirit is pulled completely back into her body.)
ANDY: (softly) Come on.
(Prue starts coughing as she regains consciousness.)
ANDY: Slow breaths.
(Prue sits up.)
PRUE: (breathing heavily) Am I alive?
ANDY: Yeah, you are. Thank god.
(Andy holds Prue close. Phoebe also gets up.)
PHOEBE: What happened? Is the ghost toast?
(Andy chuckles. Phoebe checks her jaw. Camera holds on Prue.)
CUT TO:
[EXT. BUCKLAND AUCTION HOUSE (STOCK) - DAY]
[INT. BUCKLAND AUCTION HOUSE - CLAIRE'S OFFICE -- DAY]
(Claire puts a file in the cabinet and shuts it. She turns around.)
CLAIRE PRYCE: I'm sorry, Prue, but I've made up my mind.
(Claire sits down behind the desk.)
PRUE: Claire, you cannot fire me. Okay? I love this job. I need this job.
CLAIRE PRYCE: I told you I wouldn't tolerate any more unexplained absences.
(The door opens and Andy bursts into the office followed by a flustered Monique.
He walks over confidently to Claire and offers his hand.)
ANDY: Excuse me, Ms. Pryce. I'm sorry to interrupt. I just wanted to stop by
and say thank you.
(Claire shakes it.)
CLAIRE PRYCE: Thank you, Inspector? For what?
ANDY: Well, for letting us borrow Ms. Halliwell. See, an Asian Gang was
smuggling exotic jewelry, antiques. She helped us set up a sting, bust their
operation.
CLAIRE PRYCE: Really? Prue never mentioned any of this to me before.
ANDY: Well, she couldn't compromise her cover. You're welcome to call my
superior Inspector Morris and file a reimbursement claim if you'd like.
CLAIRE PRYCE: No, that won't be necessary.
ANDY: (to Prue) As soon as you're done here, we need to talk.
PRUE: Oh, I think I'm more than done here.
(Prue glances at Claire, turns and head for the door with Andy.)
CLAIRE PRYCE: Oh, uh, Prue, don't forget about our lunch with the investors.
Wouldn't want you to be late.
PRUE: I won't be. Thanks.
(Andy opens the door and they leave.)
CUT TO:
[INT. BUCKLAND AUCTION HOUSE - PRUE'S OFFICE -- DAY]
(Prue and Andy head for her office. Andy laughs. They enter the office and
shut the door behind them.)
PRUE: I cannot believe you did that.
ANDY: It's the least I could do. After all, you did help us bust somebody.
Sure, he was already dead, but still ...
PRUE: Well ... thank you.
ANDY: You're welcome.
(He touches her arm familiarly, then stops as they both become aware of each
other.)
ANDY: Listen, Prue, uh... I've done some thinking about the Truth Spell, and,
uh ... I'm still kind of trying to sort my feelings out, but ... I've kind of
come to the conclusion that ... no matter whether I had a minute, a month, or a
year to think about it ... it wouldn't change the truth. It may sound boring,
but ... I know that someday I want to have a normal life to come home to. You
know, with a ... a white picket fence and a-a two-car garage, a screaming kid.
(Prue chuckles. She understands.)
ANDY: ... But no demons. Maybe it's because of all the evil I deal with every
day on the job. I don't know.
PRUE: You ... don't have to explain. I understand. Believe me, I wouldn't
want to come home to it either if I could avoid it, but I can't. You can.
(They hug each other.)
CUT TO:
[EXT. HALLIWELL MANOR (STOCK) - DAY]
[INT. MANOR - KITCHEN -- DAY]
(The door closes. Phoebe and Prue walk into the kitchen through the utility
room, their hands full of shopping packages.)
PHOEBE: So did you burn Andy's file like he suggested?
(They put the bags on the table.)
PRUE: Yeah, and you should've seen it. Turns out he knew a lot more about us
than he was letting on.
PHOEBE: Still doesn't explain how he could hear a ghost.
PRUE: What do you mean?
PHOEBE: Well, when you were a spirit, you said you yelled out to him and that's
what made him turn around in time. How could he hear you?
PRUE: I don't know.
PHOEBE: Hmm.
(Piper walks into the kitchen carrying leis.)
PIPER: Hi!
PHOEBE: Piper!
PRUE: Hey.
PHOEBE: Yay! I thought you weren't coming back till tomorrow.
(Piper puts the lei on Phoebe and the other on Prue.)
PIPER: I took an earlier flight. I had this terrible feeling that you guys
were, um ...
(Piper hesitates as she puts her bag down.)
PRUE: What?
PIPER: Oh, I don't know. At each other's throats, maybe.
(Phoebe and Prue look at each other innocently.)
PRUE: Us?
PHOEBE: Are you kidding? Never.
PIPER: So nothing happened while I was gone.
PHOEBE: Just, you know, the same old boring stuff. (to Prue) Hey, you need a
hand?
(Prue turns and heads back to their shopping bags.)
PRUE: Uh, yeah, that would be great. Thanks, Pheebs.
PHOEBE: Sure. (Phoebe grabs some items.) (to Piper) It's good to see you.
(She touches Piper's head on her way out the door behind Prue. Both make a
hasty exit.)
PIPER: Mm-hmm.
(Piper smiles at them.)
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
1X20: THE POWER OF TWO
PROD #4398019
ORIGINAL AIR DATE ON WB: 05/12/1999
TRANSCRIBED FROM WB/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
Special Guest Star
BRENDA BAKKE as Soul Collector
Guest Star
CARLOS GOMEZ as Inspector Rodriguez
JEFF KOBER as Jackson Ward
SEAN HENNIGAN as Alcatraz Guide
and
CRISTINE ROSE as Claire Pryce
Consulting Producer: JONATHAN LEVIN
Consulting Producer: TONY BLAKE
Consulting Producer: PAUL JACKSON
Producer: SHERYL J. ANDERSON
Coordinating Producer: BETTY REARDON
Produced by: JON PARE
Supervising Producer: LES SHELDON
Executive Producer: BRAD KERN
Executive Producer: CONSTANCE M. BURGE
Written by BRAD KERN
Directed by ELODIE KEENE
==========================
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: CHRIS LEVINSON
Executive Story Editor: JACK ESTRIN
Story Editor: EDITHE SWENSEN
Associate Producer: PETER CHOMSKY
Co-Starring
SUSAN CHUANG as Monique
DON BRUNNER as Inspector Anderson
LESLEY WOODS as Iris Beiderman
JACK DONNER as Judge Renault
MICHELE HARRELL as Inspector Blakely
GREGG MONK as Officer
JIM HANNA as CSI Detective
VICTORIA FANG as Marianne
YUJI HASEGAWA as Banker Yakihama
Music by: JAY GRUSKA
Casting by VICTORIA HUFF, C.S.A.
Director of Photography: RICK GUNTER
Production Designer: DEAN MITZNER
Editor: WILLIAM TURRO
Unit Production Manager: JON PARE
First Assistant Director: TOM BLANK
Key Second Assistant Director: TODD COVERT
Costume Designer: MOLLY HARRIS CAMPBELL
Camera Operator: JUD KEHL
First Assistant Camera: CRAIG ASATO
Chief Lighting Technician: THOMAS THATCHER
Assistant Chief Lighting Technician: BLAISE DAHLQUIST
Set Designer: CATE BANGS
Set Decorator: DONALD W. KRAFFT
Leadperson: ROCKY SLAYMAKER
Property Master: ROGER MONTESANO
Assistant Property Master: CHRISTY McGEACHY
Script Supervisor: SUZAN LOWITZ
Costume Supervisor: JAKE JACOBS
Key Make-Up Artist: KATHRYN MILES KELLY
Key Hairstylist: ENID ARIAS
Special Make-Up Effects: RICK STRATTON
Visual Effects Supervisor: STEPHEN LEBED
Sound Mixer: JAMES LARUE
Location Manager: BOB BOYLE
Transportation Coordinator: DAVE BASSETT
Production Coordinator: DIANA WEATHERILL
Post Production Coordinator: KRISTEN L. REARDON
Production Accountant: SHARON TAKSEL
Key Grip: DAVID DONOHO
Best Boy Grip: DAVID SALAMONE
Construction Coordinator: BILL HRNJAK
Stunt Coordinator: ERNIE ORSATTI
Special Effects Coordinator: RANDY CABRAL
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
Music Coordinator: CELEST RAY
Re-Recording Mixers: LARRY BENJAMIN / BRUCE MICHAELS / EDDIE GILROY
Film and Electronic Laboratory by: LASERPACIFIC MEDIA
Lenses and Panaflex Camera by: PANAVISION
Digital Sound Editing and Mixing: 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.
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