Astral Echo's Charmed

[Astral Echo]

Astral Echo presents

CHARMED

Based on the television show Charmed created by Constance M. Burge, as produced by Spelling Television Inc.

DISCLAIMER: All intellectual property rights belong to CBS Television Studios and the relevant rights holders, unless stated otherwise. The places and characters depicted are fictitious, any similarity to any real places or people is purely coincidental. Actor’s names and images have been used for likeness purposes and can be removed by request. This work was not written for profit or sale. No copyright infringement is intended.

Adapted stories, original characters and new concepts belong to Daniel Taylor (Astral Echo) and cannot be copied without permission.

SEASON ONE:


1x01 – Something Wicca This Way Comes
Originally aired: 07/10/1998. Adaptation released: 17/01/2021.
On the first anniversary of their grandmother’s death, three sisters are reunited at the family home and discover a family secret that will change everything. They soon find themselves fighting for their lives while learning to utilise their newfound gifts.



1x02 – I’ve Got You Under My Skin
Originally aired: 14/10/1998. Adaptation released: 24/01/2021.
The sisters learn their first lessons in witchcraft as a deadly demon does whatever is necessary to stay young. Prue settles back into work under a new boss and Piper battles with her morality. Meanwhile, Phoebe can’t resist a peak into the future.


1x03 – The Witch in the Window
Originally aired: 21/10/1998. Adaptation released: Coming Soon.
After seeking out a sleep psychologist, Prue's dreams are disturbed by strange visions in which she's taunted by a sinister sorcerer who has taken over her subconscious. In a race against time, Andy and her sisters must reach her before it's late.

[Astral Echo]

1x01 – Something Wicca This Way Comes
Originally written by: Constance M. Burge
Adapted by: Daniel Taylor

   
Starring Shannen Doherty as Prue Halliwell
Holly Marie Combs as Piper Halliwell
and Alyssa Milano as Phoebe Halliwell
With T.W. King as Andy Trudeau

   
Guest starring Carlos Gomez as Alex Rodriguez
Eric Scott Woods as Jeremy Burns
Matthew Ashford as Roger Kern
and Patrick Huard as Pierre Moore

Co-starring Francesca Cappucci (Reporter), Charmaine Cruz (Nurse) and Lonnie Partridge (Serena Fredricks).

---

FADE IN:

INT. APARTMENT – NIGHT

A blonde woman dressed in a silk bed robe, SERENA, walks into the room holding a cat bowl. Thunder and lightning can be heard.

SERENA: Here baby.

A miaow is heard. Serena kneels down and places the bowl of food down onto the ground.

SERENA: Come on, baby.

A Siamese cat, KIT, approaches the cat bowl and begins to eat.

SERENA: Good girl.

Serena strokes Kit then stands up and walks into the other room holding a silver chalice. She places the chalice onto an altar among candles, herbs and other ritualistic items. Kneeling down at the altar, Serena lights the candles one by one with just a touch of finger.

Outside a hooded figure dressed in a long trench coat walks down a fire escape and appears at Serena’s window and watches her.

Once all the candles are lit, the figure from outside disappears from the window. Serena presses her hands together as if in prayer.

SERENA: (chanting) Auger de gomay. Auger de gomay.

Kit miaows and scurries away from her bowl before the hooded figure passes her and walks into the adjacent room.

SERENA: (chanting) Ancient one of the earth so deep, master of moon and sun. I shield you in my wiccan way.

The hooded figure creeps up behind Serena.

SERENA: (chanting) Here in my circle round, asking you to protect this space, and offer your sun force down.

Serena hums as the figure walks right up behind her. Sensing she isn’t alone; she turns round suddenly. Serena’s face softens and she stands.

SERENA: What are you doing here?

As she steps towards the figure with a smile, an athame appears and stabs her in the stomach causing her to scream.


INT. MANOR - FOYER – NIGHT

PIPER HALLIWELL enters closing the front door behind her. She hangs up her umbrella and places down her bags.

PIPER: Prue?

PRUE: (O.S.) In here, working on the chandelier.

Piper takes off raincoat and hangs it up before picking up her bags and walking into the other room.

PIPER: Sorry I'm late.

PRUE: (O.S.) What else is new?

Piper approaches PRUE HALLIWELL as she steps down off of a step ladder.

PRUE: PIPER, I would have been here to meet the electrician myself, but you know I can't leave Bucklands until six. I didn't even have time to change.

PIPER: I just – I didn't realise how long I was in Chinatown. Did Jeremy call?

PRUE: No, but he had some roses and a package delivered. What were you doing in Chinatown? I thought that you had an interview in North Beach.

The two sisters walk into the dining room and Piper places her bags onto the table.

PIPER: I did but I went to Young Lee market after my interview to get the ingredients for my audition recipe tomorrow.

PRUE: So, that Wolfgang Puck knock-off didn't hire you today?

Piper opens a wooden box and takes out the bottle lying inside on a bed of straw.

PIPER: No, but this just may get me the job.

Prue takes the bottle from Piper and observes the label.

PRUE: Jeremy sent you port?

PIPER: The ultimate ingredient for my recipe.

PRUE: Nice boyfriend.

Piper spots on the other side of the table.

PIPER: Oh my God, I don't believe it. Tell me that's not our old spirit board?

PRUE: Yeah, I found it in the basement when I was looking for the circuit tester.

Piper picks up and flips over the spirit board.

PIPER: (reading) "To my three beautiful girls. May this give you the light to find the shadows. The power of three will set you free. Love, Grams." We never did figure out what this inscription meant.

PRUE: Well, maybe we should send it to Phoebe. That girl is so in the dark, maybe a little light will help.

PIPER: You're always so hard on her.

PRUE: Piper, the girl has no vision, no sense of the future.

PIPER: I really think Phoebe's coming around.

PRUE: Well, as long as she doesn't come around here, I guess that's good news.

Prue walks off. Piper picks up her bag and walks into the adjacent room.

The cursor on the spirit board moves across the symbol at the centre of the board. The symbol, a full circle with three interlocking arcs inside, is a triquetra.

FADE TO BLACK.

OPENING CREDITS

[Astral Echo]

FADE IN:

EXT. APARTMENT BUILDING – NIGHT

There is a lot of hustle and bustle with police cars parked outside.

An unmarked police vehicle parks up and ANDY TRUDEAU steps out. He walks through the crowd, takes his badge from his inside jacket pocket and shows it to an unseen officer at the cordon.

OFFICER: (O.S.) Okay.

Putting the badge back into his jacket, Andy approaches the front doors to the building where ALEX RODRIGUEZ is waiting with unnamed uniformed officer.

ALEX: Well, it's about time.

ANDY: I got here as soon as I heard. Another dead female, right? Mid to late twenties.

ALEX: I've been paging you for over an hour, Trudeau, where have you been?

ANDY: Oakland, checking out a lead.

The pair enter the apartment building.

ALEX: What lead?

ANDY: One that didn't go anywhere.

ALEX: You're avoiding my question.

ANDY: Because you don't want to know that I went to an occult shop.

ALEX: You hate me, don't you? You wanna see me suffer.

Alex walks across the foyer, leading Andy to the crime scene.

ANDY: I want to solve these murders. Someone's after witches.

ALEX: Women.

ANDY: That woman up there, I bet she was killed with an athame

ALEX: Wrong.

Alex turns to face Andy

ALEX: Double edged steel knife.

ANDY: Right. That's an athame. It's a ceremonial tool. Witches use them to direct energy.

ALEX: That woman didn't direct jack. She was stabbed. Plain and simple.

Andy looks round as if to check there is no listening.

ANDY: (hushed) Was she found at an altar?

Alex purses his lips, not wanting to entertain Andy's line of questioning.

ALEX: Yes.

ANDY: Were there carvings on that altar?

Alex pauses, considering how best to answer.

ALEX: Just do me a favour. Don't even follow a lead without checking with me first.

ANDY: You wanna go to occult shops?

Alex laughs placing his hand on Andy’s shoulder. Andy grins, knowing the answer.

ALEX: Just get to work okay.

Alex walks away shaking his head.

JEREMY: (O.S.) Inspector Trudeau!

Andy turns to see JEREMY BURNS approaching with pad and pen in hand.

JEREMY: Jeremy Burns. San Francisco Chronicle. You care to comment?

ANDY: A woman was stabbed. Plain and simple.

Andy goes to walk away.

JEREMY: Well, that's the third one in three weeks.

Andy stops, turns back and stares at Jeremy. Andy sighs and walks away.


INT. MANOR – KITCHEN – NIGHT

Piper walks in and places her bags onto the kitchen island.

PIPER: What a weird coincidence that you found that old thing on today of all days.

She begins unloading her ingredients onto the counter.

PRUE: (O.S.) I don’t get it.

PIPER: The spirit board. Grams’ anniversary.

She walks into the laundry room off the main kitchen to find Prue fiddling with the circuit breaker.

PRUE: No, I mean this. I have checked everything, there's no reason why the chandelier should not be working.

PIPER: It’s just weird don’t you think?

PRUE: Very weird.

Piper takes a minute to think.

PIPER: You mean the chandelier, don’t you?

Prue grimaces and nods.

PIPER: Uh…you know how we've been talking about what to do with the spare room? I think you're right. We do need a roommate.

Prue walks back into the kitchen, Piper follows.

PRUE: Well, we can rent the room at a reduced rate in exchange for some help around the house.

PIPER: Phoebe's good with a wrench.

PRUE: Phoebe lives in New York.

Piper takes a moment, bracing herself.

PIPER: Not anymore.

PRUE: What?

PIPER: She left New York. She's moving back in with us.

Prue scoffs and walks past her.

PRUE: You’ve got to be kidding.

PIPER: Well, I could hardly say no.

Piper follows Prue into the other room.


INT. MANOR - FOYER - CONT'D

Prue walks in the room with Piper hot on her tail.

PIPER: It's her house too. It was willed to all of us.

PRUE: Yeah, a year ago and we haven't seen or spoken to her since.

There is a moment of silence. Piper passes Prue and forces her sister to stop. They stand in the centre of the room underneath a glass chandelier.

PIPER: Well, you haven't spoken to her.

PRUE: No, I haven't. Look, maybe you've forgotten why I'm still mad at her.

PIPER: No, of course not. But she had nowhere else to go. She lost her job, she's in debt.

PRUE: And this is news? How long have you known about this anyway?

PIPER: A couple of days, maybe a week…or two.

PRUE: Thanks for sharing. When does she arrive?

The front door opens and PHOEBE HALLIWELL walks in.

PHOEBE: Surprise!

The door closes and Phoebe walks towards her sisters carrying a large leather bag and brandishing a key.

PHOEBE: I found the hide-a-key.

PIPER: Phoebe, welcome home.

PHOEBE: Hello, Piper.

Piper walks past Prue and hugs Phoebe.

PIPER: It's so good to see you.

PHOEBE: Hi.

The pair separate and turn to Prue who is watching them, arms crossed.

PIPER: Isn't it, Prue?

PRUE: I'm speechless.

A car horn beeps.

PHOEBE: Oops! I forgot about the cab.

PIPER: I'll get it.

Piper grabs a purse and walks towards the door.

PRUE: Piper, that's my purse.

Piper waves as she jogs out of the door.

PHOEBE: Thanks. I'll pay you back.

Prue looks down at Phoebe's bag.

PRUE: Is that all that you brought?

Phoebe glances down and back up again, shrugging her shoulders. 

PHOEBE: That's all that I own. That and a bike. Look, I know that you don't want me here....

PRUE: We're not selling Grams' house.

Phoebe sighs and drops her bag onto the ground.

PHOEBE: Is that why you think I came back?

PRUE: Look, the only reason Piper and I gave up our apartment and moved back here was because this house has been in our family for generations.

PHOEBE: No history lesson needed. I grew up here too. So, can we talk about what's really bothering you?

PRUE: No, I'm still furious with you.

PHOEBE: So, you'd rather have a tense reunion filled with boring chitchat and unimportant small talk?

PRUE: No, but otherwise we won't have anything to talk about.

PHOEBE: I never touched Roger.

PRUE: Whoa.

PHOEBE: I know you think otherwise because that's what that Armani-wearing, Chardonnay-slugging, trust-funder told you ...

PRUE: It’s not just about Roger.

PHOEBE: Of course it is.

PRUE: No. It’s the fact that you left us when Grams was sick, didn’t come home when she was on her death bed and then bailed straight after her funeral.

PHOEBE: Cause my life was in New York.

PRUE: No, Phoebe. You did what you always do. When the going gets tough, you run.

Piper comes back into the house.

PIPER: (O.S.) Hey!

PRUE: (hushed) Just like Dad.

Mouth aghast, Phoebe angrily narrows her gaze on Prue.

PIPER: I have a great idea.

Piper walks towards Prue and Phoebe, positioning herself between them.

PIPER: Why don't I make a fabulous reunion dinner.

PRUE: I'm not hungry.

Prue walks off towards the living area.

PHOEBE: I ate on the bus.

Phoebe picks up her bag and walks upstairs leaving Piper alone. There is a crash of thunder.

PIPER: Okay, we'll try the group hug later.


INT. MANOR – PHOEBE’S ROOM - NIGHT

The news is showing on the TV. A TV reporter is standing outside the apartment building.

REPORTER: (on TV) I’m at an apartment building on the corner of eighth and Franklin where a murder occurred earlier this evening. The victim, believed to be a nurse at County General, was reportedly stabbed to death in her apartment.

Phoebe takes off her cardigan and throws it onto the bed. She stands in front of a mirror and looks at her reflection.

There is a knock at the door.

PIPER: (O.S.) It's me.

PHOEBE: Come on in.

Piper enters carrying a tray of refreshments.

PHOEBE: Thank God. I am starving.

PIPER: Figured.

Phoebe crawls across the bed as Piper looks at the television.

PIPER: Hey, that's my boyfriend, Jeremy. What happened?

PHOEBE: Some woman got whacked.

PIPER: “Whacked”? Phoebe, you've been in New York way too long.

Piper places the tray down and Phoebe takes a carrot stick.

PHOEBE: Yeah, I should have stayed.

Piper sits at the foot of Phoebe’s bed.

PHOEBE: Why didn't you tell Prue I was coming back?

PIPER: And risk her changing the locks? I don't think so and besides, I think you should have been the one to tell her not me.

PHOEBE: Good point, Chicken Little. It's just so hard for me to talk to her. She's always been more like a mother.

PIPER: That's not her fault. She practically had to sacrifice....

PHOEBE/PIPER: Her own childhood to raise us.
Phoebe arches her head back.

PHOEBE: Yeah, yeah, yeah.

PIPER: Hey, we're lucky she was so responsible. You and I had it easy, all we had to do was be there.

PHOEBE: Yeah, well, I don't need a Mom anymore, you know, I need a sister.

Prue knocks on the door. She's holding a blanket.

PRUE: Hey. This was always the coldest room in the house.

PHOEBE: Thanks.

Prue leaves.

PIPER: Just give her break, okay?

PHOEBE: She thinks I only came back for a cut of the inheritance or something.

PIPER: I’m sure she didn’t mean that. It’s the first anniversary of Grams’ death. She’s just a bit edge.

PHOEBE: She’s not the only one who misses her.

PIPER: I know, it just hit her hard. Both us in fact.

PHOEBE: It affected me too. Why do you think I couldn’t say here? But things have changed, I’ve changed.

PIPER: I know.

Piper rubs Phoebe’s leg comfortingly.

PIPER: Give her time. She’ll come round.


INT. SERENA’S APARTMENT - NIGHT

Andy and Alex are there along with other emergency service staff. Andy looks at the tattoo on the body. It's a triquetra.

ANDY: It's the same tattoo that was on the other two victims.

ALEX: So, the murderer is killing occults.

ANDY: No. The murderer’s on a witch hunt.

ALEX: Oh, yeah, he's five hundred years old and he lives in Salem. Look around, Trudeau. Pentagrams, altars, offerings. All the tools of a freak fest.

ANDY: They call them sabbats, and this was hardly a freak fest. She was a solitary practitioner. She practiced her craft alone.

ALEX: Mmm.

ANDY: Let me ask you something, Rodriguez. Do you believe in UFOs?

ALEX: Hell no.

ANDY: Neither do I. But do you believe that they’re people out there who do believe in UFOs?

ALEX: Yes, but I think they're crazy.

ANDY: Well, then why can't you believe that they’re people who believe they are witches.

ALEX: Look, all I know is if you don't stop talking about witches, I'm gonna start questioning you.

Kit jumps up on a cabinet. She meows. Andy goes over and pets her.

ALEX: I'd stay away from that cat, Trudeau. It's been clawing the crap out of everybody. See you at the car.

Alex leaves. Andy looks at Kit's collar. It has a triquetra on it.

FADE TO BLACK.

[Astral Echo]

FADE IN:

INT. MANOR - SUNROOM

Piper and Phoebe are sitting at a table, dressed in their pyjama, playing with the spirit board. Their hands, laid on top of one another, are moving the pointer across the board.

PHOEBE: I’m glad to hear you and Jeremy are still together. Where did you meet him anyway?

PIPER: We met at the hospital cafeteria the day Grams was admitted. He was covering a story and I was bawling over a bagel. So, he handed me a napkin.

PHOEBE: How romantic.

PIPER: As a matter of fact, it was. The napkin had his phone number on it.

Phoebe laughs.

PIPER: Stop pushing the pointer.

PHOEBE: I'm not touching it.

PIPER: You used to always push the pointer. More popcorn?

Piper gets up, grabs the bowl and heads for the kitchen.

PHOEBE: Hey, I forgot your question.

PIPER: (O.S.) I asked if Prue would have sex other than herself this year.

PHOEBE: That's disgusting. Please say yes.

The pointer moved to the letter 'A' by itself.

PHOEBE: Piper!?

The point moves sharply to the letter ‘T’.

PHOEBE: (shouts) Piper, get in here!

Piper hurries back,

PIPER: What?

PRUE: (O.S.) What did you guys do now?

Prue enters and stands next to Piper.

PIPER: Me? I didn't do anything.

PHOEBE: The pointer on the spirit board. It moved on its own.

Prue puts her hands on her hips and stares at Phoebe. Piper smirks.

PHOEBE: I'm serious. It spelled 'A' - 'T'.

PIPER: Well, did you push it?

PHOEBE: No.

PRUE: You used to always push the pointer.

PHOEBE: My fingers were barely touching it. Look.

Phoebe puts her fingers on the pointer. Nothing happens. Prue and Piper turn and start to leave. The pointer moves to the bottom of the board, then back to the letter 'T'.

PHOEBE: Ah, it did it again! It moved!

Prue and Piper turn back around and look at the board.

PRUE: It's still on the letter 'T'.

PHOEBE: I swear it moved.

Prue leaves the room. The pointer moves again. This time, Piper sees it too.

PHOEBE: There.

Phoebe stands up. Piper moves closer to the board nervously.

PHOEBE: There. Look. You saw that right?

PIPER: I think so, yeah.

PHOEBE: I told you I wasn't touching it.

The pointer moves again, edging across the board.

PIPER: Prue, can you come in here for a sec?

Prue comes back in the room visibly irritated. Phoebe grabs a pen and an envelope.

PRUE: Now what?

Phoebe writes the letters down the envelope.

PHOEBE: I think it's trying to tell us something.

Phoebe holds up the envelope showing Prue and Piper what she has written.

PHOEBE: Attic.

There's a loud clap of thunder and the power goes out.


INT. MANOR – FOYER – CONT’D

Piper is walking towards the door as Prue follows.

PRUE: Don't you think you're overreacting? We are perfectly safe here.

PIPER: Don't say that. In horror movies, the person who says that is always the next to die.

PRUE: It’s pouring rain. There's a psycho on the loose. Jeremy’s not even home.

PIPER: Well I'll-I'll-I'll wait in the cab until he gets home from work.

PRUE: That'll be cheap.

PIPER: Prue, I saw that pointer move.

PRUE: No, look, what you saw was Phoebe's fingers pushing the pointer. There's nothing in that attic, she's playing a joke on us.

PIPER: We don't know that. We've lived in this house all our lives and we've never been able to get that attic door open.

Piper crosses the foyer and picks up the phone.

PIPER: Great, now the phone doesn't work.

PRUE: Yeah, the power's out. Look, just go with me to the basement.

PIPER: What?

PRUE: I need you to hold the flashlight while I check out the main circuit box.

PIPER: Phoebe will go with you to the basement won't you Phoebe.

Phoebe enters.

PHOEBE: Nope, I'm going to the attic.

PRUE: No, you're not. We already agreed.

PHOEBE: I am not waiting for some handyman to check out the attic and I'm certainly not waiting until tomorrow. I am going now.

Phoebe walks up the stairs. Prue goes into the living area.

PIPER: Prue, wait.

Piper follows.


INT. MANOR – STAIRWELL – CONT’D


Phoebe walks up the stairs to the attic. She tries to open the attic but it's locked. She gives up and turns to walk back down the stairs. She hears a creak and turns to see the attic door opening. She slowly walks inside, shining her flashlight around.

A light illuminates a trunk, seemingly bleeding into it before evaporating. She walks over to the trunk, placing her flashlight down and opens it revealing a large book inside. She picks up the book, closes the lid and sits on the trunk.

Blowing the dust off of the cover with two hard blows, she uncovers a triquetra. Placing it onto her lap, she opens the book revealing the words -

PHOEBE: (reading) "The Book of Shadows."


Phoebe looks up briefly before turning to the next page.

PHOEBE: (reading) "Hear now the words of the witches, the secrets we hid in the night. The oldest of Gods are invoked here, the great work of magic is sought. In this night and in this hour, I'll call upon the ancient power, bring your powers to we sisters three. We want the power, give us the power."


INT. MANOR – FOYER – CONT’D

The chandelier glows and rains sparkling blue and white lights, filling the room. It jingles and shakes. The light fills the whole ground floor of the house.

A picture of the three sisters, standing apart, sits on a dresser. In the picture, Piper and Phoebe sparkle and glow as the pair magically move closer to Prue who is standing in the centre.

The jingling stops.


INT. MANOR – ATTIC – CONT’D

Prue and Piper enter the attic.

PRUE: What are you doing?

PHOEBE: Uh reading… an incantation.

Phoebe closes the book, stands up and moves towards her sisters.

PHOEBE: It was in this Book of Shadows, I found it in that trunk.

PRUE: Let me see that.

Prue takes the Book of Shadows from Phoebe.

PIPER: How did you get in here?

PHOEBE: The door opened.

PIPER: Wait a minute, an incantation? What kind of incantation?

PHOEBE: It said something about there being three essentials of magic: timing, feeling and phases of the moon. If we were ever gonna do this, now - midnight on a full moon - is the most powerful time.

PIPER: This? Do what?

PHOEBE: Receive our powers.

PIPER: What powers? Wait, our powers? You included me in this?

PRUE: No, she included all of us. (reading) "Bring your powers to we sisters three."

Prue closes the book.

PRUE: It's a book of witchcraft.

PIPER: Let me see that.

Piper takes the book.


EXT. MANOR – NIGHT

The figure stands in the rain watching the Manor.


INT. MANOR – FOYER

The sisters are walking down the stairs.

PRUE: Spirit boards, books of witchcraft. It figures all this freaky stuff started when you arrived.

PHOEBE: Hey, I wasn't the one who found the spirit board.

PRUE: But it wasn't my fingers sliding around on the pointer.

PIPER: It doesn't matter. Because nothing happened, right Phoebe, when you did that incantation?

PHOEBE: Well, my head spun around, and I vomited split-pea soup. How should I know?

PIPER: Well, everything looks the same.

PHOEBE: You're right.

PRUE: But the house still needs work.

PIPER: Everything feels the same, so nothing's changed. Right?

The sisters walk into the sunroom passing the photo of the three them now standing much closer together.


EXT. MANOR – NIGHT

The figure walks away from the Manor, adjusting his gloves as he does so.


EXT. MANOR – MORNING

Phoebe's sitting on the steps to the Manor, still dressed in her pyjamas, drinking coffee.

The front doors open, and Piper, who is dressed smartly and carrying a bag and chef whites, comes out.

PIPER: You're up early.

PHOEBE: I never went to sleep.

Closing the door behind her, Piper walks down the steps.

PIPER: Don't tell me you put on a black conical hat and spent the night flying around the neighborhood on a broomstick?

Phoebe laughs and Piper sits down next to her.

PHOEBE: The only broom I've ever had was kept in a closet beside a mop.

PIPER: So, what were you doing?

PHOEBE: Reading. Is Prue around?

PIPER: She went to work early. Reading aloud?

PHOEBE: No, but…according to the Book of Shadows, one of our ancestors was…a witch, named Melinda Warren.

PIPER: And we have a cousin who's a drunk, a father who's invisible and a sister whose going to kill you if don’t give this a rest.

Piper stands up and walks off, Phoebe gets up and follows.

PHOEBE: I'm serious. She practiced powers. Three powers. She could move objects with her mind, see the future and stop time. Before Melinda was hung, she vowed that each generation of Warren witches would become stronger and stronger, before the arrival of three sisters.

They walk to Piper's car.

PHOEBE: Now, these sisters would be the most powerful witches the world has ever known. They're good witches and…I think we're those sisters.

PIPER: Look, I know what happened last night was weird and unexplainable, but we're not witches and we do not have special powers. Besides, Grams wasn't a witch and as far as we know, neither was mom.

Piper kisses her on the cheek.

PIPER: So, take that Nancy Drew.

Piper gets into the car.

PHOEBE: We're the protectors of the innocent. We're known as the charmed ones.

Piper drives off.


INT. BUCKLANDS – PRUE’S OFFICE – DAY


Prue is sat at her desk examining an ornate vase when there is a knock at the door. She takes off her glasses and looks up to see ROGER KERN walks in.

ROGER: There's been change of plan.

PRUE: Change of plan regarding what?

Roger walks to Prue’s desk and picks up the vase to inspect it. As he does so, and without looking at Prue he says -

ROGER: The Beale estate. The amount of interest you’ve received from domestic buyers has caught the attention of corporate and they now think the collection would be best going to open auction rather than private sale.

PRUE: Okay. Well, what’s the problem?

Roger places down the vase and walks over to the large window that overlooks the city. He looks smug.

ROGER: I don’t how to say this, Prue, but Mr Buckland wants someone a little more qualified to take it from here.

Prue looks dumbfounded. Roger turns and furrows his brow.

ROGER: You look surprised.

Prue stands up places her hands onto the desk and leans over.

PRUE: I don't know why. I'm furious. Not only have I been on this collection since its inception, but I'm the one who secured the sale.

Prue takes a moment, stands straight and crosses her arms.

PRUE: You're the person a little more qualified, aren't you?

ROGER: I could hardly say no to Mr Buckland, could I? But I know you'll be happy for me, after all, what's good for me is definitely good for you.

Roger uses his pen to point to himself on “me” and to Prue on “you”. He takes a pause and smiles, placing his pen into his breast pocket.

ROGER: Right, Miss Halliwell?

PRUE: Miss Halliwell? Since when did we stop being on a first-name-basis? When we stopped sleeping together or when I returned your engagement ring, Roger?

ROGER: I didn't realize the two were mutually exclusive. Although I certainly enjoyed one more than the other.

Prue steps toward Roger and he steps back as she says -

PRUE: You bastard!

Roger’s body jerks backwards and bounces against the window behind him leaving they both stunned.

PRUE: Oh my god, are you okay?

Roger straightens himself up looking perplexed.

ROGER: I – I – I seem to have lost my footing there for a moment.

Roger adjusts his tie.

ROGER: (smirks) But it’s nice to know you still care.

Prue’s concern instantly drops.

PRUE: I don’t.

Roger smarmily saunters towards Prue.

ROGER: Oh, I don’t know. I think there’s still a way we can come to some kind of (He reaches out to caress her arm) mutually beneficial arrangement.

As Roger’s arm makes contact with Prue’s arm, she pulls away and storms towards the office door.

PRUE: You’re unbelievable.

ROGER: Prue, wait. (She stops, hovering in the door frame.) I feel like I should say something if only to avoid a lawsuit.

Prue scoffs and storms out of the office. Moments later the door slams shut, startling Roger causing him to jump. He clutches his chest and skittishly looks around the office.

He takes a moment and powerfully exhales, both unnerved and slightly relieved.


INT. QUAKE – KITCHEN - DAY

Piper is in the kitchen making her audition meal. Just as she's pouring the port wine in a measuring cup, the head chef PIERRE MOORE enters the kitchen.

PIERRE: (In his French accent) Your time… (He claps) is up. Let's see. (Reading the index card.) Roast pork with gratin of fennel and penne with a port giblet sauce, huh?

PIPER: Chef Moore ...

PIERRE: What?

PIPER: Uh, the port ...

PIERRE: Yes, without the sauce it is nothing more than a salty marinara. A recipe from a woman's magazine. Puh!

Pierre picks up a few pieces of pasta and dips it into the sauce.

PIPER: I didn't have time for—

Pierre holds up his hand gesturing her to stop speaking.

PIERRE: Ah-ah!

PIPER: But, but ...

Pierre raises the folk it to his mouth and Piper waves her hands around trying to protest. And suddenly, he stops. He stands there like a statue.

PIPER: Chef Moore? Chef Moore? (She waves her hand in front of his face.) Hello? Hello?

Piper takes a step back aghast. She looks over to the jug of port and a mouth drops as a thought hits her. She skips over to the counter, picks up a baster and fills it up with some port. She drips some on Pierre’s forkful of food and seconds later he unfreezes, putting the fork into his mouth.

PIERRE: Mmm ... this is very good. C'est magnifique.

Piper smiles nervously.


EXT. MIDDLE CLASS NEIGHBORHOOD – DAY

Phoebe is riding her bike. All of a sudden, she has a premonition. In it she sees two boys on rollerblades, and they skate right in front of a car which hits them. The premonition finishes. Phoebe continues riding and then sees the car and the two boys.

PHOEBE: No! Wait!

She rides in front of the boys stopping them from skating in front of the car. The car honks and Phoebe falls off her bike.

FADE TO BLACK.

[Astral Echo]

FADE IN:

INT. BUCKLANDS – ROGER’S OFFICE - DAY

Roger is sitting in his chair facing the window, talking on the phone.

ROGER: It was my work that cultivated such an interest in this collect. Not only have I been with this project since its inception…

Prue walks in.

ROGER: But we both know who really secured the purchase of the estate’s collection.

Roger swings around on his chair and sees Prue.

ROGER: (shocked) Prue!

PRUE: I quit.

ROGER: (On the phone) I'm going to have to call you back. (He hangs up.) Think about this, PRUE.

PRUE: Lousy job, lousy pay, lousy boss. What's to think about?

ROGER: Your future. Because, believe me, if you walk out with no notice, you can kiss any references--

PRUE: Don't threaten me, Roger.

ROGER: You know me. Had to try. You're hurt, you're angry, your pride is wounded. I understand all that. That's why you can't see that I'm doing you a favour.

Roger walks around the desk and perches on it.

PRUE: Excuse me?

ROGER: I had to take the project away from you. If I hadn't, Mr Buckland would have put a total stranger in my place. Think about it, Prue. I'm here for you. Not some stranger. You should be thanking me not leaving me.

PRUE: Well, I'm not worried. I'm certain that your intellect will make quick work of the seventy-five computer discs and thousands of pages of research I left in my office.

ROGER: You're gonna regret this.

PRUE: Oh, I don't think so. I thought breaking up with you was the best thing I'd ever done. But this definitely tops that. Goodbye, Roger.

Prue turns and walks out into the hall.

ROGER: I hope there are no office supplies in your purse.

Prue stops and wraps her hands around an imaginary neck. Roger's tie tightens around his neck and starts strangling him. He rushes back around his desk, sits down and opens his draw to find a pair of scissors. He cuts the tie off and his chair tips back throwing him onto the floor.

ROGER: What the hell was that?


EXT. QUAKE - DAY

Piper is in a phone booth.

PIPER: Phoebe, answer the phone. Answer the phone.

Piper hangs up and walks out of the booth. Jeremy walks up to her and she gasps.

PIPER: Oh, God, Jeremy you scared me.

JEREMY: I-I can see, I'm sorry. You okay?

PIPER: Yeah, now I am. I really am. Um, what are you doing here?

JEREMY: Well, I wanted to be the first to congratulate you on your new job.

PIPER: You always surprise me. How did you know?

JEREMY: You prepared your specialty, and everyone's who's ever sampled your work, can truly see how talented you are.

PIPER: I get so turned on when you talk about food.

Piper slaps her hands into Jeremy’s, and they smile.

JEREMY: Hot dogs. Hamburgers. Pizza.

They kiss.


INT. GOLDEN GATE MEDICAL CENTER – ER – EARLY EVENING

Prue walks up to the desk. Andy is standing there with his back turned.

PRUE: Hi, um, I'm looking for my sister, Phoebe Halliwell.

NURSE: One second please. (to Andy) What's the name again?

ANDY: (to nurse) Inspector Andrew Trudeau. Homicide. Dr Gordon's expecting me.

Recognising the name and voice, Prue turns to look at Andy.

PRUE: Andy?

Andy looks over his shoulder, turns and smiles. She smiles back.

ANDY: Prue? I don't believe it. How are you?

PRUE: I'm good. How are you?

ANDY: I’m-I’m fine. I just can't believe I'm running into you.

PRUE: Yeah, I'm picking up Phoebe. She had some kind of accident.

ANDY: Phoebe’s back from New York?

Prue sighs deeply and nods her head.

ANDY: Okay then. So…is she gonna be okay?

PRUE: Oh yeah, she'll be fine. Um, what are you doing here?

Andy’s face drops, becoming more serious. He clears his throat.

ANDY: Murder investigation.

They both stare at one another awkwardly, unsure what to say next.

NURSE: (to Prue) Your sisters still in x-ray's so it'll be another fifteen minutes. (to Andy) Doctor Gordon's office is to the left and down the hall. He's with a patient right now but you're free to wait outside his office.

ANDY: Thank you.

PRUE: Thank you.

ANDY: Well, it's good seeing you, Prue.

They shake hands.

PRUE: Yeah, you too, Andy. Take care.

Andy moves to walk away, pass Prue he stops and turns back.

ANDY: You know, Phoebe's busy, Dr Gordon's busy. Can I buy you a bad cup of coffee while we wait?

PRUE: Sure.

They walk to the coffee machine, talking as they go.

PRUE: So, you're an inspector now?

ANDY: What can I say? In any other city I'd be called detective.

PRUE: Inspector's classier.

ANDY: Liking it better already.

They reach the coffee machine. Andy slots in a few coins and makes a selection.

PRUE: Your dad must be so proud.

ANDY: Third generation. You bet he's happy. How about you? You taking the world by storm?

PRUE: Well, I'm living back at Grams' house, and as of an hour ago, looking for work.

ANDY: Oh.

PRUE: I heard you moved to Philadelphia?

ANDY: I did. And then onto New York. I actually caught up with Phoebe a few times, didn’t she mention it?

Prue seems visibly annoyed by this revelation.

PRUE: No. No, she did not.

ANDY: Yeah, small world. (He laughs awkwardly) So…are you still seeing Roger?

PRUE: How did you know about him?

ANDY: I know people.

Prue smiles.

PRUE: You checked up on me?

ANDY: I wouldn't call it that.

Andy reaches down and takes the dispensed coffee cup. Prue takes it from him.

PRUE: What would you call it?

ANDY: Inquiring minds want to know. What can I say? I'm a detective.

Andy smiles nervously. Prue seems flattered.

NURSE: (over tannoy-system) Miss Halliwell, please meet your sister at the nurses’ station.

PRUE: That’s me.

ANDY: Yes, yes, it is. I guess I’ll see you round.

PRUE: We’ll see.


EXT. GOLDEN GATE MEDICAL CENTER – PARKING LOT - EVENING

Prue and Phoebe are walking to the car.

PRUE: (hushed) The Chosen Ones? The Charmed Ones? Phoebe, this is cra`y.

PHOEBE: Are you telling me that nothing strange happened to you today? You didn't freeze time or move anything?

PRUE: Roger took an exhibit away from me. All right, look, Phoebe, I know that you think you can see the future which is pretty ironic.

PHOEBE: Since you don't think I have one, that my vision of life is cloudy compared to your perfect hell? Even if you don't want to believe me, just once can't you trust me?

They reach Prue’s car. Prue turns sharply, almost scowling at Phoebe.

PRUE: Trust you? How can I trust you, Phoebe? What you’re saying is insane.

Phoebe snatches the car keys from Prue’s hand.

PHOEBE: Woah, hold on a second. What do you mean by that?

PRUE: Give me the keys, Phoebe.

Prue holds out an open palm.

PHOEBE: No. Alright. I know I wasn’t exactly a model granddaughter and I certainly wasn’t the perfect sister but what reason have I ever given you not to trust me?

PRUE: Just give me the keys.

PHOEBE: This is still about Roger isn’t it?

PRUE: No Phoebe. It’s not. It was never about Roger. It’s about you. Growing up you never showed me an ounce of respect. And you never stopped to think about what I had to give up for you.

PHOEBE: I never asked you to do that.

PRUE: You didn’t have to, Phoebe. You’re my sister. That’s what sisters do. I didn’t want a pat on the back or some sister of the year award. What I wanted was for you to be there when we needed you. Instead, you ran off to New York cause living out some fantasy was easier than dealing with reality. And then when you do come back…(She scoffs). We are not witches and we do not have special powers. Now, give me my damn keys.

Prue throws out her arm and the keys fly straight out of Phoebe’s hand and into her palm.

PHOEBE: Really? That looked pretty special to me.

Prue is stunned. She drops the keys and takes a step back.

PRUE: What the hell!

PHOEBE: You were saying?

Prue turns and takes a few steps. Phoebe kneels down and picks the car keys off of the ground. Prue places her hands on her hips and is looking at the ground.

PHOEBE: Prue?

Prue takes a moment for turning to face Phoebe.

PRUE: So, um, I can move things with my mind?

PHOEBE: With how much you hold inside, you should be a lethal weapon by now.

PRUE: I don't believe it.

PHOEBE: This must mean that Piper can freeze time.

Prue places her head in her hands.

PHOEBE: Are you okay?

PRUE: (angrily) No, I'm not okay. You turned me into a witch.

PHOEBE: You were born one. We all were. And I think we better start learning to deal with that.


INT. CAB – NIGHT

Piper is sitting in the back with Jeremy. She's holding a box of fortune cookies.

PIPER: Has anything weird or unexplainable ever happened to you?

JEREMY: Sure. It's called luck or fate, or some people call it miracles. Why? What happened?

PIPER: Forget it. Even if I could tell you, you'd swear I was crazy. Now open your fortune cookie.

She hands him a fortune cookie.

JEREMY: Okay. (He opens it and reads the bit of paper.) Soon you will be on top.

PIPER: It doesn't say that.

JEREMY: Yes, it does.

PIPER: Let me see that.

Piper snatches the bit of paper from him.

JEREMY: Is that a bad thing?

PIPER: Of the world. Soon you will be on top of the world.

She scrunches up the bit of paper and chucks it at him.

JEREMY: (to the cab driver) Can you make a left on 7th please.

DRIVER: (O.S.) You got it.

PIPER: Hey, I thought that we were going to your place.

JEREMY: We are, but you reminded me of something. I wanna show you the old Bowing building. The view of the Bay bridge is amazing.


INT. MANOR – NIGHT

Prue opens the front door and walks inside. Phoebe walks in behind her.

PHOEBE: When I was looking through the Book Of Shadows, I saw these wood carvings. They looked like something out of a Bosch paintings. All these terrifying images of three women battling different incarnations of evil.

PRUE: Evil fighting evil, that's a twist.

Prue places a briefcase style bag by the door. Phoebe turns to face her.

PHOEBE: Actually, a witch can be either good or evil. A good witch follows the wiccan rede. 'An it harm none, do what ye will.' But a demon has but one goal: to kill good witches and retain their powers. Unfortunately, they can look like regular people. They could be anyone, anywhere.

PRUE: And this has what to do with us?

Prue walks past Phoebe and walks towards the kitchen, Phoebe follows.

PHOEBE: Well, in the first wood carving, they were in the slumber, but in the second one, they were battling some type of evil being. I think as long as we were in the dark about our powers, we were safe. (O.S.) Not anymore.


INT. MANOR – KITCHEN – CONT’D

Prue walks round the island and opens one of the top cupboards. Phoebe sits on a stool at the island.

PHOEBE: But you know I'm not afraid of our powers.

Prue looks over her shoulder scoffs and shakes her head before continuing to rummage through the cupboard.

PHOEBE: Well, I mean, everyone inherits something from their family, right?

PRUE: Yeah, money, antiques, a strong disposition. That's what normal people inherit.

Prue closes the door to one cupboard and starts looking in the next.

PHOEBE: Who wants to be normal when we can be special?

PRUE: I want to be normal; I want my life to be... where’s the aspirin?

PHOEBE: Well, we can't change what happened. We can't undo our destiny.

PRUE: Have you seen the aspirin?

PHOEBE: As you keep reminding me, I’ve been in New York. I don’t know where you keep the aspirin.

Prue slams the door and turns to face Phoebe.

PRUE: Look, I have just found out that I'm a witch, that my sisters are witches, and that we have powers that will apparently unleash all forms of evil. Evil that is apparently going to come looking for us. So, could you cut the attitude for just a minute.

PHOEBE: There’s something else going on here, I can tell.

Phoebe wiggles her finger at Prue from head to toe.

PRUE: Phoebe, I’m serious.

A vase that is placed in the centre of the island flies off of the counter and smashes onto the floor.

PHOEBE: Woah. (She stands up as if to shield herself from the mess. She smiles and waggles her finger at Prue.) You move things when you're upset.

Prue slaps away Phoebe’s finger.

PRUE: This is ridiculous! I thought that you landed on your arm, not your head.

PHOEBE: You don't believe me.

Prue moves to clear up the mess left by the broken vase, taking a dustpan and brush that is hanging from the wall near the door that leads down to the basement.

PRUE: Of course, I don't believe you!

PHOEBE: Ro-ger.

A mug flies off the counter, Phoebe manages to catch it. She smiles.

PHOEBE: Now let's talk about Dad and see what happens.

PRUE: He's dead, Phoebe.

PHOEBE: No, he's moved from New York, but he's very much alive.

PRUE: He isn't to me. He died the day he left Mom.

PHOEBE: What are you talking about? He's always been a major button pusher for you. You're mad he's alive, you're mad I tried to find him, and you're mad I came back. Dad, Dad, Dad, Dad, Dad, Dad, Dad.

Every cup, utensil or item sitting on top of the counters fly off of them and crash to the ground. Both women jump and back away from chaos. Phoebe clutches the mug and holds it against her chest. They both look down at all the broken glass and crockery and Phoebe snorts.

PHOEBE: Feel better?

PRUE: Lots.

PHOEBE: The Book of Shadows said our powers would grow.

PRUE: Grow to what?

Phoebe leans in clutches Prue’s arm and they both laugh.


INT. BOWING BUILDING - NIGHT

Jeremy opens the door to a dark, dingy disused warehouse building. He and Piper stand in the doorway peering inside.

JEREMY: Well, here we are.

PIPER: I don't care how amazing the view is. I'm not going in there.

JEREMY: Come on, come on. I have a surprise inside.

Jeremy takes Piper by the hand and enter. They step inside an elevator, Jeremy pulls down the shutters, presses the button and the elevator starts to go up.

JEREMY: You’re gonna love this. I bet you tell Phoebe and Prue the moment you see them.

Piper takes a moment before turning to Jeremy.

PIPER: I never mentioned PHOEBE came home.

JEREMY: Oops.

Jeremy turns sharply and brandishes an athame. Piper takes a step back.

PIPER: What is that?

JEREMY: It's your surprise.

PIPER: Jeremy, stop it, you're scaring me. (Raised voice.) Damn it! I'm serious!

JEREMY: So am I. See, I've waited over a year for this. Ever since Grams went to the hospital. See I've known for quite some time that the moment the old witch croaked, that all your powers they’d be released. Powers that would reveal themselves as soon as the three of you got together again. All that was needed was for Phoebe to return.

Piper backs up slowly.

PIPER: Why are saying all this? I don’t understand.

JEREMY: Because I want your powers, of course.

Jeremy laughs as Piper backs into the wall, realising she has nowhere to go.

PIPER: But why me? Why us?

JEREMY: It’s nothing personal, Piper. It was just easier to earn your trust. Because you’re weak, (He grins.) just like they all were.

PIPER: They?

JEREMY: Maggie, Violet, Serena. All so desperate to be loved, to feel special, that they couldn’t even see the demon standing right in front of them.

PIPER: Wait…it was you, wasn't it? You killed all those women.

JEREMY: Not women, witches!

PIPER: This can’t be happening.

Jeremy raises his hand and flames come out of his fingertips.

JEREMY: Oh, it’s happening, Piper. I took their powers.

Jeremy admires his new ability before extinguishing the flames by closing his palm and lower his arm.

JEREMY: And now, I want yours.

Jeremy launches towards Piper, raising his arm in order to stab her. Piper screams, raising her arms and covering her face to shield herself from the attack. Everything freezes. The elevator, Jeremy, everything in Piper’s immediate vicinity is frozen still.

Piper slowly her arms to see Jeremy is frozen still. She’s stunned. She starts looking around at her surroundings.

PIPER: Okay, think, stay calm. I gotta get outta here. Okay.

Piper looks up and sees the next floor is visible. She climbs up and tries to lift herself over the shutter. Jeremy unfreezes and he grabs her leg. The elevator also begins to move again and her leg slips from his grasp.

Piper clambers to her feet as the elevator stops, having reached its desired floor.

JEREMY: (O.S.) You can’t run from me.

Piper runs around the corner and hides behind a tower of wooden crates. A gust of wind type of force throws the shutters up and Jeremy walks out of the elevator with one hand showcasing his pyrokinetic abilities and the other holding the athame.

Piper is gesturing her hands trying to use her power, but nothing is working. She spots a large cuboid of wood lying on the ground next to her and quietly reaches down to grab it.

JEREMY: You can’t hide, Piper.

Piper sees Jeremy’s shadow appear and as he steps forward, she swings the piece of wood and hits him square in the face knocking him backwards.

Piper drops the piece of wood and begins to run, leaving Jeremy unconscious on the ground.

FADE TO BLACK

[Astral Echo]

FADE IN:

INT. FOYER – NIGHT

Phoebe walks down the stairs with Kit the cat in her arms. She spots the light flashing on the answer machine.

PHOEBE: Prue?

Phoebe presses a button on the answer machine.

ROGER: (through the answer machine) Prue, it's Roger. I've decided to let you come back to work. Seriously, let's talk. Bye.

Prue enters from the kitchen holding a brush and dustpan full of glass.

PRUE: Yeah?

PHOEBE: Piper’s definitely not home. Unless she's turned into a cat.

PRUE: How'd the cat get in?

PHOEBE: I don't know. Someone must have left the window open.

The cat jumps out of Phoebe’s arms and runs into the sunroom.

PRUE: Did she leave a message?

PHOEBE: No, but Roger called.

Prue bites her lip.

PRUE: Oh god, I think I might have used my power on him.

PHOEBE: No way! How did he react to that?

PRUE: I think he thought he stumbled or something.

Phoebe snorts.

PHOEBE: That’s funny. I wish I could’ve seen the look on his stupid face.

PRUE: Speaking of funny, I bumped into Andy early.

PHOEBE: Our Andy?

Prue furrows her brow and nods her head.

PRUE: He mentioned that you two ran into one another in New York.

PHOEBE: He did?

Prue crosses her arms and narrows her gaze.

PHOEBE: I guess you could say our paths crossed a couple of times.

Phoebe sees Prue’s expression and realises what her sister is assuming.

PHOEBE: But oh my god, no, it’s not what you think. It’s Andy. Your Andy.

PRUE: Wouldn’t be the first time, Phoebe.

PHOEBE: No, Prue, no. He’s like my brother. He helped me out, that’s all.

The front door opens.

PIPER: Prue!

PHOEBE: In here. Piper?

Piper shuts the door and locks it.

PRUE: Oh my God, what is it? What's wrong?

Piper rushes to her sisters.

PIPER: Quick! Lock the doors, check the windows. We don't have a lot of time. Phoebe, in the Book Of Shadows, did it say how to get rid of a ...

PHOEBE: Demon?

PRUE: Oh my God.


INT. BOWING BUILDING – NIGHT

Jeremy is waking up. He gets to his feet, grabs the athame off of the ground and runs towards a fire escape.

JEREMY: I'll get you, you witch.


INT. MANOR – LIVING ROOM – NIGHT

Piper and Prue are securing the windows. Prue looks over her shoulder and heads into the Foyer.

PRUE: (O.S.) I'm calling the cops.

Piper pulls across the curtains before darting after her.


INT. MANOR - FOYER - CONT'D

PIPER: And tell them what? That we're witches? That some freak with powers beyond comprehension is trying to kill us? Even if the cops did come, they'd be no match for Jeremy, and we'd be next.

PRUE: Well, we can’t just sit here like sitting ducks.

PIPER: What are you suggesting we do, Prue?

PRUE: I don’t know, Piper. But we can’t very well do nothing.

Phoebe appears at the top of the stairs and looks down at her sisters.

PHOEBE: I think I found the answer. It might be our only hope. Come on.

Prue and Piper rush up the stairs and follow Phoebe upstairs.


INT. MANOR – ATTIC – NIGHT

They are sitting in a circle on the floor around a low table. The Book of Shadows is open in front of them with a large cauldron on the table. They have placed eight candles in a circle around them.

PRUE: Okay, we've placed the nine candles anointed with oil and spices in a circle.

PIPER: Wait, I only count eight.

PHOEBE: Oh, you forgot this one.

Phoebe holds up a birthday candle.

PIPER: A birthday candle?

PHOEBE: I guess Grams was a little low on witch supplies.

Phoebe takes a lighter and lights the candle.

PRUE: Alright, we need the poppet.

PIPER: Got it.

Phoebe places the lit candle into the cauldron.

PRUE: Right, we're set. Get ready to cast the spell.

PIPER: Okay, okay. Are we really doing this?

PHOEBE: Yes!

PRUE: We haven’t got any other choice.

Piper looks at Phoebe who is grinning like a child in a sweet shop.

PIPER: Are you enjoying this?

PHOEBE: It’s exciting, isn’t it?

PRUE & PIPER: No.

PIPER: This is terrifying, Phoebs.

Phoebe gleefully shrugs. Piper shakes her head and looks to Prue.

PRUE: We’ve really gotta get going. Jeremy could be here any minute.

PIPER: Okay, first I'll make it stronger.

Piper gets a rose and places it on top of the poppet.

PIPER: (reading) "Your love with wither and depart, from my life and my heart, let me be, JEREMY, and go away forever."

Piper presses the rose thorns into the poppet and places it in the pot.

PIPER: Okay, the spell's complete.

PRUE: Let's hope it works.

They watch as smoke starts to raise up from within the cauldron. It billows over the top and surrounds the table. Prue looks determined, Piper scared while Phoebe smiles delighting at what they’re doing.

A flash of light causes the rose and poppet to disappear and a ball of fire explodes out of the cauldron causing the sisters to jump.


EXT. ALLEYWAY – NIGHT

Jeremy is walking through an abandoned alley. He suddenly jolts forward and screams in pain. Hundreds of thorns tear through his skin.


INT. MANOR – ATTIC – CONT’D

They are cleaning up.

PIPER: So, is that it?

PRUE: I sure hope so.

Phoebe picks up the pot and has a premonition.

In a flash, she sees Jeremy writhing around in pain but still very much alive.

PHOEBE: Wait! It didn't work.

She stands up from the alter. Prue and Piper who carrying supplies to the door stop and turn.

PIPER: What?

PHOEBE: The spell, it didn't work.

PRUE: How do you know?

PHOEBE: When I touched the pot, I had a flash. I saw Jeremy

PRUE: You touched the pot and you saw him?

PHOEBE: He's on his way here.

They turn and run out of the attic and down the stairs.


INT. MANOR – FOYER – CONT’D

The sisters all run down the stairs.

PIPER: This can’t be happening.

They run to the door and Prue opens it.

PRUE: Come on.

Jeremy is standing there. Piper and Phoebe scream.

Jeremy blows and a gust of window knocks Piper and Phoebe off of their feet.

JEREMY: Hello, ladies.

Prue runs to help her sister.

JEREMY: Neat power, huh?

Piper and Phoebe clamber to their feet, Prue guards them by standing in front of them as they all slowly step away from Jeremy.

PRUE: Piper, Phoebe…

Prue squints her eyes trying to concentrate and Jeremy jerks backwards into the frame of the archway between the foyer and living area.

PRUE: Get out of here now!

Piper and Phoebe run to the stairs.

JEREMY: Cool parlor trick, bitch. You were always the tough one, weren't you, Prue?

This time Prue throws her head back using her powers again, so he hits the wall. This time it knocks him down. She runs upstairs leaving Jeremy slightly stunned.


INT. MANOR – ATTIC – CONT’D

Piper and Phoebe are waiting nervously as Prue comes running up the stairs and into the attic.

PRUE: Phoebe, you're right, our powers are growing.

Prue closes the door.

PIPER: Put as many things against the door as you can.

They push a dresser against the door and a plank of wood across the door frame.

JEREMY: (O.S.) You can’t keep me out, Prue. My powers are stronger than yours.

PIPER: Look out.

Piper places a chair on top of the dresser.

Jeremy laughs and the sisters back away from the door, forming a formation in the middle of the room with Prue in front.

JEREMY: (O.S.) You don’t think a chair can stop me?

A gust of wind bleeds through the door and the chair slides off the dresser.

JEREMY: (O.S.) You don’t think a dresser can stop me?

Another gust of wind breezes under the door and the dresser slides furiously against a wall.

JEREMY: (O.S.) Have you witches figured it out? Nothing, nothing can keep me away.

Jeremy laughs as slowly the wind starts moving the wood out from the wires that are keeping it held against the door. It jaunts free and flies across the room.

PIPER: What do we do? We're trapped.

The door bursts into flames and explodes leaving Jeremy standing in the doorway. Piper and Phoebe scream and all three sisters jump.

PRUE: Come on, we'll face him together. (To Piper.) Do you remember the spirit board?

PIPER: The inscription on the back.

PRUE: The power of three will set us free.

Taunting them, Jeremy throws a flame at the ground and a circle of fire surrounds the sisters. They all look down in fear as the flames illuminates their faces.

PRUE: Come on! We’ve gotta say it together.

Prue grabs her sisters hands.

PRUE/PIPER/PHOEBE: The power of three will set us free. The power of three will set us free. The power of three will set us free.

They continue to chant as Jeremy blows a gust of wind at them and the flames turn into a tornado engulfing them. A light begins to shine out of the sisters, protecting them from the force of the gusting wind.

JEREMY: I am not the only one! I am one of millions! In places you can't even imagine! In forms you would never believe! We are hell on this earth!

Jeremy starts stumbling backwards as the light from the sisters begins to glow brighter.

JEREMY: (louder) You will never be safe!

The wind funnels up and away from the sisters, consuming Jeremy.

JEREMY: And you will never be…

The tornado of wind turns to flames.

JEREMY: (screams) Free!

Jeremy roads as he explodes causing the sisters to look away. In fiery flames Jeremy disappears leaving nothing in his place but an athame which drops from the air and clangs several times as it hits the ground.

The sisters look up.

PRUE: The power of three.


EXT. MANOR – MORNING

Prue opens the front door and skips down the stairs to grab the newspaper sitting on the front steps.

ANDY: (O.S.) Good morning!

The car door closes, and Andy walks over holding a cup of coffee.

PRUE: Hey, this is a surprise.

ANDY: I've been feeling really guilty about that bad cup of coffee. I - I just want to make it up to you.

PRUE: So, you brought me a good cup of coffee?

ANDY: Oh this? (Points at his cup.) No, this is mine. I, uh, just wanted to ask you out to dinner.

Andy takes off his sunglasses. Prue smiles.

ANDY: Unless of course you're afraid.

Andy smiles.

PRUE: Afraid of what?

ANDY: Oh, you know, having too good of time, stirring up old memories, rekindling and old flame.

Prue laughs.

PRUE: Hmm, good point, better not.

ANDY: Okay. Friday night, eight o'clock?

Prue stops and looks up at him. His smile fades slightly.

ANDY: (disappointed) You hesitated.

PRUE: Yeah, but it's not what you think. It's just that my life has gotten a bit complicated. Can I call you?

ANDY: Sure.

Andy takes out his card and hands it to her.

The passage door to Andy’s car opens and Alex pops his head out.

ALEX: Come on Trudeau. Places to go, people to see.

Andy looks over his shoulder and air salutes to him.

ANDY: Look I better go.

She nods.

ANDY: Take care, Prue

PRUE: Bye, Andy

Andy walks back to his car as the door opens. Piper and Phoebe, whose holding Kit, comes outside.

PHOEBE: It's Andy. I told you I heard a man's voice. (Shouts) Hey Andy.

Andy has reached the car door and waves.

ALEX: Okay, Romeo. Let’s go.

Andy gets in the car as Alex watches Prue and her sisters for a second. They’re laughing between themselves.

PIPER: (O.S.) What did he want?

Alex puts on his sunglasses and gets back into the car.

Prue strokes Kit and Piper pinches Andy’s card.

PRUE: He asked me out.

PIPER: And you said ...?

PRUE: Well…I started to say yes, and then I stopped. I wondered if I could date. I mean, do witches date?

PHOEBE: Not only do they date but they usually get the best guys.

Kit miaows as Alex looks on through the window. The car starts and begins to drive away.

PRUE: You two will not be laughing when this happens to you. Believe me, everything will be different now.

PHOEBE: Well, at least our lives won't be boring.

PRUE: But they'll never be the same.

PHOEBE: And this is a bad thing?

Prue and her sisters begin to walk back up to the Manor.

PRUE: No. But it could be a big problem.

PIPER: Prue's right. What are we gonna do?

PHOEBE: What can't we do?

PRUE: We are gonna be careful, we're gonna be wise and we're gonna stick together.

PIPER: This should be interesting.

Piper and Phoebe walk inside and disappear out of view. Prue stands inside the house, smiles, looks at the door and shuts it using her power.

FADE TO BLACK.

END OF EPISODE.

[Sasha]

So I noticed it follows canon's pilot pretty closely but with some differences, you have Alex Rodriguez in place of Darryl Morris (which I'm interested to see where that will go), and Grams writing the message on the spirit board not Patty, it was interesting they decided to not do that in canon and had it being Patty (but with the backstory set up in Pre-Witched, I see why). Also a few other differences, with Phoebe who left when Grams was sick and came home on her death bed and them bailed again after the funeral.

Oh, and a change with Prue and Phoebe not at a bar, but near the car, and lots of differences I liked, and I liked that Phoebe brought up that she sees Andy as a brother, and interesting they ran into each other in New York.

I'll be keeping my eyes out to see where Alex Rodriguez fits in the rest of the season, and if you do any differences with the Prue/Andy arc and such and if Andy finds out the secret sooner or similar to canon.

[Astral Echo]

Thanks for your thoughts, Sasha. Out of interest, how did it read? I chose this style cause it means I can adapt transcripts as initially, I didn't want to diverge too much from the source material. I've kind of gone for a script/prose hybrid, a little like what we did with Reset Reality, but I wonder whether it arguably have more detail? Particularly when it comes to descriptions. Obviously we know what it originally looked like on screen so we can already visual it but does the "script" do enough to help you picture it?

As I said, I didn't want to go too far away from the original episode, mostly tweaking what many view as inconsistencies and errors. Stuff like the lift not moving or Prue's powers doing things that we never see again. Also tidying up some of the lore so I omitting the word warlock (for reasons that'll later become clear) as not to retcon it a few episodes later as the OS did.

And I've tried to sprinkle some easter eggs in there too, for eagle eyed fans.

Rodriguez was my first major change as I always felt Season 1 lacked any overarching stories aside from Prue/Andy and very scattergun Rex/Hannah story. Those familiar to the show will recognise Rodriguez but hopefully anyone new to Charmed wouldn't think anything of him at this stage.

Other changes you pointed out were mostly down to personal gripes. I felt the settings of Prue and Phoebe's scene in the second half of the episode to be really strange. Like why go to Quake then a pharmacy? Why have Prue use her power in public without any repercussions? And hopefully you'll like the dynamic between the two as well? I felt the animosity between the two was too quickly glossed over and I wanted to add extra bite to their exchanges. Similarly, I relocated Prue to Bucklands straight off the bat as I wanted her to be a little more established. It seemed odd to me that ALL 3 start the series in such a state of flux. Plus, I always had a soft spot for Bucklands.

Finally, Phoebe. I wanted to add a chink into the Power of Three. I always felt the sisters came together came together way too quickly and eliminated any real tension. This might be unpopular but I wanted to make Phoebe a little more flakey to kind of give cause as to why Prue was so angry with her. This in turn, should throw up some bumps in the road and not make them a little chaotic and ultimately weaker until Prue and Phoebe can work past their problems.

[Astral Echo]

1x02 – I’ve Got You Under My Skin

Originally written by: Brad Kern

Adapted by: Daniel Taylor

   

Starring Shannen Doherty as Prue Halliwell

Holly Marie Combs as Piper Halliwell

Alyssa Milano as Phoebe Halliwell

and T.W. King as Andy Trudeau

   

Guest starring Carlos Gomez as Alex Rodriguez

Patrick Huard as Pierre Moore

Leigh-Allyn Baker as Hannah Webster

and Neil Roberts as Rex Buckland

With Cynthia King (Brittany Reynolds), Robin Miller (Skye Russell), Allen Cutler (Doug Clayton), Marc Shelton (Pastor John Williams), Susan Chuang (Monique Spelling) and Tom Babcock (Hector O’Shea).

Co-starring Bailey Luetgert (Alec Chase), Barbara Pilavin (Older Brittany Reynolds), Ben Caswell (Max Reynolds), Tamara Lee Krinsky (Tia King), Todd Feder (Attendant), Ralph Manza (Elderly Man) and J. Michael Philip (Stefan Black/Javna).

---

 

FADE IN:

EXT. QUAKE – PARKING LOT – NIGHT

Walking through the parking lot is a beautiful, young woman with long, blonde, curly hair. She is rummaging around in her handbag. Dressed in a white blouse and black pencil skirt, she is fresh off her shift at the restaurant.

Pulling a cell phone out of her bag, she dials a number and presses it to her ear. While it rings, she resumes rifling through her handbag.

WOMAN: Hey honey, I’ve just finished.

She pauses. We hear a muffled voice answering back to her.

WOMAN: Oh, it’s been one hell of a day. Chef Moore has been an absolute nightmare. But I’ll tell you about when I get home.

The person on the other end of the phone responds as she reaches the trunk of her car. The woman stops, places her bag onto the trunk and continues to look inside.

WOMAN: I know, I know. But what can I do? Anyway, do you mind making something to eat? I didn’t get a get a break all evening.

The muffled voice is heard once more as she stops looking in her bag.

WOMAN: Honestly, I would marry you again if I could. But I’ve got to go, I think I might’ve left my keys inside. Love you, bye.

The woman hangs up on the phone and slings her handbag back onto her shoulder but as walks back past the rear of her car, she spots something out the corner of her eye.

Turning to look down the side of the car, she sees keys hanging from the driver side door.

WOMAN: What the –

The woman walks to the door and takes the keys out of the lock. She shrugs and opens the car door. Chucking her bag to the passenger seat, she sits down inside and sighs deeply.

She briefly presses her head against the steering wheel and groans. Lifting her head up she pulls down the visor and looks at her reflection in the mirror.

To her horror, she’s not alone. A shadowed figure in the backseat launches forward and wraps his hands over her mouth as she screams as we –

CUT TO:


EXT. QUAKE – ENTRANCE – CONT’D

Establishing shot.

The Quake sign is illuminated. The sound of a crowd can be heard coming from inside.
A couple walk up to the front doors, hand in hand.


INT. QUAKE – RESTAURANT – CONT’D

Dressed in a “little black dress”, PHOEBE HALLIWELL walks through the crowd smiling from ear to ear.

A tall, handsome, blonde haired man, ALEC CHASE, looks over his shoulder as Phoebe walks past.

She glances over her shoulder and smiles. Turning back, she bites her lip and makes her way to the bar.

PHOEBE: Hey, has Piper finished yet?

The waitress who is waiting by the bar, SKYE RUSSELL, turns as Phoebe lifts herself onto a bar stool.

SKYE: I don’t know. Do you want me to go check?

PHOEBE: No, it’s fine. I can wait. She can pay though.

Skye chuckles.

A tray of drinks is put in front of her by the bartender, DOUG CLAYTON.

Skye picks up the tray and walks off.

PHOEBE: Hey Doug, can I get a chardonnay?

DOUG: Actually, that guy at the end of the bar just bought you a martini.

She smiles.

PHOEBE: Oh, he did, did he?

DOUG: Do you want me to say no?

PHOEBE: Don’t be silly, I can’t afford to be turning down free drinks. Particularly when they’re bought by a good-looking guy like him.

Doug tilts his head unable to protest such a comment. Phoebe touches his hand.

PHOEBE: But thank you for looking out for me, it’s very sweet.

Phoebe winks and Doug smiles nervously before proceeding to make her drink.

PIPER HALLIWELL appears next to Phoebe and drops her fully stuffed tote bag onto the bar. She proceeds to bury her head into it, letting an exhausted and vaguely frustrated sigh.

PIPER: Ugh! I'm gonna kill him.

PHOEBE: Who?

Piper lifts up her head, she looks tired.

PIPER: Chef Moore. He’s been working us to the absolute bone.

PHOEBE: Well, it is busy.

PIPER: Maybe he should hire more staff. It’s been like this ever since I started. We just can’t keep up. There just isn’t enough time to do everything.

PHOEBE: You could always use your power.

Piper jolts her head back and glares at Phoebe.

PIPER: Ssh. Keep your voice down!

PHOEBE: What? Nobody can hear us over all this noise.

Piper rolls her eyes as Phoebe stands up and moves along the next stool.

PIPER: Wait…are you wearing my dress?

Doug walks over and places a martini in front of Phoebe.

PHOEBE: Thank him for me, won’t you Doug.

Doug nods and walks away. Piper sits down next to Phoebe.

PIPER: Him who?

PHOEBE: That poster boy to our right.

Phoebe waves at Alec with a smile. Placing her hand onto the base of the martini glass, Phoebe is thrown into a premonition:


INT. QUAKE – RESTAURANT – PREMONITION

Alec walks across the restaurant and taps Phoebe on the shoulder. She turns and smiles.

ALEC: Hi, I’m Alec. How would you like to…

Alec leans in and whispers into Phoebe’s ear. She laughs and slaps him playfully on the chest.


INT. QUAKE – RESTAURANT – CONT'D

Piper looks down the bar.

PIPER: I approve, who is he?

PHOEBE: His name is Alec and he's about to come over and ask me out.

PIPER: How do you know?

PHOEBE: Let's just say I saw the age-old problem of who approaches who. I had a little premonition.

PIPER: What? Phoebe, you are not supposed to use your powers, we agreed.

PHOEBE: No, you and Prue agreed. I abstained. Besides, it's not like I can control it, it just popped into my head.

PIPER: That's the whole point. (Slightly hushed.) None of us can control our powers. That's what scares me. I could panic and freeze the entire restaurant.

PHOEBE: It could help you with your Chef Moore problem.

PIPER: And what? I freeze the kitchen and Skye walks in to find the whole room frozen while I’m whipping up a meringue pie?

PHOEBE: Ssh, he’s coming over.

Alec approaches and Phoebe gets up out of her seat.

ALEC: Hi, I’m –

PHOEBE: Alec, right?

ALEC: Yeah, how'd you know my name?

PHOEBE: Lucky guess. Do you wanna get out of here?

ALEC: That’s just what I was thinking.

PHOEBE: What can I say? I’m psychic.

They both laugh. Piper leans to Phoebe.

PIPER: (to Phoebe) Prue is gonna be pissed.

Phoebe turns to Piper and grabs her purse off the back of the stool.

PHOEBE: Stop worrying, (points at her forehead) you'll get wrinkles. Don’t wait up.

Phoebe wraps her arm around Alec’s and the pair walk off. Piper shakes her head in disbelief as PIERRE MOORE walks up behind her.

PIERRE: Piper, I don’t pay you to sit.

Piper spins round on her chair and Pierre walks past her. She rotates on her chair to follow him.

PIPER: I’m off the clock.

PIERRE: Then go home. You’re make the place look untidy.

Pierre walks away leaving Piper speechless.


EXT. WAREHOUSE BUILDING – NIGHT

Establishing shot.

The woman’s car is car parked outside. It appears to be empty.


INT. WAREHOUSE BUILDING – CONT’D

A darkened room with spotlights from above creating circles of light on the ground. A wrinkly old hand holding a large black candle is moving across the room. There are also antique candles dotted around the room.

The hand places a candle into a holder and moves across a glass table where a woman is tied down, shackled at her hands and feet.

It’s the same woman from the opening scene.

WOMAN: Please, I beg you. Don’t hurt me.

A shadowed figure moves in the darkness. It appears to be hunched over and has long straggly hair.

WOMAN: (angrily) Just let me go.

The woman pulls on the metal shackles, trying to get free.

FIGURE: Ssh…

WOMAN: Please. I don’t wanna die.

FIGURE: (raspy) Oh you’re not going to die…

The figure steps out of the shadows. His skin is old and withered, white as snow. Red surround his sunken eyes.

This is the demon JAVNA.

JAVNA: (raspy) Not today anyway.

Javna’s eyes glow red.

WOMAN: Oh my god!

A continuous beam of bright red light, like a laser, shoots out from Javna’s eyes and into the woman’s.

She screams.

The woman’s hair begins to grey, dry and frizzy. As the beam of light fades so do the woman’s scream. The light disappears revealing the woman’s now aged form.

The once 20-something woman now appears to be approximately 80 years old.

The woman passes out as we -

CUT TO BLACK.

Opening Credits

[Astral Echo]

FADE IN:

EXT. SAN FRANCISCO – MORNING

The song “Forever Young” by Alphaville is playing.

Establishing shots of the city skyline including Golden Gate Bridge, the city cable car system and San Francisco Bay Area.

The final shot zooms in on the Halliwell Manor.


INT. MANOR – KITCHEN – MORNING

Piper's watching a small portable television while whisking some eggs. A documentary about the Salem witch trails is on.

KIT the cat miaows and walk past the screen.

PRESENTER: (through the TV) Proving that they were the devil’s disciples was no easy task for the court of the Salem witch trials. But a remarkable event occurred. One of the accused Mary Estee, ran for the church to profess her innocence. Suddenly, there was a clap of thunder, and she was struck by a bolt of lightning. In the mind of the church, god has spoken, forbidding the evil witch from even entering his house. The witches were subsequently convicted of heresy…

Dressed in work attire, PRUE HALLIWELL walks in.

PRUE: Morning.

PRESENTER: (through the TV) and hung for their crimes against humanity.

PIPER: Morning.

PRUE: What are you watching?

Prue walks to the refrigerator and takes out a carton of milk.

PIPER: Nothing. (She turns off the TV.) Just a show.

PRUE: About witches? Are you worried we're gonna be burnt at the stake?

PIPER: Witches weren’t burnt at the stake, they were hung.

Piper nervously scratches the back of her head. Prue grabs the jug from the coffee maker and pours herself a cup.

PIPER: Um..so, you really did on this place, huh?

Prue looks around and sees a distinct lack of clutter on the worktops.

PRUE: Yeah, sorry about that. I even had to buy a new coffee maker.

PIPER: Are you not worried about, you know, using your powers in public?

Prue returns the jar of coffee and pours milk into her mug.

PRUE: No, not really. I seem to be getting the hang out it.

Piper laughs nervously. There is an awkward silence.

PIPER: Oh, and uhm, Andy called.

PRUE: When?

PIPER: While you were in the shower.

PRUE: What did you tell him?

PIPER: That were you in the shower. Are you still avoiding him?

PRUE: No, not avoiding. Just…

PIPER: Ignoring his calls.

PRUE: It’s complicated. You know that.

PIPER: What is it? Do you just not fancy him anymore?

Prue pouts as she grabs her mug of coffee and walks out to the foyer. Piper follows.


INT. MANOR – FOYER – CONT’D

Prue walks into the room grabbing a newspaper off of the table; Piper is a few steps behind.

PRUE: Noo...It’s just with everything that’s going on right now and with everything that happened with Jeremy.

PIPER: But Andy’s not Jeremy. We’ve known Andy our whole lives. You were high school sweethearts for Christ’s sake.

Prue stops at the bottom of the stairs and turns to face Piper.

PRUE: We’ve not seen each other for almost 7 years and suddenly he pops up out of the blue. Just as we find out were witches. You don’t think that’s a coincidence?

PIPER: You’re just being paranoid.

Phoebe skips down the stairs, over hearing Piper’s last comment.

PHOEBE: Paranoid about what?

PIPER: Prue thinks Andy is a demon.

PHOEBE: Woah, what?

PRUE: I don’t think he’s a demon.

PHOEBE: Tell that to your face.

Prue rolls her eyes and walks into the sunroom.


INT. MANOR – SUNROOM – CONT’D

PRUE: (O.S.) I just think it’s a suspicious that after all this time, he decides to show up.

Prue walks in and sits down on one of the wicker couches. Piper and Phoebe follow her.

PIPER: It’s not that suspicious. (To Phoebe) Didn’t you see him earlier this year.

PRUE: Oh yes, what reason did you have for hooking up with my ex-boyfriend again?

PHOEBE: (shrill) We didn’t hook up.

Phoebe throws out her hands in protestation.

PHOEBE: I already told you, he…uhm…helped me out.

PRUE: Helped you out with what exactly?

PHOEBE: Oh, you know, a little bit of this, and a little bit of that.

Prue shakes her head and takes a sip of her coffee.

PIPER: Speaking of hooking up. (To Phoebe.) Did you have a good time last night?

PHOEBE: (coy) I don’t know what you mean.

PRUE: What time did you end up rolling in?

PIPER: It must’ve been at least after three.

Phoebe shrugs.

PHOEBE: I must still be in New York time.

PRUE: Actually, that would make it later.

PIPER: Or maybe you and Alec…

PRUE: Who's Alec?

PIPER: Some hottie she hit on in the restaurant.

PHOEBE: Excuse me, revisionist history. He hit on me. Remember the whole vision thing?

PRUE: Vision thing? Please tell me you didn't use your powers.

Phoebe compresses her lips and doesn't say anything. Prue looks at Piper.

PIPER: Don't put me in the middle.

PRUE: I'm not. You were born in the middle. Look, I thought that we agreed.

PHOEBE: No, we didn't. You agreed. You laid down the law. There's a difference.

PRUE: Look, Phoebe, our powers aren't toys. We have to be careful or they can get us killed.

Prue gives Phoebe a stern look before looking down at the newspaper.

PIPER: She's right. We don't want any demons finding us.

PHOEBE: Look, it was just a lousy premonition, that's all. Nobody died. Besides, you guys can't control your powers any better than I can. (To Piper.) And F.Y.I. nothing happened last night. At least nothing I'm ashamed of.

Phoebe turns and starts to walk away. Prue looks up from the newspaper.

PRUE: There's another reason we have to be careful. (Phoebe stops and turns back around.) Apparently, somebody is abducting women in our area.

PHOEBE: Abducting women? What do you mean?

PRUE: It means that demons aren't the only evil we have to watch out for.

Piper looks nervously at Phoebe before looking back at Prue. Prue looks back at the newspaper.

The headline on the front page reads:

“WOMEN MISSING IN BAY AREA”

FADE TO BLACK.

[Astral Echo]

FADE IN:

INT. SAN FRANCISCO POLICE DEPARTMENT – INSPECTOR’S OFFICE – DAY

Holding a photo of the woman kidnapped by Javna, ANDY TRUDEAU is sat at his desk, drinking a coffee.

Andy passes the photo to ALEX RODRIGUEZ who moves past Andy’s desk to sit on the front edge in front of a distraught man, MAX REYNOLDS, who is sat on one of the two chairs in front of the desk.

MAX: She didn't come home at all last night. That's not like Brittany, believe me.

ALEX: Tell me, Max. What time did she leave Quake?

MAX: Around ten. She called to say that she was coming home. Even asked me to cook her dinner. But never showed.

Andy stands up holding his coffee.

ANDY: Chances are she'll show up. Usually do. The best thing to do right now is to go home and see if she calls, alright. Will you do that?

Andy reaches over the desk and shakes Max’s hand.

MAX: Yeah, thanks.

Andy nods and Max walks out, Alex watches as he leaves. Andy turns and opens up the filling cabinet behind him and removes some files.

ANDY: That’s the fourth one in the last week.

ALEX: Like you just said, they’ll turn up.

ANDY: They can't just be disappearing into thin air, Rodriguez.

ALEX: Yeah, well, I say it’s the husband. It’s always the husband.

ANDY: Your theory is interesting except…

Andy removes a photo of a young red headed girl and shows it to Alex.

ANDY: Lindsey isn’t married.

ALEX: And that “friend” who reported her missing is just a “friend”.

Alex uses air quotes when saying the second “friend”.

ANDY: All the victims are somehow connected to the restaurant. That’s no coincidence. That, my friend, is a pattern.

ALEX: Yeah, well, better tell your sweetheart to lock the door at night.

Alex pats Andy on the back and walks away leaving him with food for thought.


EXT. CHURCH – PARKING LOT – DAY

The bells are ringing. Piper's sitting in her car staring at the large wooden doors. She looks contemplative. An umbrella knocks on the passenger door giving Piper a fright.

A suited man appears in the window. He stands for a moment before kneeling and a smiling face comes into view.

Dressed in smart black shirt with a clerical collar, this is PASTOR JOHN WILLIAMS.

PIPER: Pastor Williams, you scared me.

JOHN: I'm sorry. Aren't you a little early?

Piper looks confused.

JOHN: Dropping off the unused food from the restaurant. I thought you weren't coming by until this afternoon.

PIPER: I am. I mean, I'm coming back with everything.

JOHN: Great. So, what are you doing here now?

PIPER: Nothing really. Just, uh, just thinking.

JOHN: About?

PIPER: Mary Estee.

JOHN: Who?

PIPER: It's just a stupid documentary I saw. (She pauses.) By the way, is it true that  evil beings can't go into a church without being...

Piper makes a noise and moves her hands to imitate being hit by lightning. They laugh.

JOHN: Evil beings? You mean, like what? Vampires?

Piper laughs.

PIPER: Vampires, no. (She presses her lips together as if she’s considering her next words carefully.) I was thinking more on the lines of…witches.

JOHN: Witches, huh?

Piper nods.

JOHN: Let me put it to you this way. I sure wouldn't wanna risk it.

PIPER: (despondent) Hm.

JOHN: I gotta go. I'll see you later?

PIPER: Yeah, right, absolutely.

Pastor John stands up and leaves. Piper looks round back towards the doors. She watches as Pastor John enters the church.

She takes a moment and unbuckles her seat, opens the door and gets out of her car. She purposefully walks towards the church, slowing as she reaches the steps. She looks up and begins walking up the steps to the door.

Just as she's about to grab the handle, there's a crack of thunder causing her to jump and run away.

PIPER: Nope, no, nu-uh.


INT. BUCKLANDS – HALL – DAY

Prue walks down the corridor with a handbag on one shoulder and a portfolio case underneath her armpit on the other arm.

The elevator dings.

PRUE: Hold the doors.

She runs to the elevator and squeezes through the door as it closes causing her to drop her briefcase. Everything falls out of it.

There are three men already inside. By their attire, they look like decorators.


INT. BUCKLANDS – ELEVATOR – CONT’D

Prue kneels down and begins trying to collect her belongings.

PRUE: Damn it. Can you push twelve please?

A tall, dark and handsome man looks down at Prue.

MAN: Uh-huh.

The man leans over and presses “12” on the elevator.

MAN: Here let me help.

He bends down and picks up Jeremy’s athame.

MAN: Wow, this is spectacular.

Prue straightens herself up and her mouth drops when she realises what he is holding.

PRUE: Yeah… it’s a real relic.

MAN: You’re telling me. I assume you work in the auction house upstairs.

PRUE: Well, I did. Then I didn’t. And now…

Prue takes the athame from him and stuffs it into her bag as her cell phone begins to ring. She answers it.

PRUE: Hello? (Confused.) Uh, Andy, how did you get this number?


INT. SFPD – INSPECTOR’S OFFICE – CONT’D

Holding a landline phone to his ear, Andy turns and sits on the edge of his desk.

ANDY: I’m a detective, remember?


INT. BUCKLANDS – ELEVATOR – CONT’D

Prue has turned her back to the Man and away from the other men in the elevator.

PRUE: Yeah…what do you want, Andy?


INT. SFPD – INSPECTOR’S OFFICE – CONT’D

Andy glances over his shoulder before looking back.

ANDY: I was hoping we could talk.

PRUE: (O.S.) About what?

ANDY: About us.


INT. BUCKLANDS – ELEVATOR – CONT’D

Prue glances over her shoulder to see if anyone is listening.

PRUE: (hushed) There is no us. There hasn't been an us since high school. So what’s to talk about? (Normal level) And uhm, I’m really late for this meeting at work so… I really can’t get into this right now.


INT. SFPD – INSPECTOR’S OFFICE – CONT’D

Andy scratches his head, taking a pause to consider what to say next.

ANDY: I’d like to think we’ve still got plenty to talk about, Prue. I know it’s been a while, but I think there’s still something there, you know.


INT. BUCKLANDS – ELEVATOR – CONT’D


The elevator door opens, and more people start pilling in.

PRUE: Of course, I don’t really know whether I still wanna do this after everything that happened between Roger and me.

ANDY: (O.S.) What’s Roger got to do with anything?

PRUE: But apparently, he’s gone now. And Mr Buckland croaked which means his entitled, narcissistic, trust fund son is taking over. (She pauses.) But this could be good for me, who knows?

ANDY: (O.S.) Come on, Prue. Listen to me. We've known each other for a long time.

PRUE: I know, Andy.

ANDY: (O.S.) And a lot has changed, I know that. But help me out here, Prue. Why'd you keeping blow me off like this?

PRUE: I told you, it’s complicated.


INT. SFPD – INSPECTOR’S OFFICE – CONT’D

Andy is now looking out of the window by his desk.

ANDY: Then uncomplicate it. Just talk to me.


INT. BUCKLANDS – ELEVATOR – CONT’D

Prue has started to get the attention of the other people in the elevator making her feel self-conscious.

PRUE: Look I told you I can’t talk about this right. (The phone crackles.) Hello? Hello?

She hangs up and looks to the Man to see all the other people in the elevator look away as if they’ve been caught. Prue furrows her brow and looks up at the floor indicator. It switches from 6 to 7 and the door on the elevator starts to open but Prue uses her power to make it close.

MAN #2: Hey, it missed my floor.


INT. SFPD – INSPECTOR’S OFFICE – CONT’D

The phone crackles.

ANDY: Hello?

Alex walks to his desk which is positioned in front of Andy, taking off his jacket and putting it onto the back of the chair.

ANDY: Prue? Are you there?

The line goes dead. Andy looks at the phone dumbfounded.

Alex turns to him and grins.

ALEX: Tut tut, Trudeau. You know what the Chief says about personal calls.
Andy slams down the phone shaking his head.


INT. BUCKLANDS – ELEVATOR – CONT’D

Prue uses her power, so the elevator misses everyone else's floor and continues going up. Man #2 bashes on the buttons as others begin to mutter.

The Man watches the indicator as the lift moves all the way up to level 12.

MAN: How strange?

The doors open.

MAN: (to Prue) Lucky you, huh?

PRUE: Yeah, I'm charmed alright.

Prue walks out the elevator as the other people in the elevator stare on in disbelief.


INT. QUAKE – RESTAURANT - DAY

Dressed in a white blouse and smart, black trousers Phoebe walks through the restaurant holding a menu. She walks to a table where a couple is sat chatting to one another.

PHOEBE: Table 3?

TIA KING, a young red headed woman looks up. She smiles.

TIA: Yes.

Phoebe moves between the couple and extends her arm to pass a menu.

PHOEBE: Here you go.

Looking up and catching Phoebe’s eye, STEFAN BLACK, reaches up to take the menu. He’s very handsome, with dark, mysterious eyes and Hollywood smile.

STEFAN: Thank you.

Stefan turns away and opens the menu. Phoebe goes to walk away but does a double take.

PHOEBE: Excuse me.

Stefan turns as Phoebe reapproaches.

PHOEBE: But aren't you Stefan?

Stefan chuckles.

STEFAN: Yes. I'm sorry, do we know each other?

PHOEBE: Oh, highly doubtful. I'm just familiar with your work. Like everyone else in the world.

STEFAN: Well, I don't know about that. (He looks up and down.) But I'll always take a compliment from a gorgeous woman.

PHOEBE: I'm sure your girlfriend must appreciate that.

Tia looks unimpressed. Stefan leans towards Phoebe.

STEFAN: (whispering) She's not my girlfriend.

PHOEBE: (whispering) Then why are you whispering?

TIA: Excuse me.

Tia angrily gets up and leaves. Phoebe realises that she has overstepped.

PHOEBE: Ooh, ooh, okay. Well, it was really nice meeting you.

TIA: (O.S.) I’ll meet you in the car.

Phoebe waves and begins to walk away.

STEFAN: You too. Listen, listen.

Stefan reaches out, stopping Phoebe.

STEFAN: I'm in town for a couple of days doing a Porsche shoot. (He jots his number down on a napkin.) If you're interested, stop by. I would love to photograph you. (He hands Phoebe the napkin.) You do model, don't you?

PHOEBE: In my dreams, yeah.

She smiles and looks down at the napkin which reads “78 Waterfront Blvd”.

PHOEBE: Thank you, I’ll- I’ll stop by.

STEFAN: Anytime.

Phoebe walks away and bumps into an unimpressed Piper.

PIPER: I asked you to come help wait tables, not get dates.

PHOEBE: I didn’t – he was – I got. Never mind. Is he still staring at me?

Piper takes a quick glance.

PIPER: There are a lot of guys staring at you.

PHOEBE: The one on table 3. Tall, dark, brooding, very New York.

Piper looks past Phoebe to view table 3. It’s empty.

PIPER: Sorry, no.

Phoebe turns to find Stefan has gone. She’s slightly disappointed.

PIPER: Look, Brittany hasn’t turned up for work and she usually helps me run a delivery downtown. Do you mind filling in?

Phoebe isn’t paying attention.

PIPER: Phoebe?

PHOEBE: Sure.

PIPER: Did you even hear what I said?

Phoebe turns to look at her.

PHOEBE: Delivery. Downtown. I got it.

PIPER: Good.

Piper rushes off. Phoebe looks down at the napkin before slipping it into her pocket.


INT. BUCKLANDS – PRUE’S OFFICE – DAY

Prue is sat at her desk inspecting the athame. There is a knock at the door. Prue looks up.

PRUE: Come in.

A woman enters, MONIQUE SPELLING, young, Asian.

MONIQUE: So, is it true? Is he gone?

PRUE: Apparently so.

MONIQUE: Never knew what you saw him.

Prue chuckles.

PRUE: You’re not the only one.

MONIQUE: And I never agreed with the way he treated you. What did you ever do to him?

PRUE: Other than shatter his frail male ego…I did give him back his engagement ring, remember?

Monique purses her lips and tilts her head in agreement.

MONIQUE: Anyway, a shipment arrived for you? Shall I tell them to bring it in?

PRUE: Sure. Thanks, Monique.

Monique leaves, leaving the door ajar.

Prue swivels on her chair to use her computer. She puts on her glasses and begins typing.

There is another knock at the door.

PRUE: Come in.

The door audibly opens. Prue continues looking at her computer monitor.

PRUE: Just put it over there by the filing cabinet.

MAN: Hello?

Prue looks up.

PRUE: Yeah?

The man from the elevator is standing in her office, now dressed in an expensive suit and tie.

PRUE: Sorry, can I help you?

MAN: I hope so. I’m the entitled, narcissistic trust funder who’s just taken over the auction house.

The man is none other than REX BUCKLAND, the owner of Buckland’s Auction House.

Prue is speechless. Subtly, she conceals the athame by folding over the suede cloth it is sitting on.

FADE TO BLACK.

[Astral Echo]

FADE IN:

INT. BUCKLANDS – PRUE’S OFFICE – DAY

Rex is sat across from Prue at her desk. He has a file in his hand which has Prue’s resume in.

REX: How many estates did acquire this year?

PRUE: Seven, including the Beale estate. It should all be in my file.

REX: Didn’t Mr Kern secure the Beale estate?

PRUE: Roger? (She scoffs.) I’m sure that’s what he told you but ask anyone here, that was all my own work.

Rex furrows his brows and smiles. He looks down at the file.

REX: And Franklin Carlton. That's quite a coup.

PRUE: Well, I tend to be on the persistent side. I usually get what I want.

REX: I don’t doubt it. It's a shame though that you’re... how did you put it in the elevator? Unsure whether you actually want to be here.

PRUE: That was a private phone conversation.

REX: Hardly.

Prue leans back in her car, clearly annoyed by Rex’s comments.

PRUE: I think it's incredibly unfair that you eavesdrop on a private call and then you judge me based entirely on what you thought you heard.

REX: I apologize. It was unfair of me. I'm new to all of this. I've only just taken over the house from my father, so I'm very protective of it. That said, I need to know that those working here actually want to be here.

PRUE: I’ve been here for nearly five years, Mr Buckland, and I’ve always given everything to this company. To your father’s company. My area of expertise ranges from Ming Dynasty to a Mark McGuire rookie baseball card. You name it, I can identify it.

He nods.

PRUE: It’s no secret that Roger and I didn’t exactly see eye to eye in the end. But that doesn’t change how I feel about this job.

REX: That’s all I needed to hear.

Rex stands up. He gestures to the athame tucked away underneath the suede cloth.

REX: And that really is beautiful you’ve got there. Where did you find it?

Prue hesitates.

PRUE: A garage sale.

REX: Well, I’ll be damned. You really can find anything amongst someone’s trash.

PRUE: One man’s trash, is another man’s treasure.


EXT. CHURCH – PARKING LOT – DAY

Phoebe steps out of the passenger door of a Quake branded truck.

PHOEBE: I just don’t understand what her problem is. Andy is a great guy.

Phoebe walks round to the back of the truck to meet Piper, who is holding a clipboard. Phoebe opens the back of the trunk and they begin unloading.

PIPER: It's just not that simple is it? I mean, everything's changing since we've become...

A woman walks over and Phoebe hands her a tray of food.

PIPER:…you know.

WOMAN: Oh, thank you, dear.

Phoebe smiles as the woman takes the food and walks back inside the church.

PHOEBE: Come on, what are we supposed to do? Become nuns?

PIPER: No, but after Jeremy…

PHOEBE: Well, I don’t plan on changing a thing. If anything, I plan to date more.

An elderly man walks over to help unload the van.

PHOEBE: Because now that I'm a witch I can see if it's gonna be any good or not before it actually...

Phoebe hands the old man a tray of food.

PHOEBE: Hi.

The elderly man walks away.

PIPER: What's the matter with you? Are you outta your mind?

PHOEBE: Come on, it's not like he took me literally.

PIPER: You don't know that. He could of. I just think we need to be extra careful. In bed and out.

Phoebe unloads more trays of food.

PHOEBE: Okay, well there's careful and then there's paranoid. (Genuinely) Do you wanna talk about it?

Piper signs and goes back to ticking items off her checklist.

PIPER: Talk about what?

Pastor John walks around the side of the truck.

JOHN: Hey, Phoebe, I didn't know you were back in town.

PHOEBE: Hey.

John and Phoebe hug.

JOHN: Take a bite out of the Big Apple, did ya?

PHOEBE: Oh, I ate the worm. (She laughs.) Hey, I'm gonna go get some gum. Do you guys want anything?

JOHN: No thanks.

Piper shakes her head.

PHOEBE: Okay, good to see you.

JOHN: You too.

Phoebe walks away. John steps in front of Piper, puts his hands into pocket and gives her an expectant look. Piper looks up from a clipboard and realises John is trying to get her to open up. She closes and sighs deeply.

PIPER: Okay, here's the deal. I got this friend. Has a little problem. Could be bad. Not quite sure what to tell her.

JOHN: You wanna go inside?

PIPER No. I mean, I've gotta get going.

JOHN: So, what's her problem?

Piper: Well, she kinda, sort of thinks she might be a…a witch.

JOHN: Witches again, huh?

PIPER: Not a good thing is it?

The pair begin walking away from the back of the truck.

JOHN: Certainly not a question I get every day. How well do you remember Sunday school lessons? Exodus 22:18. Thou shall not suffer a witch to live.

They stop. They look at one another.

PIPER: Meaning...

JOHN: If you go by the old school, it means put her to death. She's evil.

Piper looks shocked and scared.


EXT. STREET VENDOR – DAY

Phoebe grabs a magazine and some gum and walks up to the attendant.

PHOEBE: Here you go.

The attendant takes the items and mentally calculates the price.

ATTENDANT: Three fifty-two.

Phoebe takes her purse out of her handbag.

ELDERLY MAN: Should be used on grand children's birthdays.

An elderly man and his wife are filling out a lottery ticket he is holding. He's holding a lottery ticket. Phoebe looks over at him.

ELDERLY MAN: It's a ten-million-dollar jackpot. Who knows? I mean, today may be our lucky day.

PHOEBE: Maybe.

ELDERLY MAN: If not, we're gonna lose our house.

Phoebe picks up a lottery ticket and is thrown into a premonition.


INT. TV SCREEN – PREMONITION

The numbers 4, 16, 19, 30, 32 and 40 appear on the lottery balls for the California Lottery’s Super Lotto draw.


EXT. STREET VENDOR – CONT’D

PHOEBE: 4, 16, 19, 30, 32 and 40. Those are the winning numbers.

ATTENDANT: Yeah, yeah, right lady. You want this stuff, or don't you?

Phoebe steps past the assistant and towards the old couple.

PHOEBE: (to the elderly man) 4, 16, 19, 30, 32 and 40. Trust me, mister. Today is your lucky day. (to the attendant) I think I'll buy one of these lottery tickets too.

The elderly man smiles and gestures as if to thank Phoebe.


EXT. CHURCH – PARKING LOT – CONT’D

Piper's waiting in the truck. Phoebe gets in with a smile on her face.

PHOEBE: Ready? Let's go.

PIPER: What are you smiling about?

PHOEBE: Nothing.

Piper reverses to reveal a woman standing on the front steps of the church.

It’s the now elderly woman, Javna’s victim, from the opening scene.


EXT. QUAKE – PARKING LOT – EVENING

Alex is sitting in the driver’s seat of his car. He is passed a photo of Brittany Reynolds by Andy, who is sat in the passenger seat.

ANDY: What do you want me to say? Something just does not feel right to me about this, I can't help it.

ALEX: Oh, here we go again.

Alex groans and tilts his head back.

ANDY: I mean, where are they, alright? What's this guy doing to these poor women?

ALEX: Thinking, uh, alien abduction are ya?

ANDY: I'm serious, Rodriguez.

Andy passes him another photograph.

ALEX: I know, that's what scares me.

ANDY: It just really reminds me of a case I came across during my time in New York.

ALEX: A coincidence.

Andy shakes his head, he’s not convinced.

ALEX: Let me guess, favorite movie growing up - Ghostbusters? Am I right?

Alex passes back the photographs, adjusts his body slightly to face Andy.

ALEX: Look, we got a crazy, Trudeau. Likes the pretty ladies. That's it, the end. If he comes back looking for more, we’re going to grab him, tag him, make the world a safer place. That too hard to follow?

Andy looks at him and reluctantly nods. They both look out of the windscreen to surveil the restaurant.

ANDY: Evil Dead 2.

Alex looks at him confused. Andy turns with a smile.

ANDY: Favorite movie growing up. Just for the record.

Andy looks out of Alex’s window window and spots Prue across the street getting out of a convertible and handing the keys to a valet.

ALEX: Bank across the street, I think we should grab the ATM tapes and see if....

Andy gets out of the car.

ALEX: Whoa, whoa, where are going? Uh, oo, no, no. (He laughs.) Nah, forget it Romeo. You're not blowing our cover.

ANDY: (through the car window) Come on, Rodriguez, cut me some slack. I have to talk to her. Please? Five minutes, that's all I need.

Alex tuts and points at his watch.

ALEX: Five minutes.


INT. QUAKE – RESTAURANT – CONT’D

Prue walks through the front doors.

There is a couple standing at the maitre d's podium, Skye walks up to greet them.

MALE CUSTOMER: Hi. Table for two, please.

SKYE: Have you booked?

Prue walks past them and through the restaurant towards the kitchen. Pierre walks out, holding the door open in order to talk inside to the kitchen staff.

PIERRE: Cindy, come on, come on, your salmon's up.

A pot washer, HECTOR O’SHEA, walks past him and into the kitchen.

PIERRE: Hector, you’re way behind. We need clean plates.

HECTOR: Right away, boss.

Prue waits by the door, Pierre looks at her with a disgruntled face.

PIERRE: Can I help you?

PRUE: I’m just after my sister.

PIERRE: And you are?

PRUE: Prue.

Pierre gestures his hand asking her to elaborate.

PRUE: Halliwell.

Pierre shakes his head.

PIERRE: Sacre bleu (Shouts into kitchen.) Piper!

Pierre releases the door and walks across the restaurant. Piper emerges from the kitchen.

PIPER: Prue, what are you doing here?

PRUE: You didn't give Andy my cell phone number by any chance, did you?

PIPER: No, why?

PRUE: Never mind.

PIPER: Look, Prue, I’ve really gotta…

Prue notices Phoebe sitting at a table with Stefan.

PRUE: What's Phoebe doing here?

PIPER: Well, she was supposed to be working.

PRUE: Looks like she’s clocked off. And she's wearing Armani. Where did she get that?

PIPER: Not from my closet. I’ve gotta get back to the kitchen before Chef Moore has been hung, drawn and quartered.

Piper returns to the kitchen. Prue marches across the restaurant to Phoebe and
Stefan’s table.

PHOEBE: Prue, hi. This is my other sister. Prue, this is Stefan the photographer.

Stefan steps up to greet Prue, extending his arm. They shake hands.

STEFAN: Pleasure.

PRUE: Likewise. (To Phoebe.) Nice dress.

PHOEBE: Don't worry, it's not yours.

PRUE: I know. I could never afford it.

PHOEBE: (To Stefan) Will you excuse me for one minute? I'll be right back.

Phoebe gets up and takes Prue by the arm. They walk towards the kitchen. Stefan watches them, narrowing his gaze.


INT. QUAKE – KITCHEN – CONT’D

Prue and Phoebe walk in.

PRUE: What do you mean you charged it? How are you gonna pay for that? You're broke.

PHOEBE: Not for long.

Phoebe turns on her heels and puts her hands on her hips.

PRUE: What does that mean? You didn't use your powers again?

PHOEBE: Maybe. Are you telling me you haven't?

PRUE: No, I'm not telling you that, but we're not talking about me are we?

Piper comes up to them.

PIPER: What are you guys doing in here?

PHOEBE: Same thing we do at home.

PRUE: What, did you go to the tracks, play the market, what?

PHOEBE: The lottery.

PIPER: (frustrated) Phoebe!

PHOEBE: What did you want me to do, ignore the premonition? Not help a needy family. That's what we're supposed to do, right?

PRUE: No, we are not supposed to use our powers for our own personal gain. That's what it says in the Book of Shadows.

PIPER: Not so loud!

PHOEBE: You said we needed money, right? Well, I'm getting some.

PIPER: (panicked) Come on, you guys.

PRUE: Well, get a job like everybody else.

PHOEBE: I'm using my mind instead.

Andy enters the kitchen.

ANDY: Prue?

Prue looks over her shoulder as Hector turns holding a tower of plates and bumps into the back of Andy.

PIPER Watch it!

Piper freezes everyone and the plates before they hit the ground.

PIPER: Oh, no. No, no, no, no, no, not again.

PRUE: (to Phoebe) Now look at what you've done.

PHOEBE: This is my fault?

PIPER: You guys aren't frozen?

PHOEBE: I guess it doesn't work on witches.

Prue walks to the doors of the kitchen.

PHOEBE: Piper, how long does it last?

Prue looks through the doors and sees that no one in the restaurant is frozen.

PIPER: (O.S.) I don't know, not long.

Prue re-enters the kitchen and the doors swing shut.

PRUE: Uh, it doesn't work out here either.

Piper throws her hands up into the air.

PIPER: (stressed) Oh, tell me this isn't happening.

INT. QUAKE – RESTAURANT – CONT’D

Alex walks in and looks around the restaurant. He puts his hand into his pocket, pushing back his jacket and revealing his badge.

Stefan sees this and leaves.


INT. QUAKE – KITCHEN – CONT’D

Piper is pacing around the kitchen; Phoebe is doing her best to comfort her.

PHOEBE: Calm down, it's okay. It's all gonna be okay.

Prue looks outside again, and notices Alex being directed towards the kitchen by Skye. Prue looks back to her sisters.

PRUE: Oh, God, Andy's partner just came in and he's headed this way.

PIPER: What are we gonna do?

PHOEBE: Stall him.


INT. QUAKE – RESTAURANT – CONT’D

Prue runs out from the kitchen and rushes straight up to Alex

PRUE: Hey, Inspector Rodriguez, right?

ALEX: That's right. Is Trudeau in there?

PRUE: Uh, Andy?

ALEX: Yeah, the hostess said he…

PRUE: Uh, I don't know, is he?


INT. QUAKE – KITCHEN – CONT’D

Phoebe's fanning Piper with a baking tray.

PHOEBE: Okay, breathe, Piper, breathe.


INT. QUAKE – RESTAURANT – CONT’D

Prue is trying to stall Alex.

PRUE: I – I have not…

ALEX: Excuse me.

Alex moves past Prue and enters the kitchen, looking back at her.

PRUE: Wait!


INT. QUAKE – KITCHEN – CONT’D

Just as Alex opens the door and he and Prue walk in, everyone unfreezes, and the plates fall on the floor and break.

ANDY:…really think we should...

Andy looks around confused. Alex walks over as Andy turns to look at him.

ANDY:..talk. (At Alex.) What are you doing here? I thought I had five minutes.

ALEX: Yeah, I gave you ten.

Alex points at his watch. Andy looks at it unable to believe his eyes. He checks his own.

ANDY: How?

The door opens and Pierre walks in. His face goes from confused to borderline furious.

PIERRE: Who the hell are you people and what the hell are you doing in my kitchen.
Alex and Andy look at one another. Andy unclips his badge and brandishes at Pierre.

ANDY: Inspector Trudeau, SFPD. This is my partner (gestures to Alex) Inspector Rodriguez. We’d like to ask you a few questions.

PIERRE: (puzzled) Questions, what questions?

Alex steps forward and points to the door.

ALEX: If you’d just like to come with me.

PIERRE: I – I, don’t understand? What the hell is going on?

ALEX: I’ll explain everything.

Alex escorts Pierre out of the kitchen. Andy steps to the door and turns to look at Prue.

PRUE: Uh, I'll call you later, I promise.

ANDY: Okay. Good.

He waves to Piper and Phoebe.

PHOEBE: Bye.

Phoebe waves back as Andy leaves.

PIPER: (to Phoebe) I hate, being, a witch.

Piper walks off angrily. Phoebe looks to Prue, they both look relieved.

FADE TO BLACK.

[Astral Echo]

FADE IN:

INT. MANOR – ATTIC – MORNING

Piper's sat on a chair with the Book of Shadows on her lap. She is flipping through the pages. Phoebe walks in.

PHOEBE: Hey, what are you doing?

PIPER: Reading. Thinking.

PHOEBE: About what?

Piper closes the book and turns to face Phoebe.

PIPER: About how totally screwed we are now that we're witches.

PHOEBE: Oh…that.

Phoebe pulls up a chair.

PIPER: You don't understand, you don't think we are. You're never afraid of anything. I envy that about you, I always have.

Phoebe sits crossed legs on the chair.

PHOEBE: Yeah, well, don't. Because it gets me in trouble sometimes.

They smile. Piper looks down despondently.

PHOEBE: Piper, talk to me.

PIPER: I don't know. It's just…our whole lives we’ve been like everybody else. Rushing off to work, going out on bad dates, buying shoes. Then suddenly we wake up one day, and…everything is different. We're witches now. I don't know if that's a good thing or a bad thing.

Piper looks upset.

PHOEBE: Are you kidding? It's a great thing.

PIPER: You don't know that. We don't know anything about these powers. Why we have them, what they mean, where they even come from. I mean, how do we know it's not... how do we know it's not from evil?

PHOEBE: Piper, we've been through this. We're good witches.

PIPER: How do we know? What about Jeremy? What about all the other demons he said would be coming after us. How do we know we're not just like them?

Piper exhales deeply, trying to hold back the tears.

PIPER: That is what scares me. We don't know. (She pauses.) I just…I just wanna be normal again. As messed up as that was. Is that too much to ask for?

PHOEBE: Piper, listen to me. You…are the sweetest, most caring person I've ever met. No, I mean that, you are. You're always there to help anybody, even strangers. You've been doing it your whole life. So there's no way you've been given this…this gift, if it wasn't to do good things with it. To protect the innocent, just like the Book of Shadows says. Besides, if anyone should be concerned about being bad, it's me, right?

Piper laughs. Phoebe laughs too.

PHOEBE: You've got nothing to be afraid of.

Piper smiles comforted by Phoebe’s words.

PHOEBE: Now, I gotta run. (She stands up.) I am going to get my picture taken.

Phoebe does a little pose. Piper laughs. Phoebe leaves, her heels stomping against the wooden floorboards.


INT. RESTAURANT - DAY

Prue and Andy are sitting at a table. A waitress places two cups of coffee on the table.

ANDY/PRUE: Thanks.

The waitress walks away.

PRUE: (in unison with Andy) Uh, Andy.

ANDY: (in unison with Prue) Look, Prue.

PRUE: (in unison with Andy) You go first.

ANDY: (in unison with Prue) Go ahead.

They chuckle. There is a moment of silence.

ANDY: I'm really glad we’re doing this.

PRUE: Doing what?

ANDY: This. Giving it another go.

PRUE: I didn’t know we were?

ANDY: Then what exactly are we doing here, Prue?

Prue takes a moment.

PRUE: Yeah, well…I haven't seen you in almost seven years…just starting right back where we left off is...

ANDY: I know, I know, believe me. And you say it’s complicated. I get it. But why can't you tell me? What's the big secret?

Prue shakes her head.

PRUE: Believe me, you don't wanna know.

ANDY: Try me.

PRUE: Well…my life, it's gotten a…little complicated

ANDY: You keep saying, what does that mean?

PRUE: I – I… I just don't think that I should get involved in anything right now.

ANDY: But I just don’t understand why. Look, I’m not saying we have to elope.

Prue looks a little shocked. Andy realises his poor choice of words.

ANDY: What I mean is…we just take things slow.

PRUE: Do you want me to toss you a life preserve now, or just let you sink on your own?

Andy laughs. Prue smiles.

ANDY: No, no, I'm serious. Prue, we've been given a second chance here, I don't wanna blow it this time.

Prue smiles. Her phone rings and Andy's pager beeps. They both reach for their devices.

ANDY: Dating in the nineties.

PRUE: (to Andy) Yeah. Excuse me. (Into the phone.) Hello? (Pause.) Uh, hi Monique. (Long pause.) Yeah, that’s fine, tell him I can make that. (Pause.) Okay, thanks. (She hangs up.) Uh, that was my assistant. The new boss has called me in for a meeting.

ANDY: The jumped-up playboy?

Prue laughs.

PRUE: The very same. He doesn’t seem so bad.

Prue puts her phone back into her handbag and stands up.

PRUE: Look, I’ve gotta go.

Andy looks frustrated. Prue grabs her coat and bag.

PRUE: Uh…just give me a little time to think things through, okay?

Andy looks up at her, not sure how to respond. His eyes look full of disappointment and his mouth opens as if to say something. He closes it again.

PRUE: Bye.

Andy nods as Prue leaves. He watches as she goes before settling his eyes back to where she was sat. He’s crushed.


EXT. CHURCH – PARKING LOT – DAY

Piper's sitting in the van.

PIPER: I have nothing to be afraid of. I have nothing to be afraid of. Nothing. Not to be afraid of.

She unbuckles her belt, opens the door and steps out of her car.

PIPER: Nothing.

Piper walks over to the church steps, slowing as she reaches them. She tentatively walks up the stairs, reaching the large wooden doors at the top.

She looks up at the sky, closing her eyes before reaching out and grabbing ahold of the large metal handle. She holds onto the handle and pulls the door open.

Nothing happens.

She pokes her foot inside to make sure nothing happens. She looks up again before she steps inside. Realising nothing is going to happen, she smiles gleefully and struts back out of the church.

PIPER I'm good!

Piper throws her hands into the air jubilantly.

She laughs to herself as she walks back down the stairs. The elderly woman from before walks across the parking lot looking confused. Piper spots her and walks over.

PIPER: Hello? Are you okay?

ELDERLY WOMAN: I – I – I don’t know where I am.

Piper looks into the woman’s eyes, they seem familiar. She takes the elderly woman by the hand and sees an angel tattoo on her hand.

PIPER: Wait…Brittany?

BRITTANY: You know me? Is – is that my name?

Piper looks at her in disbelief.


INT. BUCKLANDS – REX’S OFFICE – DAY

Rex is sitting at his desk. There is a knock at the door.

REX: Please, come in.

Prue enters, her handbag on her shoulder and coat draped over her arm. Rex stands up and walks over to her.

REX: Prue, thank you for coming in. I know it’s your day off.

Rex shakes her hand.

PRUE: No, it’s no problem at all.

REX: This probably could’ve waited but we just got this new collection in and I have to admit, I got very excited.

He walks to the door and pops his head out.

REX: (O.S.) Can you get Hannah in here, please?

Rex turns back to Prue, leaving the door ajar.

REX: And I decided to test your expertise, if you don't mind. See how good you really are.

PRUE: No, absolutely.

The door opens and short blonde woman, HANNAH WEBSTER, walks in. Her curly hair is tied up in a bun.

REX: And this is Hannah Webster, one of our new assistant specialists. (To Hannah.) This is Prue Halliwell.

The two women shake hands.

PRUE: Hi, nice to meet you.

HANNAH: Uh-huh. Rex has told me a lot about you.

REX: Hannah and I have working together a long time.

Prue smiles, unsure what to make of Hannah.

REX: Please, tell us about this piece.

Hannah unveils a piece of art in an expensive gold frame. Prue observes it.

PRUE: Well, Madonna of Meadow, Giovanni Berlini, 16th century, fabulous piece. Worth 3, 4 million dollars easily if it wasn't a copy.

HANNAH: What makes you think it's a copy?

PRUE: Too well preserved, no yellowing. Besides, the frame support is in pine and Italian painters used poplar back then.

Rex seems impressed. Hannah, less so.

REX: Um, what about this one?

Rex points to a wooden sculpture of a ballet dancer stood on a plinth.

PRUE: Degas. Actually, this was the only sculpture he exhibited himself.

REX: You really do know your stuff.

PRUE: My record speaks for itself.

REX: I think that’ll be all for now. Hannah will get this all catalogued and then maybe you can work your way through it?

PRUE: Whatever you need.

REX: Thanks, Prue.

Prue nods and heads for the door.

REX: Oh, and Prue. That blade you came across.

Prue has reached for the door handle and stops; she looks over her shoulder and grins through a grimace.

REX: Once you’re finished inspected it, be sure to give it to Hannah so it can be put into the vault. We wouldn’t want something like that falling into the wrong hands.

Prue nods and leaves.


EXT. WAREHOUSE BUILDING – DAY

Phoebe pulls up in Piper’s car outside of the warehouse from the scenes in the first act.
She gets out, takes a dress from the passenger’s seat and closes the car door.

She walks up to the metal door and knocks.

PHOEBE: Stefan, it's me, Phoebe.

Phoebe touches the door handle and is thrown into a premonition.


INT. WAREHOUSE BUILDING – PREMONITION

Phoebe is tied down to the glass table, breathing heavily.

FLASH

Javna walks towards her. His eyes glow.

FLASH

Phoebe screams.


EXT. WAREHOUSE BUILDING – CONT’D

Phoebe backs away from the door and her eyes widen.

She rushes back to the car, dropping her dress onto the ground.

Pulling the car door open, she jumps inside and throws her bag onto the passenger’s seat.

A hand holding a cloth reaches around the car seat and presses the cloth over Phoebe’s mouth.

She screams.


INT. MANOR – FOYER – DAY

Prue enters and puts her bags down by the door. She walks into the main foyer, taking off her cardigan.

PRUE: Piper? Phoebe? You home?

Brittany emerges from the living.

BRITTANY: I’m home.

Prue is taken aback.

Piper walks out from the kitchen holding a bowl. She rushes over.

PIPER: Prue, thank God you're home.

PRUE: Yeah, who, uh...

PIPER: Here you go, Brittany. (She hands her the bowl. To Brittany.) Why don't you go sit down at the table, okay? There you go.

Brittany walks over to the table.

PRUE: Um, sorry, who’s this?

They follow Brittany towards the dining table.

PIPER: You're not gonna believe this. I'm not sure I do. I think... no, I know, this woman is Brittany Reynolds.

Prue looks bemused.

PIPER: From Quake?

PRUE: What? The waitress?

PIPER: Uh-huh.

PRUE: Yeah, right, Piper and I'm Rosey O'Donnell.

PIPER: No, I mean it. Brittany has a tattoo. An angel on her right hand. I only remember because Chef Moore made a big deal about service staff having visible tattoos.

Prue looks over her shoulder and observes the tattoo.

PRUE: Are you sure?

PIPER: I’m positive.

PRUE: But it doesn’t make any sense. Brittany’s what…twenty five? Thirty.

PIPER: Yeah, I know. It’s crazy, right?

PRUE: That can't be.

PIPER: That's what I thought at first, but then I started asking her some questions, things only Brittany would know. She may be senile, but it all matches up.

Prue goes over to the table and kneels down. She looks into Brittany’s eyes.

PIPER: And she didn’t turn up for work yesterday. I just thought maybe she was sick and didn’t call in. But then I spoke to her husband…

Prue looks up at Piper.

PIPER: He says that he reported Brittany missing.

They both look at Brittany who smiles.


INT. SFPD – INSPECTOR’S OFFICE - EVENING

A security tape that shows the entrance of Quake is playing. Stefan is walking out, arm and arm with another woman.

ALEX: (O.S.) Look at this. ATM tape caught the first victim.

ANDY: (O.S.) And she's leaving with that photographer, Stefan.

Andy is sat in front of a small television watching the CCTV footage. Alex is stood behind him.

ALEX: I was really hoping it was that arrogant Chef.

ANDY: Well, this was the last place she was seen before she disappeared.

ALEX: Is this Stefan even on the suspect list?

ANDY: He just moved to the top.


Andy stands up and grabs his jacket.

ALEX: God bless ATM's.

Andy and Alex both walk towards the main doors to the office.

ANDY: And you’ll never guess where our Mr Black is from?

ALEX: I don’t have the faintest clue, but it feels like you’re about to tell me.

ANDY: New York, Rodriguez, New bloody York.

The pair exit.


INT. MANOR – ATTIC – EVENING

Prue and Piper enter and walk over to the Book of Shadows.

PRUE: Piper, what are you talking about?

Piper opens the Book of Shadows.

PIPER: I'm telling you. I saw something about it in the Book Of Shadows.

She starts flipping through the book. She finds the page.

PIPER: Okay, look, see? Javna feeds one week out of every year, stealing the life force from the young.

PRUE: By evoking the black magic power, the evil eye to sustain eternal youth.

PIPER: It's gotta be what happened to Brittany.

PRUE: Yeah, but there must be some kind of incantation to reverse it somehow.

PIPER: There is. (She reads.) "The Hand of Fatima." It says that the Prophet Mohammad invoked it centuries ago to banish Javna back to…wherever the hell he came from.

Piper looks to Prue.

PRUE: Yeah, well, the problem is we don't know who Javna is, let alone where he is.


INT. MANOR – KITCHEN – CONT’D

Brittany walks into the kitchen holding an empty bowl. She walks over to the refrigerator and sees the napkin magnetically attached to the door. Pulling it off to read what is written on it, she sees Stefan/Javna’s address.

Paralysed with shock, Brittany stumbles backwards and faints.


INT. MANOR – ATTIC – CONT’D

The sound of the bowl smashing onto the kitchen floor cause Prue and Piper to look up.

PIPER: (calls out) Brittany?

Prue and Piper run downstairs.

INT. MANOR – KITCHEN – CONT’D

Prue and Piper rush into the kitchen to see Brittany collapsed in a heap on the ground surrounding by shards of the broken bowl.

PIPER: Oh my God, what happened?

The sisters rush to Brittany’s side.

PRUE: Brittany, are you alright?

PIPER: I'll call 911.

PRUE: And tell them what? That she's dying of old age at 25?

Piper picks up the napkin from the floor.

PRUE: What is it?

PIPER: It's a cocktail napkin from Quake…

Piper turns the napkin over.

PIPER: With Stefan's address on the back.

Brittany gasps and grabs Piper by the hand causing Piper to look up.

BRITTANY: Javna.

PIPER: Prue…

Piper looks back down at the napkin.

PIPER: That's where Phoebe went.


INT. WAREHOUSE BUILDING – NIGHT

Phoebe is restrained on the glass table. Candles surround her. Hues of red and blue light up the dimly light room.

Phoebe cranes her neck to look across the room.

PHOEBE: Please, Stefan…or whoever you are…let me go.

Across the room, the shadowed figure stands in the shadows beyond the artificial blue lights.

Walking into the light, Stefan’s true form is revealed…

JAVNA: It's Javna.

Just like Phoebe’s premonition, Javna's eyes glow red and Phoebe screams.


EXT. WAREHOUSE BUILDING – CONT’D


Prue’s convertible pulls up alongside Piper’s car. The convertibles engine and headlamps switch off as Piper exits the passenger door and rushes over to her car.

Seconds later, Prue exits the car and follows her.

PRUE: Do you see anything?

PIPER looks through the car window.

PIPER: (panicked) No. Prue...

Prue takes Piper’s hands to comfort her.

PRUE: Look, we'll find her.

PIPER: Maybe we should call the police.

PRUE: No. If Javna has her, then we're the only ones who can stop him.

PIPER: But we need Phoebe to do it. The incantation only works with the three of us.

Phoebe’s screams can be heard. Prue and Piper follow the noise and rush towards the warehouse.


INT. WAREHOUSE BUILDING – CONT’D

A continuous beam of bright red light shoots out from Javna’s eyes and into the Phoebe’s, who is pinned against the table by the force of Javna’s power.

The door flies open to reveal Prue and Piper who enter the building. Javna stops using his power and turns to face the intruders.

Prue uses her power and throws Javna across the room while Piper rushes to help Phoebe.

PHOEBE: Piper?

Javna stands and begins using his power on Prue. Javna walks towards her and uses his power to pull her closer.

Piper hurries to unchain Phoebe.

PIPER: Phoebe, can you hear me? Are you okay?

Piper looks around hopelessly trying to find a way to release Phoebe.

PHOEBE: (breathless) The key.

Phoebe points down to a table a few steps away. Piper reaches to grab them and begins unlocking Phoebe’s chains.

PIPER: Look, we don't have a lot of time, okay?

With her arms free, Phoebe sits up and sees Javna attacking Prue.

PHOEBE: Oh my god. Piper, freeze him.

Piper looks over her shoulder and gasps. She throws out her hands and freezes Javna.

Released by Javna’s power, Prue drops to the ground clutching her chest. Her breaths are laboured.

PHOEBE: Piper, hurry.

Piper moves to Phoebe’s feet to release them.

PIPER: (O.S.) Prue? Prue? Talk to us, Prue?

PRUE: (breathless) I’m alright.

Javna starts to push through Piper’s freeze.

PHOEBE: Prue!

Prue looks up and sees Javna beginning to move. Narrowing her eyes, she telekinetically launches him across the room.

Piper frees Phoebe’s feet and the pair rush over to Prue to help her to her feet.

Prue takes a piece of paper out of her pocket and unfolds it to reveal a spell.

PRUE: The spell.

SISTERS: (chanting) "Evil eyes, look unto thee, may they soon extinguished be. Bend they will to the power of three, eye of earth, evil and accursed."

Javna clambers to his feet.

JAVNA: You cannot stop me.

The sisters look down and see their right hands glowing.

JAVNA: I will live forever.

PRUE: (to herself) The hand of Fatima.

Prue lifts up her hand, spreads her fingers and takes aim at Javna.

PRUE: Piper, Phoebe. Now!

Javna tries to use his power but Prue’s hand deflects it back at him causing him to roar in pain.

Phoebe instantly raises her hand. Piper hesitates, looking down at the white glow in her palm.

PRUE: Piper?

Piper raises her hand and three streams of white light shoot out of the sister’s hands projecting into Javna’s chest.

JAVNA: No!

Javna pushes against the beams of light, trying to force his way to the sisters.

JAVNA: You cannot defeat me.

Prue glances at each of her sisters.

PRUE: Read the spell again.

Piper and Phoebe nod and look to the spell Prue holds out in front of her.

SISTERS: (chanting) "Evil eyes, look unto thee, may they soon extinguished be. Bend they will to the power of three, eye of earth, evil and accursed."

As the spell is read, their streams expand and turn blue. The light consumes Javna’s body and screams out in pain.

JAVNA: No! No…..

Javna is thrown back against the table and the sister’s power turns his body into a flaming skeleton and then into dust.

The sisters look on in horror.

The dust slowly blows away leaving no trace left behind.


INT. MANOR – LIVING AREA – CONT’D

Brittany is sleeping on the couch. Her body begins to glow, her white hair turns blonde, her skin unwrinkles and she returns to the age she was.

Her eye lids flutter open and she awakens looking dazed and confused.


INT. WAREHOUSE BUILDING – CONT’D

The beams of light fade and the sister’s hands return to normal.

PHOEBE: Very. Cool.

They slowly lower their hands.

PIPER: Uhm…what now?

Sirens can be heard approaching from the distance.

PRUE: We get out of here.

The sisters back away slowly before turning towards the exit.


EXT. WAREHOUSE BUILDING – CONT’D

A fleet of police cars approach as the three sisters exit the warehouse building.

The cars pull up and officers start exiting their vehicles.

ALEX: (O.S.) Beta team, take the backside.

ANDY: (O.S.) Prue?

Andy and Alex approach the sisters who wait by their cars.

ANDY: What are you doing here?

ALEX: (to officers) You, come with me. Let’s check inside.

PRUE: Well, we were just trying to get the car started.

PIPER: Yeah, Phoebe called. She was having car troubles.

PHOEBE: Stefan was going to take some pictures of me.

Andy is shocked.

ANDY: You have any idea how lucky you are? This guy's the stalker.

Alex returns.

ALEX: No sign of him inside. His car's here so he might still be around. Stay with them.

Andy steps towards Piper’s car.

ANDY: (to Piper) Excuse me.

Piper moves aside and Andy reaches into the car and starts it.

PIPER: Hey, how about that. You fixed it.

ANDY: How about that.

PHOEBE: Maybe we should go.

ANDY: Good idea.

Phoebe and Piper walk away.

PRUE: Uh, thanks. Call me?

ANDY: Sure.

Andy watches as Prue walks away.


INT. QUAKE – RESTAURANT – NIGHT

Phoebe walks in.

PHOEBE: Oops, excuse me.

TIA is sat at the bar nursing a drink. Phoebe walks over.

PHOEBE: Hey, how are you?

Tia looks at her strangely.

TIA: Sorry, do I know you?

PHOEBE: Yeah, we met a couple of days ago. You were here with…Stefan.

Tia furrows her brow.

TIA: Who?

PHOEBE: Never mind. I must be thinking of someone else.

Phoebe turns and goes over to Prue and Piper who are sitting further down the bar. Tia watches her looking very confused.

PIPER: Do you know that girl?

PHOEBE: I almost was that girl. She was one of Stefan's victims. Obviously doesn't remember.

PIPER: Brittany doesn’t remember anything either. According to her husband she just turned up as if nothing had ever happened.

PRUE: Lucky her.

PHOEBE: No, lucky me. I learned my lesson. I have got to be more careful.

Phoebe takes a sip out of her drink. Prue does a double take.

PRUE: Excuse me, did I just hear right? (To Piper.) Did she actually admit to doing something wrong?

PIPER: That's what I heard.

PHOEBE: Frame it. It won't happen again.

PIPER: At least we helped those people. I mean, it's nice we know our powers really are good.

PRUE: Yeah, good for everything but our love lives unfortunately. Although I must admit, they do come in handy once in a while.

PHOEBE: Uh huh. Hypocrite.

TV ANNOUNCER: (O.S.) And last night’s winning Lotto numbers were.

Phoebe looks up to see the lottery numbers come up on the TV screen.

TV ANNOUNCER: (O.S.) 4. 16. 19. 30. 32 and 40.

PHOEBE: The winning numbers. I won.

Phoebe takes her lotto ticket out of her handbag.

PHOEBE: Well, I did.

Looking down at her ticket, she watches as the numbers disappear. Phoebe frowns turning her ticket to show Prue and Piper.

PRUE: See? I told you. You can't intentionally use your powers for your own personal gain, remember?

PHOEBE: It's a good thing I didn't take the tags off that dress. (She rests her arm on the bar and slumps her chin onto her hand.) Oh, well. At least those old couples didn't lose their house.

PRUE: You hope.

Phoebe pouts.

PHOEBE: Anyway, how about a toast.

Phoebe raises her glass.

PHOEBE: To the power of three.

Piper raises her glass.

PIPER: Whether we like it or not.

Prue raises her glass, and the three sisters clink them together.

FADE TO BLACK.

END OF EPISODE.

[Astral Echo]

Due to job applications, it is unlikely episode three will be out this Sunday but fingers crossed, you never know.